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This paper examines Henry Giroux's critical pedagogy, and explores the interconnections among education, democracy, and hope. Whereas critical pedagogy rejects foundationalism, it still requires a normative foundation to criticise oppressive situations and pose a vision of the future. Giroux rejects foundationalism and regards oppressive force such as neoliberalism as an enemy of both hope and democracy. He regards hope as an act of imagination, something to be cultivated, which can be regarded as a medium of mobilisation. This seems inconsistent with the tenets of critical pedagogy, as mobilisation is often thought to suppress individual human agency, which Giroux and other critical pedagogues have emphasised heavily. This paper solves this inconsistency via the radical democracy advocated by Ernesto Laclau and Chantal Mouffe and Gramscian insights regarding hegemony and education, and redefines the role of hope in Giroux's theory. Giroux's framing of hope moves us towards certain normative claims and mobilises people to desire democracy as a normative foundation for society.

This paper examines translation and transcultural remembrance of the 1918-19 Great Influenza or the more often yet mistakenly called "Spanish flu" for lessons to combat COVID-19 in Chinese online media. It presents a case study of "covert transediting" in the "Shanghai Observer," i.e., a journalistic opinion that interweaves Chinese renderings of selected excerpts from four British and American media texts. With an integrated approach to travelling memory (Erll, Astrid. 2011. Travelling memory. "Parallax" 17(4). 4-18) via transediting, our analysis shows that the transeditor does not only choose source texts in terms of media and content, but also selectively reframes the "Spanish flu" memory for lesson learning in conjunction with the mainstream Chinese discourse and practice of COVID-19 control. It unveils how the Great Influenza is thus transculturally remembered in more simplified and ideologically agreeable manners through omission, summary translation, and transformation, while faithful transference is not sheerly dispensed. We contend that transcultural remembrance via transediting is a purposive, socio-culturally shaped practice involving interrelations and interactions of manifold factors, and we need a more complex approach to the politics of memory in translation. Journalistic translation, which is mostly covert and transediting, is among different genres of translation that shape transcultural memory; more research in their interplay is called for.

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This paper will bring forth the memory of a community that has seen immense death and heartbreak as a result of wars and political unrest in the region. Easterine Kire is a poet and novelist who has written extensively on her people, the Nagas. Kire mainly writes about the Angami Nagas in her works of fiction, which are mostly based on real-life events. Her novels Mari (2010), A Respectable Woman (2019) and Bitter Wormwood (2011) will be taken into study. In these three novels, Easterine Kire tells the story of her people, how they fought the "white-man's war" and the Naga insurgency against the Indian union in their struggle to be a free state. The latter part of the paper will focus on the task of the writer, how s/he has to write about the unadulterated history of their people. The task of writing "ourselves/themselves" thus becomes a combined effort of the writer and the people when collective memories are recollected and put in print for future generations. This paper also acts as a detailed review of the mentioned three novels of Easterine Kire while discussing matters such as memory, history and trauma. The last part of the paper focuses on Easterine Kire's reflections on her own novel Bitter Wormwood and her purpose of writing the novel. [ABSTRACT FROM AUTHOR]

This paper analyzes the intermedial discourse in Morrison's novel Beloved. It brings to the fore the cinematic tropes with which Morrison's "politics of affect", to borrow from Massumi's syntagm, is interwoven. Drawing on Müller's concept of intermediality which shows the appropriations of art forms, this paper decodes Morrison's intermedial poetics. To engage with the trauma of history and the "Archive Fever," Morrison resorts to a visual medium, cinema, to weave a hybrid literary discourse that lies at the heart of the postcritical turn in cultural, literary and media studies. Filmic techniques such as "show, don't tell," "freeze framing," "close up," "dissolve," "off-stage" permeate Morrison's text. In Beloved, the infanticide is related through an "off-stage" strategy. Drawing on all these cinematic strategies, Morrison intertwines images, sounds, and words to relate the affective experience of the Sweet Home dwellers. For example, the strategy of one way communication of the cinematic language which leads to a closed communication enables Morrison to frame the marginality of her community. [ABSTRACT FROM AUTHOR]

Since 1976, the Sahrawi national liberation movement known as the Polisario Front anticipates state sovereignty in Western Sahara by organizing into the Sahrawi Arab Democratic Republic (SADR) in Southern Algeria. Drawing on excerpts from the life-histories of six Sahrawi women who contributed to build the SADR's early social and physical infrastructures, this paper presents practices of public remembrance as coextensive to a history-making labour of social regeneration that seeks international recognition for the Sahrawi nation, as well as to pass on nationalist moral values and political desire across time. The life-worlds of the Sahrawi generation these six women belong to have undergone considerable structural changes brought about by Spanish colonialism, the emergence of the Polisario Front in the 1970s, war, forced displacement, and a 1991 UN mediated ceasefire. Highlighting the on-going vitality of anticolonial nationalisms, this paper offers an account of how elderly Sahrawi female militants seek to socially regenerate the project of a Sahrawi revolutionary nationalism through their production of history. [ABSTRACT FROM AUTHOR]

