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Combining photographic portraits and testimony, Andrea Gjestvang's En dag i historien: 22. juli concerns the experiences and thoughts of 43 young people who survived the terror attack at the Labour Party youth camp on Utøya Island, outside Oslo on 22 July 2011. Published the year after the events, the book captures a moment in time in which memories of what happened were still very raw, and the various attempts at commemoration in diverse cultural forms were yet to be conceived of, and subsequently contested. Drawing on recent writings on photography (by Ariella Azoulay, Robert Hariman and John Lucaites, Susie Linfield and John Roberts) as well as an interview with photographer Andrea Gjestvang, this article is an attempt to come to terms with how the 'image-text' in En dag i historien invites a form of committed spectatorship that unfolds over time.

AbstractWest German anticommunism and the SED's Westarbeit were to some extent interrelated. From the beginning, each German state had attemted to stabilise its own social system while trying to discredit its political opponent. The claim to sole representation and the refusal to acknowledge each other delineated governmental action on both sides. Anticommunism in West Germany re-developed under the conditions of the Cold War, which allowed it to become virtually the reason of state and to serve as a tool for the exclusion of KPD supporters. In its turn, the SED branded the West German State as 'revanchist' and instrumentalised its anticommunism to persecute and eliminate opponents within the GDR. Both phenomena had an integrative and exclusionary element.

AbstractInternational Terrorism happens since old ages, when it was classified as acts against the monarch. Only in modern age, it was classified as political crime committed against the State. However, despite the occurrence since ancient times, the topic gained practice importance in the International Agenda only after the international repercussion of September 11th. At this time, many researches described the political aspect of it, disregarding the economic scenario, especially considering the State interventionism that is taken to avoid economic chaos. Indeed, the State function is also discussed in order to understand how it may keep Social Welfare. This practice instils in collective perspective the association of terrorism with specific ethnic and religious groups, indirectly supporting a nationalist mentality that tends to be exploited by populist governments. This creates a bad view over resistant movements, in which are included the Third World Countries Movements, such as TWAIL, that contests the international balance of power.

One of the oldest cultural practices of human societies, poetry, simultaneously responded and contributed to the evolution of human sense of spaces. Before print culture became ubiquitous, poetry was a time-art: all classic poetic techniques and devices were meant to hold a piece of verse permanently in a person's memory, and by extension, in a community's living history. However, contemporary poetry has little use for the chronologic dimension of poetry. The correlation of spatialized poetry with the new proliferation of ideas regarding space can be explored in multiple angles. The way space is looked at has changed in all art forms due to certain contingencies of modern history. This paper is a mapping of these alterations in the spatial turn of poetry, and a further application of ideas of space in understanding contemporary poetry.

The experiences of six adolescents in Berlin, as depicted in two documentaries, serve as examples of failed integration. These young people, some with and some without a migrant background, allow glimpses into their lives in Neukölln Unlimited (2010) by Agostino Imondi and Dietmar Ratsch, and in Bettina Blümner's Prinzessinnenbad / Pool of Princesses (2007). This article highlights how the films corroborate the findings made by social system theorist Ulrich Schmidt-Denter about disaffected youth in Germany. He argues that German self-loathing is a significant reason for the failure of many migrants and their children to integrate. An apparently specifically German tendency to observe and reflect on oneself critically seems to sabotage integration and aspiration. To illustrate how both documentaries validate Schmidt-Denter's findings, I analyse the six protagonists' attitudes to themselves and others, demonstrating that they contradict the diagnosis of a new German norm in relation to national identity.

This article analyses gendered genealogies in an example of North African Jewish women's writing in French: Paule Darmon's Baisse les yeux, Sarah (1980), which draws heavily on the author's personal experience. This autofictional novel recounts the chequered personal history of autodiegetic narrator Sarah Lévy, born to an Algerian father and a Moroccan mother, and raised in Morocco until the age of 17 when her family leave for France. The articles focuses on a three-generational female genealogy of Moroccan-Jewish women, and its problematic relationship with the stereotypical Eastern model of woman. Sarah's ambivalence towards her matrilineal heritage throws into relief the fault lines that can occur in lines of descent. Although allied with her mother in the latter's partial rejection of female oppression, she is also sensitive to her mother's always already subaltern and therefore undesirable status as doubly stigmatized object – female and Oriental – within the French colonial discourses internalized by her father.

In December 1969 the Spanish singer-songwriter Paco Ibáñez gave a concert at the Olympia in Paris to an audience composed of Spanish exiles and French students. Ibáñez's selection, interpretation, musicalization and performance of a wide range of mainly Spanish poems for the occasion created a text that denounced the policies of Franco and, at the same time, allowed the French part of the audience to express their solidarity in a political cry for freedom. This article begins by situating Ibáñez in exile in France where, avoiding Francoist censorship, he thrived as an anti-Francoist musician. Focusing on the emblematic Olympia concert that epitomizes Ibáñez's artistic output, the second part of the article analyses the performative text created by the poems chosen and interpreted by Ibáñez together with the audience's reaction to them. This text, the article argues, encouraged collective struggle in the face of oppression, and the communitas generated that night exemplified it.

AbstractThe Ministry for All-German Affairs held a special place among the government departments with a right to define public anticommunist counter-intelligence. At the height of the Cold War it concentrated on advancing the activities of private bodies, and as such had a significant influence on their anticommunist thinking.