AN EXERCISE IN WORLDMAKING 2009 - ISS

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188 TARA TABASSI until now, by her.’ The caption demands that the original picture should be important to her because it was seen by countless people and assumes that notoriety, not privacy, is valued by her. In NatGeo’s assumption of the photograph’s importance to her, it appoints itself her saviour by delivering it. The label ‘Special Report’ in the Contents page emphasizes the featured article’s importance. Here, the blurb reads, ‘Her eyes have captivated the world since she appeared on our cover in 1985. Now we can tell her story.’ This one line makes the discourse vivid. Using the words ‘captivated’ and ‘appeared’ imply that she would have dissipated without Western audiences. The description does not centre on the woman herself, but on her body: her eyes as captivators. The continuous use of possessive ‘our’ and ‘we’ assumes a collective voice between reader and magazine: a united Western voice sharing similar discourses and viewpoints. The description concludes in final ownership over her – instead of ‘now she can tell her story,’ a damaging but oddly truthful statement: ‘now WE can tell HER story’, renders her voiceless. Whatever hopes of agency the cover promised, are now lost. ‘A Life Revealed’ 20/3/<strong>2009</strong>
16 What’s Yours is Mine 189 A Life Revealed The double-spread of images marks a shift, the ‘Afghan Girl’ still nameless but now, with the turning of every page, unveiled. The title reflects this undressing, ‘A Life Revealed,’ where wording such as ‘told’ or ‘asked’ is not used, but ‘revealed’ as if to imply a grand opening and excavation: a lifting of the burqa for Western eyes. This heading is subtitled, ‘Seventeen years after she stared out from the cover… a former Afghan refugee comes face to face with the world once more.’ The disturbing phrase, ‘face to face,’ immediately begs the question: Can she see us, the audience, from the page? We, the well-to-do buyer, can see her face, scrutinize the two photographs, ourselves the intimate explorer, comparing features, discovering matching freckles and liplines, like a one-way sexual expedition. And her? What did she find in her tiny distorted reflection mirrored in the camera’s lens? The passage of time is suspenseful. Seventeen years of waiting: what will she say? The sentence concludes with ‘once more’ to confirm the reader’s relationship with this character. This is a sequel, a catching up of old friends…. After the sequence of ‘thrilling’ headlines, photographs and suspenseful captions, readers finally have access to the story. The actual article begins with an engaging opening paragraph, including the ominous abstract: ‘She remembers her anger.’ The author engages readers here with raw emotion, a glimpse into the ‘mind’ of the anonymous woman through constructed inner dialogue. 2. Orientation The Orientation is an introduction to characters, temporal and physical settings, and situation, usually by using ‘past progressive’ timing (Johnstone 2001:638). Orientation of Memory: Romantic Encounter The text begins in present-tense, describing the 1985 encounter and establishing relationship: ‘She remembers the moment. The photographer took her picture.’ ‘…She had not been photographed since,’ prioritizing time shared with the photographer. The recollection is set metaphorically, ‘the light was soft,’ creating a romantic setting. The Hero ‘noticed her first,’ reconfirming her unique value. The constructed monologue moves readers through McCurry’s memory.
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AN EXERCISE IN WORLDMAKING 2009 Bes
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iii A participatory and student-dri
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Foreword This collection of essays
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Contents Acknowledgements Foreword
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Contents ix 14 Orientalisation of V
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2 SANJUKTA CHAUDHURI men. It identi
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4 SANJUKTA CHAUDHURI litical unit o
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6 SANJUKTA CHAUDHURI young men. Mit
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8 SANJUKTA CHAUDHURI Indian Nationa
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10 SANJUKTA CHAUDHURI country as an
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12 SANJUKTA CHAUDHURI CONCLUSION Th
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14 SANJUKTA CHAUDHURI Kimberly Cren
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16 ANDREA NICOLE DYKSHOORN Several
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18 ANDREA NICOLE DYKSHOORN ple, is
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20 ANDREA NICOLE DYKSHOORN dence of
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22 ANDREA NICOLE DYKSHOORN kinson,
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24 ANDREA NICOLE DYKSHOORN Kanu (20
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26 ANDREA NICOLE DYKSHOORN be ident
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3 Innovation in the Andes: Explorin
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30 JONATHAN CONNOR cent, which “r
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32 JONATHAN CONNOR mestizo landowne
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34 JONATHAN CONNOR for channeling e
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36 JONATHAN CONNOR 2002: 297). In t
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38 JONATHAN CONNOR portant challeng
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40 EVA SABATE tion of Multinational
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42 EVA SABATE authorize Inditex or
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44 EVA SABATE provide workers with