This paper examines certain history-making and memory-making practices that allow us to see how the past may be animated. These practices are: first, the Ancient Greek sophistic arts, as exemplified by Gorgias's Encomium of Helen, and as revived, in dialogue form, in Renaissance humanism; and second, Ancient Greek, Ancient Roman, and medieval memory arts, with particular attention to the composite generative imagery of those arts. Animating the past -- as these practices of history-making and memory- making do -- is of great epistemic and political value to communities: it enables acts of argument and judgement, and, more generally, it is vital for vibrant democracies. The paper signals, albeit only briefly, how these practices are also intertwined with legal history, and in particular the history of legal reasoning, suggesting some ways forward, in future work, for investigating the entangled histories of history-making, memory-making, and law-making. [ABSTRACT FROM AUTHOR]

This paper examines cinematic representations of religion and religious communities in the early cinema of the Yugoslav space. This paper introduces the readers to the rich heritage of the cinema of the Yugoslav space by providing 1) the first study of the representations of religion and the concepts of faith in the early film, and 2) novel approaches in reading religion and history through film. Film is used as a primary rather than supplementary source in historical research on diverse religious and ethnic communities in this part of the Balkan Peninsula. This is the first study that investigates the importance, place, and role of religion in everyday life in the Yugoslav space through the case study of the early documentary film between 1896 and 1939. This paper will enrich scientific inquiry by providing new approaches for researching history through the documentary film. [ABSTRACT FROM AUTHOR]

The Kashmir Question is as much a conflict about competing histories and memories as it is about competing territorial claims. However, it has often been reduced to an understanding that reckons the question as one about the region perceived as a terrain of contestation between India and Pakistan. While this could be true, there are multiple complexities at play and the most serious happens to be one rising from the terrain of history and memory and the tensions which emanate thereof to shape the Kashmiri identity. The present paper therefore aims to study how the claims of history and memory have been employed by the Indian state, post-partition and the place it offers to the claims of collective memory. Secondly, the present paper aims to explore the different ways in which memory has been employed as a weapon of resistance to subvert the statist reading of the Kashmir Question. Further the present paper attempts to understand the layers that constitute the collective memory. Finally, this will in turn enable us to ask-what is the relationship between history and memory in configuring the Kashmiri identity and how does this relationship problematize the Kashmiri identity?. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Sociología is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The nation is often 'imagined' through various elements such as the media, education, ideologies, each providing the necessary 'boundaries' for its existence. It is also a space where the landscape is constructed and utilised to shape its citizens' perception. However, the idea of a nation is not just circumscribed by what is celebrated or visible but also by what is 'silenced'. During the transitional period between the Sukarno and Suharto administrations in the mid 60's, approximately 500,000–1 million suspected leftists, communists and dissidents were incarcerated and disappeared. Thus even 20 years after the downfall of Suharto's authoritarian regime, the incident continues to be an unspeakable 'open secret'. This paper posits that beneath Indonesia's modern veneer lies 'pockets' of spaces that physically mark this hidden history. I ask how Indonesians conceive and tell of this 'unmentionable' history through narratives that surround places of death and violence. I will be looking specifically at sites where dissidents have either been interrogated, imprisoned as well as executed. This research looks at how Indonesians utilise tales of the ghostly and the spectral as a way to bypass the taboo which surrounds the event and at the same time 'narrativise' it. I state that these tales of ghosts, hauntings and the supernatural are attempts by Indonesians to comprehend better what was otherwise an 'incomprehensible' event. Also, despite the state's best efforts in creating a vacuum on the event, I state that these sites of violence, the landscapes which they inhabit and the tales they carry, are part of an invisible landscape where a counter 'imagined community' exists linking these sites as well as the past and present. With each of the sites, a hidden history is thus revealed despite efforts in suppressing this knowledge. [ABSTRACT FROM AUTHOR]

Memorials of the lay dead in late medieval English churchyards were constructed from perishable materials, with the exhumation and reuse of burial plots suggesting that a timely forgetting of the individual was an accepted part of the commemorative process. From the 13th century onward, remains exhumed from old graves were increasingly redeposited in specific structures known as charnel houses. The collective redeposition of disarticulated skeletal remains in charnels anonymised the deceased, generating mortuary spaces which foregrounded communal rather than individual memory. In this paper, charnelling and its relation to memory in late medieval England is theorised and explored. Following this, early modern developments are investigated, employing the charnel of St. Paul's Cathedral, London, as a central case study. As the country's largest late medieval charnel, its extreme treatment following the Dissolution of the Monasteries renders it a potent example of how religious reform affected mortuary practice during the period. Through the violent ejection of its contained remains and the structure's secular repurposing as a print shop, treatments of the ancestral dead were employed to enact and manifest ideological change. This produced changes in London's mortuary landscape which in turn memorialised the reformatory process itself. [ABSTRACT FROM AUTHOR]

