Search results

You are looking at 91 - 100 of 440 items for :

  • "cultural memory" x
  • Refine by access: All content x
Clear All
Abstract only
Susan Royal

print from 1530 onwards, this was piecemeal. 10 Foxe’s text gathered many of these works and formed them into a cohesive narrative, functioning in the same way as the memory of the human mind. As such, the lives, deaths, and beliefs of the lollards are preserved in this book, and as the book became a semi-official history of the Church of England, so too the lollards became part of that history. Foxe’s Acts and Monuments had become a key to cultural memory, 11 precisely what Foxe had intended when writing it; after all, the book’s title proclaimed not just the

in Lollards in the English Reformation
Kathryn Walls

’s anger at his “Leman.” What we must know is, whose interpretation?’ (38). 31 Lars-Håkan Svensson, ‘Imitation and Cultural Memory in Spenser’s The Faerie Queene’, in Writing and Religion in England, 1558–1689: Studies in Community-Making and Cultural Memory, ed. Roger D. Sell and Andrew R. Johnson (Farnham: Ashgate, 2009), 73–90, 81. Svensson also cites the Pervigilium Veneris ll. 60–61 (p. 84). He does not mention the analogue in the Eclogues (VII.60): Jupiter et laeto descendit plurimus imbre (‘and mightiest Jupiter will descend in joyful rain’). Upton, quoting this

in God’s only daughter
Kate Newell

M ARY S HELLEY ’ S F RANKENSTEIN (1818) occupies a rare position in our cultural memory: most of us ‘know’ it regardless of whether or not we have read it. This circumstance owes much to James Whale’s 1931 film adaptation, which is often credited with establishing the definitive visual lexicon for Frankenstein . 1 Of course, Whale’s is not the first visual adaption of the novel. Prior to 1931, Shelley’s novel was adapted numerous times for the stage – e.g., Richard Brinsley Peake’s Presumption (1823) and

in Adapting Frankenstein
Locating the globalgothic
Justin D. Edwards

reason. Like the gothic, this diasporic narrative turns away from any recognisable master-trajectory or coherent sense of imaginary origin. In Soucouyant oral narratives and folklore are distant and hardly understood relations to a lost past that are rewritten in a new context. By reframing imagined localised stories and cultural memories, Chariandy reinvokes the past and, in so doing

in Globalgothic
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González and Susan Lord

temporalities formed by cultural memory and practices (… Y tenemos sabor and Crónica/We’ve Got Taste , 1967), as well as by gender difference ( Mi aporte/My Contribution , 1972). This temporality has its spatial extension, for in all of Sara Gómez’s films, windows and thresholds or doorways speak volumes – they are spaces of emergence. They are interior frames that function to mediate or create a density of

in Hispanic and Lusophone women filmmakers
Bergur Þorgeirsson

States at the end of the century, he consciously appealed to these same Anglo-Saxon intellectual traditions, not only framing his publications as a ‘Norrœna Library’ (i.e. ‘Norse library’) but also calling them ‘Anglo-Saxon Classics’. He even went so far (perhaps peculiarly) as to define Eddic poetry and the Vinland sagas as ‘The Anglo-Saxon Chronicles’. Nineteenth-century interest in Leif Eiriksson thus in part reflected an awareness of what the Vinland sagas (as well as Snorri) had to offer to what might be called an Anglo-Saxon cultural memory. As such, it fed

in From Iceland to the Americas
Claire Jowitt

York: Norton, 1999 ), pp. 347–63. 23 For further details see Mark Netzloff, ‘Sir Francis Drake’s ghost: piracy, cultural memory, and spectral nationhood’, in Claire Jowitt (ed.), Pirates? The Politics of Plunder 1550–1650 (Basingstoke: Palgrave, 2007 ), pp

in A knight’s legacy
Abstract only
Caroline Sturdy Colls and Kevin Simon Colls

camps fit into the wider Nazi camp system across Europe? What was known about the events of the occupation in its aftermath and why were the perpetrators not brought to justice? How have these reactions influenced the landscape and cultural memory? Therefore, the book stands apart from previous works in that it offers a novel interdisciplinary view that is necessarily a record of the experiences and identities of those who suffered and died on Alderney, a historical retelling of the events of the occupation, a

in 'Adolf Island'
Michael Mannin

have emerged and, in order to appreciate the nature of these challenges, an examination of historic Europeanisation as well as observations of national, sub-national, ethnic and cultural memories are salient to an understanding of the present reality of the region. Thus, what Schimmelfennig (2001) characterises as ‘thin Europeanisation’ – that is, the pragmatic acceptance of the constituent rules of the EU – is no longer sufficient to sustain Brussels’s impact on the political and economic choices within its new neighbourhood. Without an established set of ‘thick EU

in The European Union and its eastern neighbourhood
Abstract only
Margarita Aragon

argue, Mexican and Chicanx people retained a cultural memory, in folklore, song, and oral history of Ranger violence and lynching. 13 The rupture in the mainstream U.S. imagination between the violence of the 1910s and that of the late twentieth century reflects an underlying discourse of Mexican foreignness that denies and distorts the ongoing Mexican presence in the borderlands. In 1942, the Brownsville Herald Sunday edition reflected on the city's “birthpains” and ultimate triumph from “raw frontier country” to a

in A savage song