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fitting emblem for gothic writing. It develops the genre’s tropes of haunted writing in the latency of the image and the automation of its inscription, an invisible presence that endures as the trace of a prior writing. Nearly twenty years before Freud, Joseph Mortimer Granville had opened his discussion of photographic memory with the suggestion that
4 National history and collective memory The nationalisation of culture In 1815, following the second, definitive defeat of Napoleon, the most urgent requirement was the rebuilding of the political fabric of Europe, which had been torn asunder by the revolutionary and Bonapartist whirlwinds that had swept through it. In the fond belief that the turmoil of the previous twenty-five years had been no more than a passing madness, Tsar Alexander I and the Austrian Chancellor Metternich presided over a coalition of absolute monarchs that aimed to restore the ancien
In Brighton, Leeds, Plymouth and Manchester, many people felt so passionate and enthusiastic about the queer past that they gave up their time to get involved in community history projects and also agreed to be interviewed for Queer Beyond London and take part in our workshops to tell the stories of their city. 1 The people whose memories were recorded offer a huge range of visions and perceptions of the past: the kaleidoscope of ‘experiences, opinions, historical anecdotes and arcane facts, the regrets and
social behaviours, gender roles, cultural values and economic activities they encountered around them, as well as by their own memory and past experience. Or, to put it another way, in light of their diasporic roots and routes. While some emigrants may have viewed emigration as a conscious break with a past that, having offered them little, retained scant purchase on their allegiance, for others, colonial events and
On 16 November 1612 Thomas Potts, a court clerk at that summer’s Lancashire witch trials, sat in his lodgings in London’s Chancery Lane putting the finishing, and slightly desperate, touches to the enormous work The Wonderfull Discoverie of Witches , which he had been put in charge of compiling and editing. Potts said that he had ‘taken paines’ over the account of the Lancashire witches, reconstructing from memory their activities and their trials, at the behest of their judges and ‘for the benefit of my Countrie’ (a3). He was to say
Institutional memory and contemporary history Chapter 10 Institutional memory and contemporary history in the House of Commons, 1547–1640 Paul Seaward T wo memories of the early modern House of Commons. The first is in 1601: at the end of his entry for the last day of the last parliament of Elizabeth I, just after he noted the subdued and cool response to the queen as she emerged from the House of Lords, the Elizabethan parliamentary diarist Hayward Townshend wrote that over the seats in the parliament house are certain holes, some two inches square, in
activated in her characters and mediated by the family home to probe relations between memory, race, and nation. I argue that the centrality of domesticated feeling in this novel is politicised, not least in the relation between national memory, community memory, and the specific memories of the Boughton family. While readers might call the Gilead trilogy historical fiction, this essay also sees Home as a work of cultural memory; a remediation of the mid-twentieth century in the American Midwest. 1 Memories at once held
115 3 Medievalist double consciousness and the production of difference: Medieval bards, cultural memory and nationalist fantasy Thomas Gray’s 1757 poem ‘The Bard’ sits at the centre of a complex network of medievalist cultural memory. Gray was an accomplished scholar and historian as well as poet, familiar with many works of medieval as well as Classical literature, and his poem was first published at his good friend Horace Walpole’s press at Strawberry Hill. An image of Walpole’s astonishing medievalist building is printed on its title page (see Figure 3
This chapter is comprised of annotated and translated source texts on the memory of Joan of Arc.
18 1 Ruins and wonders: The poetics of cultural memory in and of early medieval England In the beginning there is ruin. Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins1 When is the now of a medieval text? How might a text be situated in, or free from, historical process? These are the questions posed by Benjamin Thorpe in the preface to his edition of Cædmon’s Metrical Paraphrase of Parts of the Holy Scriptures, in Anglo- Saxon, a foundational work of Anglo-Saxon studies first published in 1832. Although he justified his edition by