We see the stock market constantly responding to changing signals. These inputs are perceived to be highly structured in both space and time. Such regularities in the environment allow expectations about the future to be formed, facilitating current investment decisions. Perceiving the continuous stability is exploited by the brain, creating a bias in perception to generate serial dependence. Therefore, stock price dependence may be simply a result of the behavioral dependence in the decision process. The empirical evidence presented in this paper confirms that the dependence in every facet of an investment decision process has contributed to the observed stock price dependence. The largest contributor is by far from investors' memory dependence, exceeding 80%. If history is the record of past decisions going through the brain's neural pathways, the memory dependence or "memory of the memory" occurs when people follow the same old neural pathway over time. As paying attention to history is an obvious mental visit to the memory neural pathways, those who study the history are doomed to repeat it. [ABSTRACT FROM AUTHOR]

This paper intends to explore Magical Realism in the Indian context through O. V. Vijayan's novel, The Legends of Khasak, initially published in Malayalam in 1969; later in 1994, Vijayan himself translated it into English. This regional novel might not have fetched global recognition, but it remains one of the most influential magical realist texts in Malayalam literature. Intriguingly though, the novel was published just two years after García Márquez's magnum opus, One Hundred Years of Solitude, and almost a decade and a half before Rushdie's Midnight's Children. Salman Rushdie's commercial success in this genre popularized South Asian Magical Realism in the West. However, many regional writers from India had employed Magical Realism's stylistic paradox in their works before the term officially originated in the European and Latin American contexts. Through Vijayan's novel, this study explores how, in the Indian context, the paradoxical impulse to naturalize the supernatural deeply exists in realism's stylistic undercurrents. The research further uses the critical framework of trauma and memory to analyze how the author attempts to recuperate the indigenous cultural identity of the natives, lost due to colonialism and capitalism, and simultaneously historicize the onset of colonial modernity and industrialization in India. [ABSTRACT FROM AUTHOR]

Copyright of Memorandum: Memória e História em Psicologia is the property of Memorandum: Memoria e Historia em Psicologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aims to present an analysis of the house theme in the historiographic context of Kazuo Ishiguro's The Remains of the Day and John Banville's The Sea. From the eighteenth century to the present, the concept of the house has appeared as a prominent image in the British novel by referring to different aspects of the British lifestyle and social conditions, both in public and private terms. As critics argue, English estates and country houses represent a wider meaning than simply being vast and remarkable residences of the aristocracy. Considering the contemporary depictions of the house, one can see how it reflects the problematic link between the past and the present, as can be examined in Kazuo Ishiguro's The Remains of the Day and John Banville's The Sea. Both novels present middle-aged, nostalgic protagonists who seek meaning in the contrast of their memories and present conditions. In problematic personal quests between past and present, the image of the house plays an important role, materialising the link between the old and the new. Thus, the country house, as in former examples, is re-interpreted in contemporary novels in a historiographic context. Considering the historiographic structure and the symbolism reflected by the concept of the house in The Remains of the Day and The Sea, this paper aims to present how history, both on official and personal levels, is re-interpreted in a historiographic context by centering on the personal quest of the protagonists and their relationship to the house. [ABSTRACT FROM AUTHOR]

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This paper discusses Sinan Antoon’s novel Ya Maryam and its representation of contemporary Iraq in the wake of the tragic events that took place after the American occupation of Iraq in 2003. It sheds light on the sectarian crisis and the violent and atrocious events that turned Iraq into a minefield. The novel is more descriptive than prescriptive, not only allowing us to see the gloomy and violent reality of the present but also the tolerant past through the interplay between memory, history, and contemporaneity. Drawing on Pierre Nora’s conceptualization of memory and moving beyond the opposition between history and memory, we argue that Antoon’s use of intimate places and photographs allows him to bring both history and memory together as complementary records of the modern history of Iraq and as witness to that history. Through the generation gap between an uncle and his young niece, Antoon brings together Iraq as a single unified country through the reconciliation of past Iraq portrayed through the uncle’s memory and present Iraq as seen in the eyes of the niece. This reconciliation aims to solidify the meaning of national identity that transcends religion and time and confirms the Iraqiness of all Iraqis. Though the novel ends graphically and tragically with the death of its main protagonist, Yousef, the trauma of his loss allows for the transformation of his niece and ends with the confirmation that Iraq is for all Iraqis irrespective of ethno-religious identity. [ABSTRACT FROM AUTHOR]

