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Memory and popular film
Paul Grainge

memory as inherently oppositional, Sturken develops a concept of ‘cultural memory’ that is more varied and ambiguous, that lays stress on memory’s production through images, sites, objects and representations, but that neither inherently celebrates nor castigates manifestations of memory in the cultural terrain. Adapting her argument to events in American history and culture, she writes that

in Memory and popular film
Christopher Lloyd

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

in Marilynne Robinson
Tim William Machan

. For the memories I talk about are variously descended from the medieval period, inspired by it, and constitutive of the modern as well as the medieval. Even the adjective ‘English’ conveys some capaciousness, defining the Middle Ages as they took place in England, as they were imagined to have taken place there, and as they relate to England’s larger post-medieval concerns. All this means that the northern memories I discuss are less individual than collective – broadly shared cultural memories that, in their dynamics, fashion a present in the process of recalling

in Northern memories and the English Middle Ages
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Harbour, Melbourne’, 2002. Client: Lendlease Group. Reference: Carter, Dark Writing, 173–202 . ‘A New Body, a creative template for Yagan Square, Perth’, 2014. Client: Metropolitan Redevelopment Authority. Reference: Carter, Places Made After Their Stories, 341–363 . ‘Scarborough Edge, a creative template for the Scarborough Redevelopment Area’, 2015. Client: Metropolitan Redevelopment Authority. Reference: Paul Carter, ‘Shadowing passage: cultural memory as movement form’, in N. Duxbury, W.F. Garrett-Petts and A

in Translations, an autoethnography
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Becky Alexis-Martin

originated from arsenious acid in brewing sugar produced by Bostock & Co in Liverpool. Only cheap ‘four penny’ beers brewed with sugar were affected. More expensive beers brewed with malt and hops were less contaminated, disproportionately affecting Manchester’s working-class community. However, there was also a universal source, as malts processed over coal fires absorbed arsenic, which was then manufactured into all types of beer. The cultural memory of arsenic toxicity is still evident in Manchester. Rather than toxic beer, research at the University of Manchester now

in Manchester
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Eamon Maher and Eugene O’Brien

taken, there was so much activity that the morning got away from us. We had lunch booked in the hotel for two o’clock, and then we had organized appointments with friends and a party, followed by dinner. Something had to give, so we skipped the ceremony and went straight to the hotel! As already said, this story may not be factually true, but it has a truth at a deeper level. It captures the heady excitement of a time when there was significant money to spend in Ireland, and when the old authority of Church, State and a vague social and cultural memory of poverty and

in From prosperity to austerity
Confessional conflict and Elizabethan romances
Christina Wald

has shown that ‘abandoned [Catholic] symbols or practices do not simply disappear from the mental landscape’, but can attain a new cultural meaning in secular contexts and in particular in poetry.9 According to Mazzola, ‘Renaissance literature might therefore be approached in terms of a sacred history of lost ideas, and read in terms of sacred signs which were downplayed or even disowned.’10 Such arguments are based on a concept of cultural memory that includes repressed and censored cultural practices. If we understand culture as a palimpsest of memory layers

in Forms of faith
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Sara Callahan

administrative and historical functions of modern archives: the former are associated with active archives maintained and used for administrative purposes at present, whereas the latter consist of records saved for the use of current or future historians. 9 The modern view of history can in fact be mapped on to shifting uses and understandings of archives. Cultural memory scholar Aleida Assmann has argued that historical scholarship evolved alongside the modern notion of progress and a break between the past and the present

in Art + Archive
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Lindsay J. Proudfoot and Dianne P. Hall

ambiguity of these ethnic imprints and the sometimes muted expressions of cultural memory associated with them have constituted a recurrent theme throughout this book. On the ships that carried the Scots, Irish and others from their known past to their imagined future, the cramped social terrain reified boundaries of all kinds, but for cabin passengers a least, rarely in an explicitly ethnicised way. Only

in Imperial spaces
Hollywood codes and the site of memory in the contemporary film musical
Pietsie Feenstra

globally operative modes of address such as the Hollywood musical, it has not typically succeeded in travelling abroad. Two factors that may explain this fact are the use of the Spanish language and the particular relationship of music to Spain’s own cultural memory. Even if a musical partakes of a set of transnational generic practices, it also functions by way of the songs and music that are closely related

in Contemporary Spanish cinema and genre