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.
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.
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.
As a technology able to picture and
embody the temporality of the past, cinema has become central to the
mediation of memory in modern culturallife. 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
negotiating the national popular
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 culturallife, from its early days as a little-watched curiosity
Introduction: art in the first industrial society
The 1857 Manchester Art Treasures Exhibition was a landmark in British culturallife.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
’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 culturallife 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
discerned in the spheres of personal and culturallife.
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
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 culturallife.
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
though often well-hidden, spirituality.
3047 Priestleys England
Bruddersford and beyond
‘All one lot of folk’
For Priestley socialism and dissent were part and parcel of a rich, democratic and self-sufficient culturallife, 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