This paper explores the relationship between memory, history and identity from the perspective of Ricœur‟s philosophical hermeneutics, in which the concept of memory integrates those of history and forgetting. This approach puts in a new light the ancient truth of the hypostasis of memory as a condition for the recognition of identity both at the individual and collective level and at the same time the contexts of human creativity. Thanks to memory, the imagination can bring faces, events, facts from the past back into the present and, in this sense, memory as a “province of the imagination” beyond its temporalizing function could play a heuristic role, namely to discover the use of memory not only by ideology as an expression of the social imaginary, intended to legitimize power, but also to recognize and build an authentic identity, to understand human being. [ABSTRACT FROM AUTHOR]

The thesis of W. Benjamin on the concept of History echoes as almost an anti-postmodernism manifesto: the approach to the past is structured through images, not narratives. Indeed, in the tension between history (the universal past rooted in agreed replicable methodologies for a human archetype) and memory (the ego or sociocentric past rooted in individual experiences), egos design narratives and try to fit evidence into them, whereas the historical past is constantly reconstructed through zooming in details that generate new images. The image in history, as the mental image in individuals, is not a layer of arrival, nor even a point of departure, but a vehicle of transformation of how space is perceived (as Kant argued) or constructed (following Bachelard), the phenomenological process of performing tasks in space being the driver of such construction (as argued by Ingold). The design of history through images is, in this sense, the process of social construction of cultural landscapes, i.e., of the poetics of space. This is a process that encompasses four mechanisms of change: identification (based on senses and, primarily, on touch and sound), adaptation (the Kantian perception of the space as the scenario of human aptitude), transformation (the poetics of the making, creating new landscapes by changing their core images) and method (namely the dialectics of tangible and intangible dimensions). The tension between image and narrative is, ultimately, the root of the tension between ego/socio-centered memories and the anthropic-rational history. In such a process, history builds from memories, by overcoming their narratives and preserving basic units of information that may be recombined, to create novel images of the past, but also of the present and the future. In such a process, history considers memory oblivion and an indicator of reliability or not of those memories. In this paper we discuss how material culture is the backbone of mental images and why it has a much more plastic and transformative nature than intangible narratives, which are expressions of the consolidation (and conservation) of understandings. The keyword in such a memory process is oblivion: images allow us to forget fossil narratives and to move into new utopias. [ABSTRACT FROM AUTHOR]

As in community settings, intangible narrative evidence may exist within a family's living memory, awaiting a trigger to inspire investigation. During the 2016 SFLS annual conference in Dublin, marking the 1916 Easter Rising, such a catalyst appeared to the author. A replica newspaper, recounting the 'Burning of Cork' revived his interest in a story told to him by his father. On the night of 11 December 1920, horrendous destruction and violence occurred in Cork city, Ireland. In retaliation for attacks against Crown Forces by Irish Volunteers, supporting Irish Independence, the Government sent in an irregular military force commonly known as the 'Black and Tans'. This paper explores the conflict as experienced and remembered by the author's family in both oral and written testimonies. Comparison with newspaper reports and other sources attempts to unravel the various threads in a complex story. [ABSTRACT FROM AUTHOR]

Indirectly addressing the authorship question in the anonymous The Reign of King Edward III, this paper focuses on a signature of Shakespeare's treatment of English history, a concern with the political implications of remembering and forgetting. Multiple ironies attend the unstable relation of remembering and forgetting in the play. The opening of Edward III gives the impression that England's forgetful enemies, Scotland and France, require schooling by a nation that appears to own memory. However, initial appearances prove to be deceiving, as three early Shakespearean scenes prominently feature lapses of English memory, causing the early alignment of England with faithful memory to slip away. There are traces of a distinctly Shakespearean approach to history—one that interrogates the mixed effects of historical memory itself and the values commonly assigned to remembering and forgetting—in The Reign of King Edward III. A consideration of the scenes that share the practice of Shakespeare's histories—of not simply reviving the past but also reflecting on the motivations and conflicts associated with recollection—accords well with previous attributions of those scenes to Shakespeare on stylistic grounds. [ABSTRACT FROM AUTHOR]

