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This paper seeks to explore the affective aesthetics that are generated through the perceptions of 'genocidal' horrors in relation to accounts of sexual violence during wars, and to engagements with war memorials and museums commemorating such atrocities. In particular it focuses on the trope 'never again', which aptly captures the search for juridical and moral justice linked to events of conflict and violence in the twentieth and twenty-first centuries. The cosmopolitan moral and aesthetic orientations by means of which such tropes come to represent the horrors of the Bangladesh War of 1971 are analysed via an examination of the Bangladesh Liberation War Museum. Through a study of exhibits and visitors to this 'memorial museum', the paper considers how 'genocidal' cosmopolitanism, involving connections and identification with global 'genocidal' tropes, alters the processes of ownership and appropriation of emotions towards, the sense of belonging to, and claims on the nation. [ABSTRACT FROM AUTHOR]

This paper discusses some of the limitations of the global city hypothesis, in particular its economistic tendencies, the suppression of political and cultural domains, and the underdevelopment of human agency and everyday life. It tries to establish more fully the identities of global subjects. Examining two sets of global actors, transnational businessmen and cosmopolitan professionals, it argues that the expansive reach and mastery imputed to global subjects, their flight from the particular and the partisan, their dominance and freedom from vulnerability, are far from complete. The separation of the global and the local and the ascription of mobility and universalism to the global and stasis and parochialism to the local is an oversimplification, for an optic of transnational global spaces should not conceal the intersecting reality of circumscribed everyday lives. [ABSTRACT FROM AUTHOR]