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"The Holocaust and Australia: Refugees, Rejection, and Memory" by Paul Bartrop is a book that explores Australia's relationship to the Holocaust. The author discusses Australian governmental policy, the influence of Britain, and the public's view of Jewry during the war years. While the book provides valuable insights, the reviewer notes that it is largely a revised edition of Bartrop's previous work from 1994, with some new material added. The reviewer suggests that the book could have delved deeper into the coverage of the Holocaust by other Australian newspapers and analyzed the attitudes of different states and territories. The final chapters cover the post-1945 period but are considered brief and lacking in depth. The reviewer also questions the book's omission of the Helen Demidenko scandal and the fabrication of Holocaust-related testimony in other Australian works, and raises important questions about Australia's refugee acceptance policies in the face of genocidal horror. Overall, the book is praised for its readability and as a valuable resource for students. [Extracted from the article]

Sample this: a hypothetical menu book of fish recipes from both sides of the Bengal border; a barbed wire running through the Ichhamati, showing the river's indifference to political borders; a sandstone and fabric pillar standing as a metaphoric monument of unity between religions, commemorating Gandhi's peace march in Noakhali in 1946; an accordion book opening out, unfolding narratives immortalised in Ritwik Ghatak's films. These are some of the artworks that were showcased at The Legacy of Loss: Perspectives on the Partition of Bengal, an Art Exhibition that the Kolkata Partition Museum Trust (KPMT) organised in collaboration with the Kolkata Centre for Creativity (KCC), to commemorate the 74th anniversary of India's Partition. The Exhibition ran from 17 to 29 August 2021 at KCC, and was supported by Tata Steel and the Emami Foundation. Conceptualised and conceived by the late art historian, Dr. Rajasri Mukhopadhyay, and curated by KCC, this was an unique Exhibition on the Bengal Partition by five contemporary artists – Paula Sengupta, Vinayak Bhattacharya, Debasish Mukherjee, Amritah Sen and Dilip Mitra – each with a distinct style and perspective on the theme. As Rajasri Mukhopadhyay put it, Partition provided 'the psychological topography for this Exhibition. The pictorial narratives ... [found here] are embedded in the geographical sites of ancestry, the physical border, the trajectories of nostalgia in refugee colonies, and stories of inherited memories.' This paper will delve into the uniqueness of this Exhibition and argue for the importance of the Arts in preserving cultural memory, something that KPMT strongly believes in. [ABSTRACT FROM AUTHOR]

The article is an editorial from the journal Landscape Research, written by the new Editor-in-Chief, Hannes Palang. Palang acknowledges the challenges faced in recent years, including the COVID-19 pandemic and security crises, and discusses their impact on landscapes and landscape research. The journal has been successful in attracting submissions and readership from around the world, with a focus on interdisciplinary research. Palang announces the winners of the journal's Best Paper Prize and Best Paper by an Early Career Researcher for 2023. Looking ahead, Palang mentions changes in the editorship and plans for special issues and essays on the topic of 'landscapes of care'. The journal is also strengthening its connection with research activities funded by the Landscape Research Group. [Extracted from the article]

During the COVID-19 lockdown, cultural heritage institutions responded promptly to this difficult time by launching a series of digital collections of traces of this historical moment. Due to the limitations of the lockdown, such collections have generally focused on the intimate dimension of the pandemic, representing represented the outside world (streets, shops, cultural venues, etc.) as a site of emptiness. This paper examines the 'Windows in lockdown' initiative, which aimed to collect photographs of the messages displayed in physical locations during the lockdown period. The collection was carried out through an action research approach based on a participatory platform and social media. A collection of 1,224 photos taken in France between March and May 2020 was built. This paper analyses this collection through a social semiotics approach. The analysis highlights the role played by the outside world as a generator of an alternative collective memory during COVID-19. [ABSTRACT FROM AUTHOR]

