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Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström

, questioning, challenging, affirming, or revisioning what it means to live in the USA. In a similar fashion, orphan figures challenge, but also reaffirm ideas about American literature. One central idea advanced throughout Making Home has been that literary genres carry cultural memory and historically specific meanings. The genres we investigate are strongly connected to American nationhood, some because they are unique to this national context, like the captivity tale and the slave narrative; others because they have gained distinctive national inflections. All, however

in Making home
Tim William Machan

British liberal elite took a particular interest in Norway as an emblem of constitutional nationalism and progressivism. 1 So, too, were other views of the Middle Ages and its relevance to the present, ones that do not depend on Nordic mediation; Anglo-Celtic dynamics, for example, produced their own powerful cultural memory. Likewise, New Historicism, the sympathetic identification of post-Conquest trauma, or emphases on an early modern, specifically English self-fashioning – all of these modern critical approaches offer alternative ways of remembering the past. By

in Northern memories and the English Middle Ages
The Shahyad Arya-Mehr Tower
Ali Mozaffari and Nigel Westbrook

imposition of a homogenous Iranian identity, which was ‘official and unchanging’. Both this construction of identity through memory, as well as the disciplinary memory consisting of techniques, orders, and the like, partake of ‘cultural memory’.10 Memory intervenes in social flux through cultural formations and social performances. This intervention culminates in ‘figures of history’, which engender dissonance between the mutability of historical processes and the attempt to utilize monuments like the Shahyad to project a symbolic fixity.11 According to Grigor, power thus

Michael O’Sullivan

search for a critical vocabulary that can describe the cultural memory loss or malaise afflicting a people struggling to come to terms with cultural cues that ask them to embrace a dramatic discursive shift from ‘Celtic Twilight to Celtic Tiger’ and, in turn, from a Tiger economy to a Troika economy. Gibbons reminds us that ‘cultural memory is part of a society’s continuing dialogue with itself’. However, Ireland’s dialogue with itself over the last two decades has struggled to reconcile the multiple accounts of Irishness being disseminated at this time of cultural and

in The humanities and the Irish university
Orphans learn and remember in African American novels
Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström

/memories), rememory can facilitate the reconstitution of family and community, the reclamation of a common past. We see rememory as operating on a thematic and narrative level to transform traumatic memory into a ‘property of consciousness with the heightened imaginative power sufficient to the ethnic historical novel’s claim to retell the story of the past’ (Rody, 2001: 28). In A Mercy, as well as in Butler’s and Gomez’s novels, rememory accesses and processes the cultural memory carried by foundational texts and literary traditions. Genres and literary devices have semantic

in Making home
Joshua Davies

provide 162 162 Visions and ruins another example of the continuing cultural energy of the Middle Ages, but also demonstrate how engaging with medieval culture has the potential to radically disrupt contemporary social practices. This chapter traces a network of cultural memory around and across Price’s and Landy’s work and their medieval sources. It begins with an examination of representations of untimely bodies in a group of medieval monuments, the very monuments that stand at the centre of Price’s film, and explores the structures of time these works create

in Visions and ruins
Housing and collective identity before 1979
Ali Mozaffari and Nigel Westbrook

revealed through evidence from the field. Through various devices, from planning, to layouts and use of material, the design actively constructs memories – transforming the lived and experienced memory of the lifeworld into cultural memory, as lieux de mémoire.1 From this perspective, the complex emplaces collective memories through material and spatial engagement with the architectural environment. Repeated bodily Heritage in the everyday 83 3.1  Shushtar Now, view across rooftops (2015). routines arguably create habit memories, which contribute to the

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Molly Flynn

’s ‘memory disorder’ (Ferretti, 2003) have proliferated, resulting in diagnoses ranging 12 Introduction from nostalgic to ironic (Boym, 2002a; Yurchak, 2008), from compulsive to melancholic (Etkind, 2009, 2013). In this study, I do not pretend to diagnose the state of cultural memory in contemporary Russia, but I do rely on an assessment shared by the scholars referenced above, a belief that the issue of the past and how it ought to be handled in the present is a source of ongoing tension and underlying conflict in post-perestroika Russian culture. As discussed above

in Witness onstage
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Of 1688 and reinventing the past
Rachel Willie

-halcyon days and some of the gestures to allegorical images of Charles and Henrietta Maria that were discussed in Chapter 4. As time progressed and the regicide became a cultural memory, the circumstances relating to the civil wars and their aftermath would be reimagined. Constructions of Charles were not the only images of monarchy to undergo a sentimental rebranding in the later seventeenth century. John Banks’s plays about Elizabeth refigure her from the good militant queen Bess (who had previously been applauded by many roundheads) to depict her as a weak and feeble

in Staging the revolution
Kate Newell

M ARY S HELLEY ’ S F RANKENSTEIN (1818) occupies a rare position in our cultural memory: most of us ‘know’ it regardless of whether or not we have read it. This circumstance owes much to James Whale’s 1931 film adaptation, which is often credited with establishing the definitive visual lexicon for Frankenstein . 1 Of course, Whale’s is not the first visual adaption of the novel. Prior to 1931, Shelley’s novel was adapted numerous times for the stage – e.g., Richard Brinsley Peake’s Presumption (1823) and

in Adapting Frankenstein