This book is about the lives of refugee women in Britain and France. Who are they? Where do they come from? What happens to them when they arrive, while they wait for a decision on their claim for asylum, and after the decision, whether positive or negative? The book shows how laws and processes designed to meet the needs of men fleeing political persecution often fail to protect women from persecution in their home countries and fail to meet their needs during and after the decision-making process. It portrays refugee women as resilient, resourceful and potentially active participants in British and French social, political and cultural life. The book exposes the obstacles that make active participation difficult.

Open Access (free)
Author: Janet Wolff

This book can be described as an 'oblique memoir'. The central underlying and repeated themes of the book are exile and displacement; lives (and deaths) during the Third Reich; mother-daughter and sibling relationships; the generational transmission of trauma and experience; transatlantic reflections; and the struggle for creative expression. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War; cultural life in Rochester, New York, in the 1920s; the social and personal meanings of colour(s). It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen; the liberal British campaigner and MP of the 1940s, Eleanor Rathbone; reflections on the lives and images of spinsters. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. The book also explains how forced exile persists through generations through a family history. It showcases the differences between English and American cultures. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations.

Open Access (free)
Editor: Paul Grainge

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

Open Access (free)
Memory and popular film
Paul Grainge

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. While, in representational terms, the past has been figured in variations of the history film, the costume drama and the heritage picture from early cinema to the present, rituals of remembrance have come to surround the culture of film. Whether in the

in Memory and popular film
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Negotiating the national popular
Lucy Mazdon

5 French television: negotiating the national popular Lucy Mazdon A Introduction s has been argued in previous chapters, discourses relating to what constitutes popular culture in France have experienced a sweeping paradigm shift in the last fifty or so years. This has been witnessed across a range of cultural practices and philosophical and political debates. This period of change and negotiation coincides to a great extent with the development and gradual entrenchment of television in French cultural life, from its early days as a little-watched curiosity

in Imagining the popular in contemporary French culture
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Art in the first industrial society
James Moore

1 Introduction: art in the first industrial society The 1857 Manchester Art Treasures Exhibition was a landmark in British cultural life.1 It marked the emergence of the industrialist and merchant as a key force in the patronage of British art in the same way that the 1832 Reform Act heralded the arrival of that same social class in British politics.2 The exhibition was organised by a largely middle-class network of patrons, and many of the most celebrated exhibits came from the homes of those who had made their wealth through trade, finance and industrial

in High culture and tall chimneys
Andrew Hadfield

’s involvement in the Irish legal system and suggest how it may have influenced his later conception of Irish law in A view; assess the nature of Dublin civic and cultural life and how it would have appeared in the 1580s; and chart Spenser’s involvement in a 10 John Speed, The theatre of the Empire of Great Britaine (London, 1612), map facing p.  142. For more on these contexts, see Andrew Hadfield, Edmund Spenser: A life (Oxford, 2012), passim. 11 Maley, Spenser chronology, p. 50. 12 Fovre letters and certaine sonnets, especially touching Robert Greene and other parties by

in Dublin
Abstract only
Shivdeep Grewal

discerned in the spheres of personal and cultural life. The second section deals with the sluice gate model. Against his critics, Habermas has argued that a demos, as generally understood, is not a precondition for EU democracy. Other conceptions of democracy are considered in the third section. The siege model The lifeworld, according to Habermas, has three structural components: ‘culture’, ‘society’ and ‘personality’ (Habermas, 1995 : 153). In speaking of culture, Habermas refers back to the phenomenological approaches

in Habermas and European integration
Philip McEvansoneya

–1932), his second wife Augusta Persse, one of the most notable figures in the Irish literary scene of the late nineteenth and early twentieth centuries. However, Sir William (he gained his title during the visit of the Prince of Wales to Ceylon in 1875) was an important politician and an influential figure, albeit usually behind the scenes, in British and Irish cultural life. Gregory grew up in high political circles so it is not surprising that he entered politics in 1842, sitting at Westminster as a Conservative member for

in Curating empire
John Baxendale

underlying, though often well-hidden, spirituality. 3047 Priestleys England 5/4/07 Bruddersford and beyond 12:31 Page 39 39 ‘All one lot of folk’ For Priestley socialism and dissent were part and parcel of a rich, democratic and self-sufficient cultural life, which is powerfully recreated in his novel Bright Day (1946).23 The novel’s narrator, Gregory Dawson, is in the 1940s a successful Hollywood scriptwriter. A familiar face and a piece of music in a hotel dining-room bring flooding back memories of his youth in ‘Bruddersford’, and a fragile Edwardian world doomed

in Priestley’s England