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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
From global economics to domestic anxiety in contemporary art practice
Tracy Fahey

exacerbates existing postcolonial anxieties around housing and security in Ireland to create these haunted estates, sites of anxiety that recall older Irish cultural memories of dispossession and ruin. To quote Fintan O’Toole: ‘When the past is “now”, the artistic genre that cannot be escaped is the gothic. It is the form of ghosts, revenants, the undead – embodiments of the past

in Neoliberal Gothic
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Maria M. Delgado

selected come from the opening decade of the twenty-first century, lies an examination of the ways in which established auteurs (Almodóvar, Garci, Saura) and younger generations of filmmakers (Cesc Gay, Alejandro Amenábar, Jorge Sánchez-Cabezudo) have harnessed cinematic language towards a commentary on the nation-state and the politics of historical and cultural memory. In the age of globalisation, it is perhaps not surprising

in Spanish cinema 1973–2010
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

, memorialised past is increasingly dependent upon, and recycled within, audiovisual representations such as those found in popular film. My aim is to consider how 1990s Hollywood cinema has activated a selective, revised sense of the past, and how memory approaches to film history are able to analyse this. In particular, I will stress how popular cultural memory is drawn upon as an aesthetic and commercial strategy of Hollywood

in Memory and popular film
Tim William Machan

some of the same tropes that I have traced in this book and that Tolkien himself used. However much the Nazis’ notions of world dominance differed from the aspirations of every English writer I have considered, both groups shared the strategy of incorporating a Nordic past in their cultural memories. What I have called a parallel descent from Germanic prehistory thus has unsettling epistemic implications. If memory is conditioned not only by what is being remembered but by who is doing the remembering, as Ricœur and Assmann maintain, then the process itself – the

in Northern memories and the English Middle Ages
Marcia Landy

elements and emergent cultural memories of medievalism as legend and folklore. ‘The crystals of time’: decomposing the past Angelo Restivo has characterised Italian cinema and society as in a state of ‘vital crisis … connected, first, to the process of political and economic organisation that reconstructed the nation into the Italy we know today; and, secondly, to the larger and

in Medieval film
Ronit Lentin

records or testimony. History is the remembered past to which we no longer have an ‘organic’ relation, while collective memory is the active past that forms our identities. Collective memory is often equated with official memory, popular memory, cultural memory. However Halbwachs’s main point, Olick and Robbins argue, is that although collective Memory sites, postmemory, co-memory 25 memory does seem to take on a life of its own, it is only individuals who remember, even though they do much of this remembering together. Olick and Robbins refer to ‘social memory

in Co-memory and melancholia
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The Empire Marketing Board, 1926–1933
Scott Anthony

wartime appeals for public goodwill. The wartime popularity of ‘Soldiers’ Christmas Pudding’ perhaps created a residual cultural memory that explains the EMB’s later efforts to promote the ‘King’s Empire Christmas Pudding’. In 1928, for example, the EMB invited press photographers to capture Leo Amery’s wife cutting a seven-foot-high pudding baked at the Olympia Cookery Exhibition. The EMB built upon this stunt by releasing posters, recipes and a film, One Family, which attempted to popularise the same theme. 5 Although the EMB’s shopping weeks did not initiate the

in Public relations and the making of modern Britain
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Hood’s tied trope
Sara Lodge

immediately and incontinently to everything around them and everything within them  .  .  .  There is an overwhelming tendency, in such states, to word-play and puns.13 Incontinent punning, like swearing, can also be a feature of Tourette’s syndrome and of manic states. Punning is thus, crucially, associated with social disinhibition. It carries both positive cultural memories of infant play, the pleasures of orality prior to communicative responsibility, and negative adult connotations of unstable, potentially anti-social verbal excess. The fact that, in extreme form

in Thomas Hood and nineteenth-century poetry
Dead men writing
Sharon Lubkemann Allen

In the fictions of Fedor Mikhailovich Dostoevsky and Joaquim Maria Machado de Assis frequently follow eccentrics who approach others with nervous smiles and satirical smirks. Dostoevsky's and Machado de Assis's fictions are populated by eccentric characters who, like Akaky Akakievich Bashmachkin, often mumble and gesture to themselves on the street. Dostoevsky's and Machado de Assis's eccentrics provoke that jostling in the street. Comparatively reconsidering dialogues in Dostoevsky's and Machado de Assis's narratives, this chapter argues against claims concerning dissembling and dehumanizing, disassembled and dead-ended underground narrative. Malcolm Jones notes in his study of Dostoevsky's Novel of Discord that the city and consciousness comprise a 'dynamic idea' that is continually being 'displaced'. Dostoevsky's and Machado de Assis's underground texts become central subtexts in Russian and Brazilian cultural memory, underpinning or serving as point of departure for continually displaced dissent.

in EccentriCities