The 2011 Egyptian uprising, which ended President Husni Mubarak’s thirty-year rule, initially painted him as a pharaoh. However, more than a decade since his overthrow, Mubarak’s image is variedly invoked and embodied across Egypt. Schools, hospitals, streets, and squares proudly bear his name. Social media groups glorify his memory, while locals openly express longing for his era. Unlike other deposed Arab leaders during the ‘Arab Spring’, Mubarak received a state military funeral, elevating him to a revered patriot and hero. This paper explores the constructions of Mubarak’s image in Egyptian collective memory, at the official and vernacular levels. The paper’s core argument emphasizes that during the transition period, revolutionary forces shaped a negative public memory of Mubarak. Yet in recent years, the resurgence of authoritarianism has marginalized these forces, allowing pro-Mubarak factions to advance a positive depiction, idealizing his legacy, and fostering feelings of regret. The post-June 2013 official narrative regarding Mubarak delicately manoeuvres between these competing narratives. It exalts his military role in the 1973 war while undermining his political heritage, thereby preventing any single narrative from dominating and thwarting influential factions in civil society from challenging the regime’s resilience with a political alternative. [ABSTRACT FROM AUTHOR]

This paper investigates how a mnemonic community of a senior and junior generation of frontline managers, respectively with first-hand and second-hand memories of the organizational past, enact a shared historical transition narrative as part of their everyday practice of change management in a Scandinavian telecommunications company. The study shows the importance of actors' individual trajectories and generational memberships for the understanding of collective memory in organizations. Based on the construct narrative habitus, the paper offers, as its primary theoretical contribution, a practice-theoretical framework for the study of mnemonic socialization and cross-generational dynamics of organizational mnemonic communities. MAD statement This article aims to Make A Difference (MAD) by providing an analysis of junior and senior managers' use of a historical transition narrative during temporally prolonged organizational change. The article offers new perspectives on the use of historical narratives and collective memory to manage change by showing that junior and senior generations of managers are habitually dispositioned to enact shared narratives in different ways. While extant research has shown collective memory to be an effective change management tool, our analysis draws attention to cross–generational dynamics as a particularly influential yet overlooked factor in shaping managerial enactments of shared historical narratives. [ABSTRACT FROM AUTHOR]

In 2017 an exhibition of over 100 craft pieces created by Chilean political prisoners held in concentration camps during the military dictatorship, was launched in the UK along with an accompanying short film, 'Crafting Resistance: the Art of Chilean Political Prisoners'. Drawing on these arts-based interventions, the paper reflects on the use of craft objects both as a symbol of political resistance and a means of initiating difficult conversations around forced political exile, trauma and mental health while creating space for people to 'tell their stories'. Indeed, the paper contends that projects such as Crafting Resistance can 'care for knowledge' through the curation of craftwork while simultaneously creating space for counter memories. The analysis also highlights the changing relationship between the craft makers and the craftwork, argueing that placing the craft objects within the exhibition assigns a new role to the objects as they became part of a display of collective memories and potentially contribute towards collective healing. Finally, the paper advocates for greater recognition of the historical use of craft as a political expression, which to date has been relatively neglected in debates around the use of arts-based research and methods. [ABSTRACT FROM AUTHOR]

Today, the marriage between cartographic language and narrative strategies has reshaped maps with the generative capability to represent the intangible historical characters and events involved in social memories following a narrative manner. Despite these advances, rather few efforts have been spared to unveil the potential of tourism maps in a narrative form. This paper seeks to rectify the gaps in this line of research by unfolding the underlying theories and cartographic design guidelines for making narrative tourism maps. In particular, a narrative cartographic design approach is demonstrated and evidenced to be practical using the case of 'Red Boat Spirit Map', a tourism map designed for Jiaxing City, one of the most well-known destinations of China's red tourism. It is believed that the theoretical instrument and cartographic design guidelines presented in our paper are particularly relevant and can be easily adapted to more general research of narrative maps. [ABSTRACT FROM AUTHOR]

