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Tim William Machan

, ‘are part of cultural memory because they are the form though which cultural memory is handed down and brought to present life.’ 63 And that is exactly what British travel to Scandinavia was: a ritual that handed down cultural memory. To that end, and perhaps ironically, at nearly the same moment that many British travellers were embracing Scandinavia with such enthusiasm, many Scandinavians themselves were looking westward, emigrating to North America at (as the nineteenth century advanced) steadily increasing rates. At least one million individuals left Norway

in Northern memories and the English Middle Ages
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The parallel world of photography
Ernst Rebel

images. From an art historical perspective, photography can be regarded as the most instructive model of technical synthesis. It draws together several features which – partially stretching back into the mythic beginnings of our cultural memory − point towards the realisation of the dream of the self-replicating image. It is here that the connections with our actual topic lie

in Perspectives on contemporary printmaking
Screen and digital labour as resistance
Photini Vrikki, Sarita Malik, and Aditi Jaganathan

practice. And when you think of the idea that the power of cinema especially around African filmmakers and African history, … and African independence, the move to independence from the colonial experience, the whole idea that people should be African on the African continent and also here in the UK, that Black people should be defining their own history, their own cultural memory and that they should know themselves, brings us right back to a Fanonian idea about self-consciousness, about consciousness, and how you need that, you need to know yourself, you need to know

in Creativity and resistance in a hostile world
Bryce Lease

foreclose investigations into the past, or to produce an absolute and final historical account, but rather as part of an acute need to accept the existence of the cultural memory of particular, traumatic events. Collusion and guilt Allusions in Nasza klasa to Marshal Piłsudski (1867–1935), a leader who opposed anti-Semitism and judged citizens not on their ethnicity Rethinking Polish/Jewish relations 151 but on their loyalty to the state, allowed for the elaboration of a political program that adapted, rather than vilified, internal difference. Both the Depression and

in After ’89
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Ian Wedde

and in its mission statements that the work of ‘designing the future’ goes well beyond conserving cultural memory for consumption by future audiences. The project’s multidisciplinary goals are expressed in activist terms; memory is given explicit agency in a future imagined as potentially dystopian. Current global crises and transformations (from climate change to mass migration) highlight the need to develop more sustainable and resilient future making practices, and encourage different areas of interest to pursue common goals and learn from one another.4 ‘The

in Curatopia
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John Carter Wood

the courtroom and in the press. 2 Harry Pace’s mysterious death was linked in court testimony and press reporting to some of the cases Orwell listed, and the public was fascinated by his ‘tragic’ widow, even if her case has since significantly faded from British cultural memory. It seems that the most-remembered trials have tended to involve convictions rather than acquittals, even if the lives and stories behind the latter are no less interesting than those behind the former. Were one, then, to imagine a ‘perfect acquittal’ – from Wood, The most remarkable woman

in ‘The most remarkable woman in England’
Open Access (free)
David M. Turner and Daniel Blackie

200 DISABILITY IN THE INDUSTRIAL REVOLUTION CONCLUSION The Industrial Revolution produced injury, illness and disablement on a large scale and nowhere was this more visible than in coalmining. While the loss of lives in large-scale mining disasters is still commemorated today, and forms part of the cultural memory of coalmining in areas where pits have long since closed down, there are no memorials to the many thousands who were disabled in the industry.1 Yet the experiences of those whose bones were broken, whose bodies were crushed, ‘lamed’ or maimed, or

in Disability in the Industrial Revolution
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Sharon Lubkemann Allen

/e poemy) and Acmeism (in Mandelstam’s and Akhmatova’s work especially, in the latter case informing ‘the Dostoevskian power with which she uses her city’s concrete reality to convey the grotesque banality of the evil that some of her contemporaries tried to justify in the name of great historical goals’37). Symbolists such as Bely begin to complicate eccentric dynamics of cultural memory. Bely would claim that his Petersburg lay within an uncharted ‘fourth dimension’: his would be a Petersburg that did not yet exist on any map.38 His Petersburg prospekts stretch towards

in EccentriCities
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Accession, union, nationhood
Christopher Ivic

, staged its intra- and inter-island warfare and formed its multinational writing communities. Centred chronologically by the years 1603–25, this book explores Britain and its writing subjects within the context of the unprecedented triple monarchy of the Scottish King James VI and I, whose accession to the English throne in 1603 and desire for Anglo-Scottish or British union prompted his subjects to reflect on questions of cultural memory, intermingling, nationhood, national sovereignty, neighbourliness and political subjectivity/citizenship in new and exciting ways

in The subject of Britain, 1603–25
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The rise of the Angry Young Men
Anna Ariadne Knight

attitudes to young people. The film examiners held to the ‘hypodermic needle effect’ of glamorised screen rebellion and used the protection of the X certificate to wield control over viewing pleasures. No other country banned The Wild One, consequently the film’s British history is particularly significant. While James Dean is central to American cultural memory of 1950s rebellion, Marlon Brando’s anti-hero status persisted in Britain. When Brando died in 2004, two images proliferated in the British press to emblematise the actor’s successes and his own turbulent life

in Screening the Hollywood rebels in 1950s Britain