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Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
Glenn Jellenik

memory of the novel, a memory that can derive from actual reading, or, as is more likely with a classic of literature, a generally circulated cultural memory. The adaptation consumes this memory, aiming to efface it with the presence of its own images’ (3). The first half of Ellis’s concept is wonderfully productive: literature, whether read or not, adapts into elements of collective cultural memory. But then Ellis veers into an odd and objectionable turn back to the bizarre idea that our ‘cultural memory’ has room for only one version of a given story. The adaptation

in Adapting Frankenstein
Aesthetic and intercultural learning and the (re)construction of identity
David Bell

tastes of Japan’s Edo and Meiji period (1868–1912) to sustain those sensibilities of earlier eras for new generations (Dogramaci, 2019 : 33). Such public art ‘monuments’ remember the events of the past, and simultaneously affirm the identities of today’s Nikkei through the cultural memories of their parents and forbears. The Japanese American Historical Plaza is located in Portland, in a narrow common squeezed between the old Nihonmachi district and the Williamette River. The Plaza is designed in the form of an expansive Japanese-style garden. It was opened in

in Art and migration
The invisibility of border-related trauma narratives in the Finnish–Russian borderlands
Tuulikki Kurki

narratives been able to become visible and acknowledged publicly? How could the various narrative strategies complement each other in representing border-related traumatic experiences? How could literary trauma narratives contribute to the construction of cultural memory that is based on traumatic experiences? This chapter argues that, until the late twentieth century, the writers employed mostly a documentary style of narrating and eye-witnessing narratives when writing about traumatic experiences. Literature criticism also appreciated the documentary

in Border images, border narratives
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

‘moments’ throughout history, this chapter asks what these ‘moments’ mean, and why they acquire such force in popular culture and cultural memory. Among these considerations are the issue of national production advertised as quintessentially British in order to be sold abroad and the contradictions between British tradition, the forward-looking drive of the fashion industry and live broadcasting. Also in

in The British monarchy on screen
Open Access (free)
Christina Morin

overlaps between gothic fictions and apparently distinct forms such as the historical novel and the national tale, and positioning the literary gothic not as the disreputable, popular output of hack writers unworthy of cultural memory but as an invaluable body of widely read literature vital to the transnational development of nineteenth-century literature and culture. The aim of this book has been to outline a new model of gothic literary production reflective of these realities without falling prey either to the trap of unnecessarily limiting

in The gothic novel in Ireland, c. 1760–1829
Open Access (free)
Ontologies of connection, reconstruction of memory
Jeremy C.A. Smith

Pacific. The Pacific’s absence from contemporary civilisational analysis continues in a scenario in which critical scholarship on the Pacific has grown.Through exchanges between historians, artists, novelists, sociologists, activists and archaeologists from the region and counterparts from elsewhere (known as ‘outlanders’), debates about post-​colonial conditions have produced new insights, helped to foster cultural memory and islander identities and languages, generated different methods and shaped new practices (Borofsky, 2000). Furthermore, the expansion of knowledge

in Debating civilisations
Abstract only
Germany in American post-war International Relations
Felix Rösch

environment. In their recent delineation of literate ethics, Hartmut Behr and Xander Kirke emphasise the ability to contextualise knowledge in order to avoid misunderstandings or misrepresentations. 52 In other words, contextuality is a first step towards meaningful translations that cannot be accomplished by a simple transliteration or metaphrase. 53 Contextuality requires the translator to have a critical understanding about the cultural memory that contributed to the establishment of knowledge in the original context. This kind of memory is situated in the everyday

in Prussians, Nazis and Peaceniks
Peter J. Verovšek

tradition, in collective existence as well as private life. It is less the product of facts firmly anchored in memory than of a convergence in memory of accumulated and frequently unconscious data.’ 21 Authentic experiences are thus always defined within communal frameworks or ‘experience rooted in tradition.’ 22 Despite its importance, memory is a singularly unreliable faculty. The fragility of recall highlights the distinction between what Aleida Assmann calls ‘communicative and cultural memory’ ( kommunikatives und kulturelles Gedächtnis ). 23 Both forms are

in Memory and the future of Europe
Abstract only

imagination of the latter away from an Auschwitz-centric model and act as ‘a measure of restoration of what has been lost and erased’, both on Alderney and in terms of wider narratives. 6 We have also aimed to demonstrate how archaeological methods, interdisciplinary approaches and considerations of material culture can facilitate a greater understanding of events, individual and collective experiences, and the formation of cultural memory; thus, we hope to encourage similar investigations at other sites of

in 'Adolf Island'
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‘Of magic look and meaning’: themes concerning the cultural chess-player
John Sharples

have not adapted as quickly and are nothing like as monolithic or stable in any era. Regardless, to talk of a singular cultural ‘image’ is distorting and restrictive, particularly concerning a figure based partly within the imagined 8 A cultural history of chess-players and fictive realm. What the chess-player connotes depends not on its ‘relation to the real but to other signifiers’, on its relation to the individual but ‘also from [its] multiple references to a wider culture’.37 The stickiness of popular cultural memory carries the accumulated burden of the

in A cultural history of chess-players