It strikes one as quite an amazing coincidence that the year India’s famed blockbuster Lagaan turned twenty, the Indian cricket team re-created a historic Lagaan-moment against Australia at Brisbane. Ashutosh Gowarikar’s Lagaan (2001) which won the Audience Award at the 2001 Locarno Film Festival and had the rare distinction of being nominated in the Best Foreign Film Category for the 2001 Academy Awards, explored a subject that straightaway won over the Indian heart – a heroic anti-colonial revolt enacted on the terrain of that much- loved Indian sport, cricket. Weaving fact with fiction, myth with history, and picturesque song-dance sequences with a gripping theme, the movie went on to become not just a commercial blockbuster but also garnered sincere academic and critical praise from several quarters that appreciated the film for its postcolonial activism, its subaltern politics, and its attempt at re-discovering a forgotten history in the chapter of Indian cricket. What, however, makes for Lagaan’s lasting value in the cultural history of Hindi cinema is, one feels, its attempt at recasting the national past through an inclusive model of nationalism. Set in the princely state of Awadh in the year 1893, the sub-title of the film ‘Once upon a time in India’, clearly indicates a narrative desire to script in public memory an ideal, even if perhaps imagined, pre-colonial past where irrational social divisions were humanely and non-violently conquered and an inclusive community and national culture shaped through mutual need and respect. The proposed paper shall attempt to explore this angle of Lagaan’s engagement with inclusive nationalism, its successes, failures and its unforgettable impact on Indian society and cinema. [ABSTRACT FROM AUTHOR]

Consumer research has focused on market-mediated efforts to memorialize the past, but this overshadows the issues that arise when consumers, as nonprofessionals, make the past consumable. Consumer-driven memorialization is defined as consumer engagement with traces of the past in memoryscapes of low market-mediation that creates a complex interplay of remembering and forgetting. Based on an ethnographic study of urban exploration, we theorize that consumer-driven memorialization comprises two practices of tracing and trace-making. Tracing involves consumer attempts to recover traces of the past, while trace-making involves consumer attempts to create traces for the future. Consumers enact multiple roles during consumer-driven memorialization: explorers experience the past, archaeologists materialize the past, artists aestheticize the past, and historians narrate the past. The theorization of consumer-driven memorialization offers three contributions. First, the dimensions of consumer-driven memorialization broaden understanding of what constitutes a consumable past in contexts of low market-mediation. Second, we explain how the ideological and material challenges that emerge in consumer-driven memorialization generate a complex interplay between remembering and forgetting. Third, we shed light on how consumer-driven memorialization is inscribed in space. [ABSTRACT FROM AUTHOR]

This paper is the product of the research "Promotion of protective environments, based on pedagogical practices and artistic and cultural creation, as a social appropriation of knowledge for interpretation and reconciliation around the social phenomena related to the armed conflict in Iracá (Meta)," which emerged from the necessity to reconstruct the past by means of the participation of the victims of the armed conflict in the Meta region of Colombia, this from an inclusive and plural perspective that contributes to the visibility of the diverse affectations of the victims, within the context of the conflict. To that end, this project aims to highlight the narratives of the armed conflict victims in which the experiences of the entire community converge, involving the elderly, adults, youth, minors, and an indigenous community. Thus, this article commences with a contextualization of the armed conflict in the San Martin region, progresses with a conceptual foundation on memory and history, and ends with the results obtained after the intervention in the community. [ABSTRACT FROM AUTHOR]

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This review offers analytic information on the interdisciplinary conference held in Bulgaria (with participants from Northern Macedonia, Russia, Germany, India) on the socialist period as perceived through the fi ve senses. All the papers took into account relevant binary oppositions such as “self — others”, “socialist — capitalist”, “holiday — everyday life”, “home — offi ce space”, and “Bulgarian — Turkish”. There were many papers dedicated the sense of taste, and these discussed socialist-period tastes, culinary practices, and typical and non-typical menus at home and outside the home. The visual medium was approached using the contexts of fashion, interiors, and souvenir production, with or without an ideological aura. Discussions confi rmed the main thesis of the organisers that in ethnology the role of refl ection and personal experience is growing, and that obtaining analytic memoirs of those scholars who lived in the socialist period is also gaining importance, so that generations of younger scholars are provided with the context of the socialist epoch.

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Historical events, however terrible, are not in and of themselves traumatic. For a trauma to emerge at the level of a collectivity, ‘social crises must become cultural crises’ (Alexander et al., 2004, p. 10). For an historical event to become a cultural trauma, it must be socially mediated and represented, a trauma narrative must be constructed. Consequently, there is always a gap between the traumatogenic event and its representation, this gap creates the space for the ‘trauma process’. Unlike trauma theory, therefore, cultural trauma places the weight of analysis not on the historical event as such but on the narrative struggle that constitutes and sustains that event as a cultural trauma. Thus, we have a series of interrelated terms: history, trauma, narrative and memory, that pivot around an absent presence, a traumatogenic event. It is the nature of that traumatogenic event that I explore in this paper. First, I will set out my theoretical differences from trauma theory and then attempt to square the circle between a non-pathological conception of trauma in cultural trauma theory and my own commitment to psychoanalysis. In conclusion I will put forward a number of claims that I hope will be consistent with cultural trauma theory. That is to say, the traumatogenic event is not given but is retrospectively constructed and in this sense is ahistorical and non-narrative. [ABSTRACT FROM AUTHOR]