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Inspired by Said's concept of exile, Camus' 1947 novel The Plague, and testimonies from our students, this paper explores the striking similarities between experiences of exile and the COVID-19 pandemic. Both exile and the pandemic are seen as intrusive forces causing rupture and discontinuity in one's life at the physical, psychological and socio-cultural levels. This paper demonstrates that for many Palestinians – including us and our students – the pandemic manifests what Freud termed 'repetition compulsion'. That is, many of our students interpret the detrimental and precarious impact of the pandemic as a complex form of exile, a nuanced understanding that blends a historical, communal memory of displacement with a present, universal crisis. This paper further explains that the themes of exile and displacement in Camus' The Plague provide us and our students with a focal point to examine the striking, albeit anachronistic, similarities between the pandemic caused by Israeli occupation and the COVID-19 virus. This uncanny relationship between the pandemic and exile is further substantiated by the fact that the pandemic has provided cover, or at least distraction, for the escalation of oppressive political actions, thus deepening the entrenchment of a physical and psychological 'exile' for Palestinians. [ABSTRACT FROM AUTHOR]

There continues to be much debate as to whether to preserve buildings, and this is particularly pertinent to post-war architecture, especially in the UK. This paper further explores the issue by concentrating on the acquisition of a fragment of Robin Hood Gardens by the Victoria and Albert Museum. The Smithsons' key work was deemed a failed social experiment in its listing verdict, and the acquisition of the fragment during demolition sparked controversy when exhibited at the 2018 Venice Biennale. Devoid of its context in an exhibition setting, the fragment of building questions the applicability of traditional conservation values, particularly those relating to age or architectural value. This paper aims to demonstrate the value of taking a more sociological approach to this dilemma. It uses theories of collective memory, specifically Halbwachs and Bachelard's variations, to explore multiple interpretations of the fragment's physicality. Three frameworks have been chosen for analysis: the changing social housing rhetoric, its listing campaign, and finally the present, a speculative section on what the current interpretations of the past indicate for the future. Through this chronological analysis it is concluded that the Estate's physicality is reduced to a semantic contribution, representative of our current crisis of collective memory. [ABSTRACT FROM AUTHOR]

The worlds we inhabit tell stories, stitched into the material and symbolic representations of the past that comes to define the features of our places. These stories are never neutral, anchored as they are in the intentional (re)presentation of a racialized white, masculine, and settler story as "our" story. Indeed, space, as an ostensibly neutral platform for storytelling, is called into service of settler-state anxieties to write itself into every (spatial) corner of our lives. This paper takes up this issue by theorizing how the street naming practices of settler communities write into everyday life a settler collective memory that, as a consequence, both shapes space into (settler) place and powerfully intervenes in individual (student) geographic consciousness. By way of vignettes woven throughout theoretical considerations as examples of everyday encounters, I unpack what it means to think of the language of invaded place with greater critical intention as an example of how walking through space can become a pedagogical method, with a focus on detailing what it might mean to support learner engagement with the names that make their communities coherent and media of normalized colonial memory. [ABSTRACT FROM AUTHOR]

This paper investigates how memories of a violent past are interpreted by different generations of exiles, particularly when the primary feature of memory in their homeland is forgetfulness. This occurs when the echoes of political and institutional violence from "home" perpetually reverberate in the diaspora, and when host societies have constructed a securitization framework that progressively redefines Chechens from victims to perceived threats. Based on the case of the Chechens living in the EU since the early 2000s and grounded in field observations and semi-structured interviews conducted from 2015 to 2022, this paper delves into a "conflict-generated diaspora" in formation. Our aim is to understand the intricate interplay of factors and dynamics that contribute to the construction of individual and collective memories of a violent past within the Chechen diaspora. We also consider the impact of transgenerational memory transmission and generational divides. [ABSTRACT FROM AUTHOR]

In Malaysia, even the ghosts are transnational. Rani Manicka’s 2002 debut novel The Rice Mother follows the intergenerational narratives of a diasporic Ceylonese family in Malaysia. As they reflect on the atrocities of the Second World War and Japanese Occupation – notably the abduction and presumed murder of the eldest daughter, Mohini, by Japanese soldiers – each family member shares their haunted relationship with Mohini’s ghost. While Avery Gordon and Kathleen Brogan have examined how hauntings can characterize social or ethnic loss, Mohini’s hauntings are unique to the Ceylonese diaspora in Malaysia. In addition to the family members encountering her ghost through dreams – significant connections to the spiritual world in Hindu mythology – Mohini’s character is inspired by the mohini pey, a legendary ghost from Southern India and Sri Lanka. However, the discrepancy between mohini the ghost and Mohini the character interrogates the malleability of memory across generations. How might hauntings – manifestations of the traumatic past – change as generations evolve and reaffiliate cultural memory over time? Drawing on Marianne Hirsch’s concept of postmemory, this paper examines the family’s evolving relationship with Mohini’s ghost and argues that the residual power of diasporic heritage inherited through storytelling provides a path for generational healing in a new homeland. [ABSTRACT FROM AUTHOR]

