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Euro-American orphans, gender, genre, and cultural memory
Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström

3 Literary kinships: Euro-American orphans, gender, genre, and cultural memory The writers I most consciously respond to are the nineteenth-century American writers like Melville, Dickinson, Poe, and Twain. (Robinson, 1992: 157) Though literary orphanhood has carried different meanings in different historical periods, it has often worked as a prism, refracting and reflecting ideas about national identity and belonging. The canonization of orphan tales and the popularity of genres featuring literal or metaphorical orphans, particularly in the nineteenth century

in Making home
Sarah Wright

embodies not just the trace of the body on screen, but those elements which are not traced indexically but which nevertheless form part of cultural memory.6 Laura Mulvey’s notion of a ‘delayed cinema’ from her book Death, 24x a second, observes how being able to use the pause and rewind functions using today’s technologies puts us in control of our subject and allows us to get close to our icons. Time, for Mulvey, is often viewed in terms of its ‘archivability’ (Mulvey, 2005). The body’s filmic traces, film’s contingency and the paradoxes of the capturing of the

in The child in Spanish cinema
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Performing memory in twenty-first-century Russia
Molly Flynn

2 History on trial Performing memory in twenty-first-century Russia As the fault lines of Eastern European cultural memory continue to lead to violence and conflict in Russia and other former Soviet countries it has become increasingly vital for artists and academics to do the difficult work of reprocessing the Socialist past in the present. The significance of Soviet history remains of crucial consequence throughout the region, a fact evidenced most starkly by the military conflict in Eastern Ukraine, a war that has claimed close to 13,000 lives since fighting

in Witness onstage
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Death, grief and bereavement in wartime Britain
Lucy Noakes

struggle, writing the history of death, grief and bereavement into the wider history of Britain’s Second World War. Death and the ‘people’s war’ This book places death, and the grief that so often accompanied it, at the heart of our understanding of Britain’s Second World War. The dominant cultural memory of the British experience of this war that circulates in Britain in the second decade of the twenty-first century has little space for representations of death, of grief or of bereavement. It is, as all memories must be, a partial story of the war years – one that

in Dying for the nation
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Room for more: the future for Maturin research
Christina Morin

Bertram and Melmoth the wanderer , Maturin’s works never enjoyed a wide public or critical reception. Renowned for his strange peculiarities, Maturin was laughed at as a kind of madman and his literary works largely dismissed as the bizarre product of a diseased mind. Cultural memory and Irish Romantic literary criticism from the time of Maturin’s death to the present day have followed suit, effecting a posthumous suppression

in Charles Robert Maturin and the haunting of Irish Romantic fiction
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The missing legacy of Britain’s reserved occupations
Juliette Pattinson, Arthur McIvor, and Linsey Robb

, Remembering War, p. 7. 44 Peniston-​Bird, ‘War and Peace in the Cloakroom’; Corinna M. Peniston-​ Bird, ‘The People’s War in Personal Testimony and Bronze:  Sorority and the Memorial to the Women of World War II’, in Lucy Noakes and Juliette Pattinson (eds.), British Cultural Memory and the Second World War in Britain (London: Bloomsbury, 2013). 45 Mary Abbott, a wartime FANY who was invited to the unveiling, was rather dismissive:  ‘Don’t think much of it . . . It’s a bit strange. All the greatcoats. Hmmm’. Mary Abbott, interviewed by Juliette Pattinson, 5 December 2006

in Men in reserve
Texts, intertexts, and contexts
Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström

literary and social history and elaborating especially on literature as cultural memory. We trace the central position of orphans in nineteenth-century American literary history as it has been constructed in the twentieth century; orphans have played major roles in a dominant white male tradition in criticism, but also in gendered and ethnic challenges to that tradition. Previous critical discussion of orphans typically focuses on children’s literature, or on nineteenth-century literature, but nevertheless offers useful insights into the historically shifting roles and

in Making home
Joshua Davies

of Edward I  but, as I  will explore, the crosses were deeply political and more committed to reimagining than remembering the past. They fashioned an idealised image of Eleanor that stands distinct from the historical record but defined cultural memories of her. Over time, however, what were once memorials to an individual woman came to signify a more general sense of loss, melancholy and nostalgia that spoke to particular times, places and experiences. Barry’s Charing Cross is one of a number of nineteenth-​and twentieth-​century monuments that self

in Visions and ruins
The revolt of Cairo and Revolutionary violence
Joseph Clarke

uniform.13 It explores how these soldiers calibrated the violence they were called on to commit and how they rationalized it at its worst, in order to understand the experiences that made men like Pierre Boyer cruel. Far from being unambiguously modern in either conception or conduct, the argument here is that these men’s experience of violence represents instead a complex interplay between the politics of the Revolutionary present and the cultural memory of past conflicts. One place to begin teasing out that complexity is, with due deference to Said, Cairo and what one

in A global history of early modern violence
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Testimony, memoir and the work of reconciliation
Gillian Whitlock

resource in the construction of indigenous cultural memory. It is apparent also, however, that these testimonies impact on non-indigenous cultural and individual memory in ways that are deeply troubling, producing ‘glimpses of a past that no longer seems to be ours’. 2 Reconciliation places emphasis on individual experiences and expressions of apology and responsibility for the past, and it includes symbolic gestures such as memorials and walks, extending to broader social and community processes that pursue reparation and

in Rethinking settler colonialism