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Are wartime dream diaries a testimony to violence and its impact on society and culture? Do dreams shape and respond to history and the collective remembrance of war? This article argues that wartime dream collections constitute a testimonial practice that brings visibility to experiences hidden from the public domain and missing from dominant discourses on war. Connecting post-2022 Ukrainian dream diaries and theoretical contributions to cultural dream analysis by Charlotte Beradt, Georges Didi-Huberman, and Wilfred Bion, I argue that recognizing dream sharing as witnessing raises ethical and political questions because it is not a constative speech act, but a form of thinking about and action on history. Within this ethical–political perspective, sharing dreams is never merely about relaying contents to the reader but a relational act of self-disclosure. I conclude that to read records of war dreams is inseparable from being called upon to receive and offer hospitality to a dream. [ABSTRACT FROM AUTHOR]

The figure of the 'Arctic hysteric' emerged in the late nineteenth and early twentieth centuries in the discourses of polar explorations and Arctic colonisation as part of photographic and narrative archive of Westerners' encounter with Greenlandic populations. This racialised and gendered trope made a mark on the European collective memory of Arctic explorations, solidifying an image of native Greenlanders as infantile, frail and in need of protection from the deleterious effects of civilisation. As such, post-colonial scholars have suggested that 'Arctic hysteria' cannot be regarded as a solely psychological diagnostic, but needs to be historicised in the context of colonisation and the social disruptions and hardship it brought about for the Inuit. This article, first, undertakes an analysis of the photographic figurations of 'Arctic hysteria' to investigate their place in the collective memories of polar explorations, including erasing the role of Indigenous people in these explorations, and, more broadly, construing imaginary geography of the Arctic as an uninhabited and empty place, a canvas for colonial projections, rather than a native homeland. Next, it focuses on artistic resignifications of 'Arctic hysteria' in the work of Greenlandic-Danish artist, Pia Arke, and argues that these resignifications are an example of a decolonial project of counter-memory of the Arctic, which is based on a refusal of regarding colonisation as past. Tracing coloniality and its effects in the domains of the body, affect and intimacy, Arke explores the possibilities of creating a shared and relational Arctic memory. [ABSTRACT FROM AUTHOR]

The article presents the discussion on historical moments of peoples revolt against conditions of unfreedom tell us about the politics. Topics include collective act of witnessing, the text knots together political action, desire for freedom and ethics of responsibility, or answerability, to the other; and disrupts and blocks the continuous stream of economic and socio-erotic exchanges and dealings in Vasenka.

The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning "history," "legend," and "narrative," is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or 'snippets' from Greenland's history (from the periods of Saqqaq, late Dorset, Norse settlement, and European colonization). Adopting a fragmentary and episodic approach to historical narrativization, the texts frame the modern European presence in Greenland as one of multiple migrations to and settlements in the Artic, rather than its central axis. We argue that, in consequence, the Oqaluttuaq narratives not only "provincialize" the tradition of hyperborean colonial memories, but also provide a postcolonial mnemonic construction of Greenland as a place of multiple histories, plural peoples, and heterogenous temporalities. As such, the books also narrativize loss and disappearance—of people, cultures, and environments—as a distinctive melancholic strand in Greenlandic history. Informed by approaches in the field of cultural memory and in the study memorial objects, Marks' haptic visuality and Keenan and Weizman's forensic aesthetics, we analyze the graphic narratives of Oqaluttuaq in regard to their aesthetic dimensions, as well as investigate the role of material objects and artifacts, which work as narrative "props" for multiple stories of encounter and survival in the Arctic. [ABSTRACT FROM AUTHOR]

An editorial is presented on philosophy, politics, critique. Topics include scepticism has often led to a suspicion of political actors, with the results that sceptics are often reluctant to participation in politics; and Kantianism tends to compartmentalize critique, which is to say that it separates epistemological from practical and from aesthetic forms of judgment.