AbstractThis paper examines the influence of the COVID-19 pandemic on memories and metaphors associated with the earlier AIDS epidemic. It argues that while previous research has focused on how HIV informs COVID-19, the reverse relationship has received insufficient attention. The authors propose a more comprehensive understanding of the issues, using insights from the sociology of memory. Experiences during COVID-19 not only reshape perceptions of HIV in the present but also transform how we remember the AIDS crisis of the past. We discuss the impact of these pandemics particularly for gay and bisexual men and their connected communities. Doing so underscores the co-construction of collective memories in the present, suggesting that COVID-19 has not only redefined our experience of HIV, but it has also reframed our understanding of the earlier AIDS crisis. We conclude by highlighting the potential for these transformations to be leveraged for empowerment, political action and change. Revisiting and reframing our memories of AIDS in the light of COVID-19 can open up new avenues for optimism and positive engagement. [ABSTRACT FROM AUTHOR]

AbstractDrawing from the field of Cultural Memory Studies, this article examines the process of recollection as depicted in Sangre de amor correspondido (Seix Barral, 1982) by Manuel Puig (1932–1990). Within this novel, we witness the portrayal of memory processes through the eyes of Josemar, a marginalized construction worker from a small rural town in Brazil. The protagonist endeavors to narrate his life experiences through the lens of idealized hegemonic masculinity. Some scholars think that gender represents a fundamental facet of identity. Furthermore, identity emerges from introspective processes driven by memory. Consequently, this paper asserts that the integration and signifying of masculine prostheses hinge upon the articulation and solidification of a self-narrative rooted in “masculinity’s social frameworks of memory.” Through narration, hegemonic masculinity assumes a foundational role within individual identity; simultaneously, it disseminates the patterns—these social frameworks of memory—used for the interpretation and organization of life experiences as recollections. [ABSTRACT FROM AUTHOR]

AbstractFor centuries, international reparations were commonly exacted as a form of victor’s justice after war. Following World War II, however, the bitter legacy of the Treaty of Versailles and West Germany’s compensation of Nazism’s victim shifted this practice, ushering in a novel moral economy of international reparations. Yet, while recent decades have seen increased transnational activism around reparations, as well as interstate aid payments and official apologies, international reparations remain infrequent, and agreements often fail to end financial claims. This paper argues that one explanation for this lackluster record is a central paradox relating to finality. Though international reparations are designed to settle accounts and provide a basis for deeper reconciliation, by opening issues of traumatic memory to public debate, they often achieve the opposite effect and inspire a cascade of further financial claims. As evidence, we examine three cases of international reparations’ occurrence and rejection: Germany’s reparations for Nazi-era crimes, the United Nations Compensation Commission (UNCC) formation following Iraq’s invasion of Kuwait, and reparations negotiated but removed from the 1973 Paris Peace Accords. Employing process tracing methods on archival documents, we demonstrate in each case how this paradox helps explain international reparations’ limitations as a practice. [ABSTRACT FROM AUTHOR]

This paper explores how a contemporary music video can pass down memories and trauma in post-dictatorial Chile. Focusing on a video by the Chilean band Illapu, it uses theories of collective trauma and (post)memory to show how the video represents past traumas and challenges dominant narratives and current negationist discourses. The study finds that the video uses audio-visual and (inter)textual elements to make viewers reflect on the past, underlining its ability to counter attempts to deny or distort history. This contributes to understanding how music videos can serve as sites of “voiced postmemories” and act as powerful tools in the collective processing of traumatic events, promoting truth, justice, and reconciliation in post-dictatorial Chile. [ABSTRACT FROM AUTHOR]