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46 EVA SABATE late and compensate u
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48 EVA SABATE Hellman M. (2007) “
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50 SERGIO FERRAGUT THE ROLE OF THE
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52 SERGIO FERRAGUT both old and new
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54 SERGIO FERRAGUT the market and e
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56 SERGIO FERRAGUT other actors. Ex
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58 SERGIO FERRAGUT SYNERGIES WITH T
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60 SERGIO FERRAGUT ing organization
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6 The Utility of the Citizen: Relat
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64 MEGHAN MICHELLE COOPER these lev
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66 MEGHAN MICHELLE COOPER or politi
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68 MEGHAN MICHELLE COOPER this whil
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70 MEGHAN MICHELLE COOPER citizens
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7 Does the Aid Consensus Shift from
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74 SABRINA BRANDT tigue shaped the
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76 SABRINA BRANDT Consensus policie
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78 SABRINA BRANDT resource developm
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80 SABRINA BRANDT Trade liberalisat
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82 SABRINA BRANDT improved producti
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84 SABRINA BRANDT OECD/High Level F
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86 MEKALIA PAULOS AKLILU the restru
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88 MEKALIA PAULOS AKLILU posed to g
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90 MEKALIA PAULOS AKLILU best and s
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92 MEKALIA PAULOS AKLILU instructed
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94 MEKALIA PAULOS AKLILU REFERENCES
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96 BERNICE CAMPOS ROLDAN help very
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98 BERNICE CAMPOS ROLDAN Figure 1 A
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100 BERNICE CAMPOS ROLDAN Table 1 C
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102 BERNICE CAMPOS ROLDAN grams tha
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104 BERNICE CAMPOS ROLDAN just in a
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106 BERNICE CAMPOS ROLDAN through i
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108 BERNICE CAMPOS ROLDAN ports the
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110 BERNICE CAMPOS ROLDAN Woolcock,
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112 ISABELLE TURCOTTE regarding the
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114 ISABELLE TURCOTTE rather paid i
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116 ISABELLE TURCOTTE THE COLOMBIAN
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118 ISABELLE TURCOTTE improving rev
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120 ISABELLE TURCOTTE formally is a
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122 ISABELLE TURCOTTE ity enhanceme
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124 ISABELLE TURCOTTE REFERENCES Al
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126 TISKA YUMEIDA presents policy i
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128 TISKA YUMEIDA knowledge and tec
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130 TISKA YUMEIDA economies of scal
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132 TISKA YUMEIDA Source: Prichet,
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134 TISKA YUMEIDA tries with low le
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136 TISKA YUMEIDA Ray, Debraj (1998
Page 148 and 149: 138 STEFANIA DONZELLI sense of guil
Page 150 and 151: 140 STEFANIA DONZELLI that I will c
Page 152 and 153: 142 STEFANIA DONZELLI institutions,
Page 154 and 155: 144 STEFANIA DONZELLI Encuentro, to
Page 156 and 157: 13 Imaging Women and Compassion in
Page 158 and 159: 148 TERESA LORENA JOPSON Audience a
Page 160 and 161: 150 TERESA LORENA JOPSON gays. In 1
Page 162 and 163: 152 TERESA LORENA JOPSON shot from
Page 164 and 165: 154 TERESA LORENA JOPSON Image 5. H
Page 166 and 167: 156 TERESA LORENA JOPSON Women in t
Page 168 and 169: 158 TERESA LORENA JOPSON depicts th
Page 170 and 171: 14 Orientalisation of Veil: Unpacki
Page 172 and 173: 162 UMME BUSRA FATEHA SULTANA Musli
Page 174 and 175: 164 UMME BUSRA FATEHA SULTANA out o
Page 176 and 177: 166 UMME BUSRA FATEHA SULTANA by Ed
Page 178 and 179: 168 UMME BUSRA FATEHA SULTANA “We
Page 180 and 181: 170 UMME BUSRA FATEHA SULTANA Chowd
Page 182 and 183: 172 MELANIE NEWELL INTRODUCTION The
Page 184 and 185: 174 MELANIE NEWELL stood, analyzed,
Page 186 and 187: 176 MELANIE NEWELL tered around gen
Page 188 and 189: 178 MELANIE NEWELL TRANSFORMATIVE P
Page 190 and 191: 180 MELANIE NEWELL ance and demandi
Page 192 and 193: 16 What’s Yours is Mine TARA TABA
Page 194 and 195: 184 TARA TABASSI as a teller of oth
Page 196 and 197: 186 TARA TABASSI were ‘white,’
Page 200 and 201: 190 TARA TABASSI It could be anyone
Page 202 and 203: 192 TARA TABASSI that assumed of th
Page 204 and 205: 194 TARA TABASSI ments, undermine h
Page 206 and 207: 196 TARA TABASSI TEXT AS SOCIAL PHE
Page 208 and 209: 198 TARA TABASSI Hirschkind, C. and
Page 210 and 211: 200 CHANTELLE DE NOBREGA The first
Page 212 and 213: 202 CHANTELLE DE NOBREGA know exact
Page 214 and 215: 204 CHANTELLE DE NOBREGA of the ver
Page 216 and 217: 206 CHANTELLE DE NOBREGA Human righ
Page 218 and 219: 208 CHANTELLE DE NOBREGA hances “
Page 220: 210 CHANTELLE DE NOBREGA Raj, R. (2
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