This paper analyzes the writing of the military Francisco Isidoro Resquín, whose trajectory in the Paraguayan Army was marked by several positions. "La Guerra del Paraguay contra La Triple Alianza", the book describing his memoirs and different events in which he participated, is the object and one of the sources discussed to understand the explanatory and justifying formulation of General Resquín's action after the end of the war. Considering the specialized bibliography on the war and other sources, it is possible to perceive Resquín's role in the conflict, particularly in the organization of the punishments against war prisoners. The book aimed at safeguarding the author's image, while it tried to justify the conflict. Francisco Resquín was a complex and misallocated character among the so-called Paraguayan heroes in the War against the Triple Alliance. Thus, his oeuvre, including its internal structure, became an important record to understand the internal relations inside the Paraguayan forces. [ABSTRACT FROM AUTHOR]

This introductory paper outlines the conceptual framework and case studies comprising the research project Disrupted Histories, Recovered Pasts. Our project proposes a cross-disciplinary analysis and cross-case synthesis of experience and memory in post-conflict and postcolonial contexts. In the post- conflict and colonial contexts of our cases, we see “disruption” as present in three senses: as the productive ways in which multiple experiences retrieved through oral histories may refract and revise historical analysis; as the happening histories of objectively disruptive events break the flow of individual and collective experience; and as a strategy for cross-disciplinary research to disrupt and democratise conventional understanding by drawing attention to occluded experiences. We also articulate “recovery” as polysemic: invoking retrieval of past experiences and the possibility for enhanced well-being through voicing memories that may have been suppressed, as well as attending to mismatches with public discourses about displaced groups and individual experience. Following an introduction to our conceptual approach, we summarise our case-research. We have conducted oral history and archival research in multiple contexts, from disciplinary bases in anthropology and history. Our aim has been to interrogate relationships between oral histories and amateur histories with more formal written archives and historiography in a series of disrupted settings: evictions in colonial and apartheid west Namibia (SULLIVAN); memories and historical interpretations of the Egyptian Jewish diaspora (BAUSSANT); the evacuation of children in Second World War France (DODD); recent maritime exodus of migrants from Africa (OTELE); and rupture from a hegemonic imperial-nostalgic narrative in Portugal (DOS SANTOS). Our case research is complemented in the concluding paper of this Special Issue by systematic cross-case engagement, synthesis and theorisation of our case-study research.

This introductory paper outlines the conceptual framework and case studies comprising the research project Disrupted Histories, Recovered Pasts. Our project proposes a cross-disciplinary analysis and cross-case synthesis of experience and memory in post-conflict and postcolonial contexts. In the post- conflict and colonial contexts of our cases, we see “disruption” as present in three senses: as the productive ways in which multiple experiences retrieved through oral histories may refract and revise historical analysis; as the happening histories of objectively disruptive events break the flow of individual and collective experience; and as a strategy for cross-disciplinary research to disrupt and democratise conventional understanding by drawing attention to occluded experiences. We also articulate “recovery” as polysemic: invoking retrieval of past experiences and the possibility for enhanced well-being through voicing memories that may have been suppressed, as well as attending to mismatches with public discourses about displaced groups and individual experience. Following an introduction to our conceptual approach, we summarise our case-research. We have conducted oral history and archival research in multiple contexts, from disciplinary bases in anthropology and history. Our aim has been to interrogate relationships between oral histories and amateur histories with more formal written archives and historiography in a series of disrupted settings: evictions in colonial and apartheid west Namibia (SULLIVAN); memories and historical interpretations of the Egyptian Jewish diaspora (BAUSSANT); the evacuation of children in Second World War France (DODD); recent maritime exodus of migrants from Africa (OTELE); and rupture from a hegemonic imperial-nostalgic narrative in Portugal (DOS SANTOS). Our case research is complemented in the concluding paper of this Special Issue by systematic cross-case engagement, synthesis and theorisation of our case-study research.

Since the work of Semon was rediscovered by Schacter in 1978, there has been a renewed interest is searching for the "engram" as the locus of memory in the brain and Hebb's cell assembly has been equated with Semon's engram. There have been many theories of memory involving some concept of synaptic change, culminating in the "Hebb Synapse" theory in 1949. However, Hebb said that the idea that any two cells or systems of cells that are repeatedly active at the same time will tend to become "associated," was not his idea, but an old one. In this manuscript we give an overview of some of the theories of the neural basis of learning and memory before Hebb and describe the synaptic theory of William McDougall, which appears to have been an idea ahead of its time; so far ahead of its time that it was completely ignored by his contemporaries. We conclude by examining some critiques of McDougall's theory of inhibition and with a short discussion on the fate of neuroscientists whose ideas were neglected when first presented but were accepted as important many decades later. [ABSTRACT FROM AUTHOR]

This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how these plaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group's street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities. [ABSTRACT FROM AUTHOR]

