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British and German war memorials after 1918
Adrian Barlow

v 14 v Mixing memory and desire: British and German war memorials after 1918 Adrian Barlow The Armistice, bringing the fighting of the First World War to an end, allowed barely a pause before the next phase began: that of memorialising the events and the victims of the past four years. To memorialise is, according to the Oxford English Dictionary, ‘to preserve the memory of; to be or supply a memorial of; to commemorate’. Memorialising is a way of giving significance to memory. It can be understood as the deliberate act of determining why someone or something

in The silent morning
Mervyn Busteed

7 • Fenians, martyrs and memories Though the 1848 rising had been a military failure, the episode had revived the violent, underground separatist tradition in Ireland and the diaspora. This was to be taken up by subsequent generations, to run in parallel, and interact with, conventional electoral politics. From the late 1850s to the early 1870s the Fenian movement would retain a fair amount of support in Ireland and Britain, especially after the Manchester Martyrs incident of 1867, which was to become the most enduring public commemoration in the nationalist

in The Irish in Manchester c. 1750–1921
Fearghus Roulston

relationship between punk and sectarianism, one that did not chime perfectly with the hegemonic cultural memory of the scene as discussed in Chapter 2 and throughout the rest of the book. Although the fact of a mutual interest in punk helped to dissuade any feeling of intimidation, it did not make the possibility of intimidation, fractious conversation or disagreement disappear. Graeme's analysis here complicates the too-easy evocation of punk's role in ‘breaking all that down’, while still maintaining that it did do so, to an extent

in Belfast punk and the Troubles
Heiner Zimmermann

R&G 19_Tonra 01 11/10/2013 17:29 Page 192 19 Memories of paintings in Howard Barker’s theatre Heiner Zimmermann Le musée imaginaire, the title of André Malraux’s essay on the psychology of the fine arts, denotes the body of works that fashion the sensibility of an epoch.1 In the following I shall speculate on Howard Barker’s musée imaginaire, or more precisely on some of his memories of paintings that had a part in the making of his plays and on the ways in which they inform his dramatic discourse. In Pablo Picasso’s Poèmes et Lithographies the editor remarks

in Howard Barker’s Art of Theatre
Career Girls
Tony Whitehead

‘All these memories’: Career Girls 8 Still keeping us on our toes, Leigh followed the ensemble playing and emotional sweep of Secrets and Lies with a carefully crafted miniature. Career Girls focuses on just two young women, Hannah (Katrin Cartlidge) and Annie (Lynda Steadman), who used to be flatmates when they were students in the mid-80s and, having not seen each other for six years, spend a weekend together at Hannah’s London home. It turns out to be a weekend full of coincidences and unexpected blasts from the past. Leigh makes no attempt to obscure these

in Mike Leigh
Demobilisation and the return to civvy street
Juliette Pattinson

Hargreaves, who had been operational in Yugoslavia before being captured, also experienced long-term physical and psychological problems as a result of his imprisonment, which impacted upon his ability to lead a normal life. In an interview with the Imperial War Museum, he asserted: I still suffer … this is something of course that has affected me for the rest of my life … It took a tremendous amount of readjustment … A lot of very, very unpleasant memories. I found I was intolerant, very bad-tempered, very, very hard to live with. I was married in 1945 but it was

in Behind Enemy Lines
Abstract only
John Harris

2 Thought and memory John Harris What is bioethics for? Indeed what is ethics for? Readers of this volume will themselves have formed their own ideas about what bioethics is in terms of the questions it addresses and its methods of inquiry. But, apart from its intrinsic interest, what makes bioethics worth doing, what makes it worthy of anyone’s attention? What I hope this introductory chapter will do is give some sense of what I have been trying to do in my life in bioethics, and of some of the influences and events that have shaped its course. In short, I

in From reason to practice in bioethics
David Hesse

9 Who’s like us? Scotland as a site of memory The previous chapters have examined the many ways in which adult Europeans celebrate and impersonate the Scots. It has emerged that many of them hope that, via Scotland, they can reconnect with their own lost past. This chapter examines the reasons for the Scottish dreamscape’s striking resonance in northern and western Europe. Why do the continental heritage enthusiasts direct their playful energy towards the Scottish dreamscape, and not to any other pseudo-­ historical fantasy? Why Scotland? One reason, certainly

in Warrior dreams
Richard Huzzey
John McAleer

the idea of Britain’s fight against the nefarious activities of ‘piratical’ slave traders on the high seas. But these objects also illustrate the ways in which the memory of suppression activity has been channelled in particular directions or sublimated altogether. The material evidence of this episode is either almost entirely missing (the dust of HMS Black Joke ) or is so

in The suppression of the Atlantic slave trade
Lindsay J. Proudfoot
Dianne P. Hall

else’s self, the places they created might be contested by those who felt their identity or sense of belonging in Australia to be challenged by them. Consequently, the narratives of place constructed by Irish and Scottish religious memory and practice were, like all others, multi-vocal. Despite their formative role in the replication of ethnic identity, they did not sustain single, essentialist meanings. They were

in Imperial spaces