The First World War exerted a great influence on the course of twentieth-century history and transformed people's perception of the world. The collapse of empires and the shipwreck of illusions found their reflection in various spheres of culture and art, including music. Scholars are familiar with how the trauma of war was reflected in the history of the works, lives, and collaboration of two outstanding composers of the twentieth century, Igor Stravinsky and Maurice Ravel. In this article, we explore how, from different perspectives, these composers expressed in music their perception of the war trauma as part of the wider common cultural and social tragedy known as "the collapse of empires". At the center of our discussion is musical text as a reflection of social phenomena, and how these two composers presented the upheavals that took place in society and their spiritual reaction to them with the help of their musical expressivity. The article focuses on war themes and their reflection in the music of the first half of the twentieth century. [ABSTRACT FROM AUTHOR]

Despite the ongoing impacts worldwide of institutionalisation on people with intellectual disability, the public knows little about large-scale disability institutions that have been the focus during the late 20th century of deinstitutionalisation efforts (historic institutions) and the people who lived there. An interdisciplinary team of researchers (including those with intellectual disability) undertook research with people with intellectual disability to explore what and how the public should learn and remember historic institutions. The project found that people with intellectual disability support community engagement with histories and lived experiences of historic institutions, in order to repair past wrongs, end contemporary practices of institutionalisation, segregation, and exclusion, and realise transformative equality and inclusion. People with intellectual disability should lead these initiatives, with appropriate support in recognising the very live memories and traumas associated with them. This article provides a model of inclusive research for turning the harms of past institutionalisation into an educational and reparative experience. [ABSTRACT FROM AUTHOR]

The text argues, from the point of view of historical experiences, changes and continuities in the ways of life of an Amazonian fishing community residents, Forty of Mocooca, from the emergence of new forms of mobility with the construction of a road that provoked the need of other contact zones, social practices, cultural exchanges, changing traditions in local daily life. The research was carried out in the Quarenta doMocooca region, a village in the municipality of Maracanã, in the Paraense Salgado Zone, between 2018 and 2021, chronologically defined between 1960-2020. Theoretically, it was based on Social History and Cultural Studies and methodologically, it followed guidelines from documental criticism and Oral History to dialogue with collective and individual memories in circuits of oral tradition as constituents of the ways of being, thinking and acting of the inhabitants of this region. In this paper, the thesis defended is that changes perceived in the study of the past compared to the present, on the one hand, they change webs of relationships woven for decades between residents and the environment with the contact of new historical agents, information, cultural products, especially, at the turn of the 20th to the 21st century, on the other hand, even in unequal conditions, the social agents of the place re-elaborate the new technological and cultural apparatuses and continue in defense of their living traditions, fighting daily for what they believe to be the path of local development. To explain this thesis, the research is based on analyzes of the backgroundand experiences of these people, as well as on the study of small and large local events, some individual, others collective, in an attempt to understand the history of this community that presents itself in a network of relationships and decisions of a mobile life between the countryside and the city, between the past and the present, between nature and urbanization, between fishing and a type of tourism, which we call “alternative” and “informal”, which has been forcing the emergence of some globalized practices observed from the arrival of new needs and local consumption habits.

Since 1945, official Catholic discourse around nuclear weapons has condemned their existence on the one hand and supported them as deterrents on the other. This paper argues the largely abstracted discourse on nuclear weapons within the World Church has been disrupted by voices of Urakami in Nagasaki since at least 1981, as the Vatican has re-considered both memory and Catholic treatments of the bombing of this city since the end of World War II. On 9 August 1945, a plutonium A-bomb, nicknamed 'Fat Man', was detonated by the United States over the northern suburb of Nagasaki known as Urakami. Approximately 8500 Catholics were killed by the deployment of the bomb in this place that was once known as the Rome of the East. Many years on, two popes visited Nagasaki, the first in 1981 and the second in 2019. Throughout the period from John Paul II's initial visit to Pope Francis's visit in 2019, the Catholic Church's official stance on nuclear weapons evolved significantly. Pope John Paul II's contribution to the involvement in peace discourses of Catholics who had suffered the bombing attack in Nagasaki has been noted by scholars previously, but we should not assume influence in 1981 was unidirectional. Drawing upon interviews conducted in the Catholic community in Nagasaki between 2014 and 2019, and by reference to the two papal visits, this article re-evaluates the ongoing potentialities and concomitant weaknesses of religious discourse. Such discourses continue to exert an influence on international relations in the enduring atomic age. [ABSTRACT FROM AUTHOR]

As a literature evolves it presents critical and historical challenges about how it is formed, what produces it, how it is received and what makes it ‘a literature.’ A literary history is invested with the responsibility of finding answers to such questions, organizing the emergence chronologically and establishing the manifestation of broad connecting compulsions, influences and themes that distinguish it. What would constitute a history for Northeast Anglophone literature that offers an overview and a map of the field, and captures all of those elements that have gone into its making? Would it help to integrate the oral, the traditional cultural, the historical and political and reveal conditions and compulsions of production and reception? This essay reflects on these issues through three sections: one, on general concerns with literary history writing and implications of such ideas for Northeast Anglophone literary history/ies; a second, on the three tropes of the title and their occurrence in the literature as a simultaneity of the written and the oral that this literary history must capture; and a third, on a frame for approaching the region as a precondition for writing such a literary history. [ABSTRACT FROM AUTHOR]

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Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This autoethnographic video essay is based on The Shadow of Others, a performance presented in the seven-storey Sir Duncan Rice Library in Aberdeen (Scotland) in May 2017. Focusing on the phenomenology of the dancing body, the performance unfolded the complexity and richness of gestures. Departing from the assumption that a soloist moves with their shadows (gestures from previous dances), I argue for the plural shaping every singular gesture. Combining dance and anthropology, this video essay revisits the notions of archive, repertoire and anarchive, and proposes a reflection on the intermingling of time, gestures, memory, knowledge and history. Claiming that the (dancing) body is a living archive, I use the metaphor of shadow as a linkage between bodies and movements. Drawing on performance studies and contemporary philosophy, the work emphasizes the way artistic creation generates knowledge, asking the value of embodied practices. Link to video essay: https://www.youtube.com/watch?v=YgCTOWmarko. The video essay is also available as an online resource for the digital edition of this article (Online Resource 1: 'The body as a living archive'). [ABSTRACT FROM AUTHOR]

Copyright of Direito e Práxis is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this research paper is to critically investigate the invasive nature of memory in W. G. Sebald’s The Emigrants. Sebald chooses four Jews who experienced the terror of time characterized by the sinister anti-Semitism under Hitler. Dr Henry Selwyn, Paul Bereyter, Ambrose Adelwarth and Max Ferber escaped the Nazi terror but fell, unfortunately, prey to the reconstructive power of memory. Memory recreates the past. By recreating the past, it represences it. The represencing of the past for the aforementioned characters was to remind them of the events which disfigured their sense of self, belongingness, family, etc. It was difficult for them to live in the post-holocaust period in a different country as emigrants under the unending reconfiguring power of memory. The growing sense of fear and isolation as Jewish emigrants was further exacerbated by the tormenting reincarnation of the vicious past in the domain of memory. This recurrent reconfiguration of the most terrible historical reality, which embodied complete obliteration of Jewish existence, invited derangement to the sensitive survivors. This repetitive resurrection of the events of the past in the territory of memory is called invasive because it precipitated acute restlessness among the survivors and engaged them painfully with the past. Much of their growing isolation and their suicidal tendencies emanated from the unending experience of pain occasioned by the restorative re-emergence of the past occurring in the field of memory.

ABSTRACT Some of the earliest conceptual milestones in memory research with relevance to the physical means through which its preservation is made possible, namely, the ‘memory trace’ or ‘engram’, are analysed in this study. The fundamental notions were laid down by Platon and Aristoteles. While Platon regarded memory as an imprint on a ‘wax block’ in the immortal soul, Aristoteles considered memory a modification in the mortal soul, imprinted like a cast at birth time. The Roman orators were interested in mnemotechnics, and Cicero is credited for the term ‘trace’ (vestigium) used for the first time. Much later, Descartes described the (memory) ‘trace’ (trace), linking psychic, and physical processes. Finally, Semon posited innovative concepts and terms centralized by the ‘engram’ (Engramm). The search of this important question, which begun about two and a half millennia ago, continues in focus, as can be seen through the growing rate of published papers on the subject.

While the history and practices of collecting have received considerable attention over the past few decades, the notion of erasure - of the deleting, removal or destruction of material, whether deliberate or otherwise - has remained largely in the shadows. We challenge this neglect by placing erasure centre stage and treating it as a productive phenomenon in its own right. Indeed, we suggest that it forms a significant precondition for the very possibility of memory and collections. This article draws upon a recent turn to consider questions of forgetting, ignorance and ending to lay out the grounds for analysing the various roles played by erasure in making and unmaking our world. Inspired by Paul Connerton's discussion of different types of forgetting, we present five distinct forms of erasure that we regard as principally important: (i) repressive erasure, (ii) protective erasure, (iii) operative erasure, (iv) amending erasure and (v) calamitous and neglectful erasure. In each case, we discuss the characteristic logic of the erasure at hand and provide examples of the historical and media-specific forms in which it has been enacted. Our aim in doing so is to provide future researchers with some of the analytical tools and perspectives necessary to engage in further erasure studies. For if we are interested in making sense of the shifting and complex world we inhabit, then the interdisciplinary study of the compelling yet elusive phenomenon of erasure is an excellent place to start. [ABSTRACT FROM AUTHOR]

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