This paper proposes a rethinking of the temporal conditions of childhood by centring the affective experiences of fourteen young activists who continuously inhabit the past by working at a collective memory museum in Colombia. It questions notions of time as linear, progressive, chronological, and universal and instead presents alternative ways of being in time. I discuss young activists’ struggles to imagine mundane futures while constantly comparing themselves with the experiences of the victims of the armed conflict. I then discuss how the museum, as an institutional site of remembrance, sanitises and dictates how the young museum workers ought to remember, making them feel inadequate when their emotions do not align with the museum’s mission. The young activists demonstrate how their transitions into adulthood are determined by simultaneously inhabiting multiple temporalities and defying adult expectations on how to remember. [ABSTRACT FROM AUTHOR]

AbstractThe do-it-yourself (DIY) and maker cultures have expanded into older adult communities and shown to bring a strong agency and well-being outcomes. Looking into well-established spaces, where older adults have engaged in making over a longer period, can provide an insight into the sustained motivations and benefits of making for older adults. Men’s sheds represent a great opportunity in this regard, as they are open, community spaces where retired, older men engage in woodworking, metalworking and other craft-based activities. We involved nine men’s shed members in a creative inquiry where a “probe kit” consisting of recycled timber and wooden materials was provided. The participants were asked to create an artifact from the kit for someone other than themselves. We interviewed them once they completed their projects and qualitatively analyzed their design process. Our findings show that older men’s involvement in making is driven by the ethos of “making for others” and can be seen across three themes: (1) creative expressions; (2) memories and social connections; and (3) practical needs. We unpack these themes in the paper and discuss factors that can play an important role when engaging with older adults. [ABSTRACT FROM AUTHOR]

Ritual practices as behavior, and the cognitive acknowledgment of life and death, foster a depth in social identity, collective social memory, and a societal worldview. This paper outlines the evidence of Early Bronze Age burial practices in northwestern Iran to discuss the newly discovered chamber tombs at Kohne Tepesi within the broader context of mortuary practices during the middle and last part of the 3rd millennium b.c. The findings from Kohne Tepesi support the idea that, at least for parts of Kura-Araxes society, burial rites and commemoration of the dead played a crucial role in their worldview. Furthermore, this site demonstrates that the changes in symbolic practices and social behavior during the Early Kurgan period were not spontaneous but rooted in the last phases of the Kura-Araxes period and that the perceptions of earlier traditions had been conserved in long-term social memory. [ABSTRACT FROM AUTHOR]

In this article, I study memories of the Allied occupation of Maraş, Mersin and İzmir that were published in local newspapers between the 1920s and 1960s. The narratives were published when Muslims had re-gained political hegemony and forced both the occupying armies and most local non-Muslims to leave the country for good. The texts I use were published in the dailies Sebilürrreşad in 1921 (in Istanbul), in Ahenk in 1926, in Ege Ekspres in 1958 (both in İzmir), and in the late 1960s in Kuvayi Milliye, a monthly veterans’ magazine published in Mersin. Their authors were ordinary insofar as they were relatively low ranking clerks, former reserve officers, and readers of the İzmir papers. As literate Muslim males able to pen their own memories, however, they certainly held a certain degree of privilege over less educated and illiterate people, women and non-Muslims. In order to analyse their narratives, I use concepts developed by Maurice Halbwachs [Halbwachs, M., 1992 (1939) On Collective Memory: Edited, Translated, and with an Introduction by Lewis A. Coser. Chicago: University of Chicago Press, collective memory] and Jan and Aleida Assmann [Assmann, A., and Assmann, J. 1994. Das Gestern im heute. Medien und soziales Gedächtnis. In: K. Merten, S. J. Schmidt and S. Weischenberg, eds. Die Wirklichkeit der Medien: Eine Einführung in die Kommunikationswissenschaft. Wiesbaden: VS Verlag für Sozialwissenschaften, 114–140.]. The loss of Ottoman sovereignty also brought about that of Muslim supremacy, which privileged Ottoman Muslims experienced as a massive threat for themselves. As I show throughout, all the stories recount experiences of humiliation and distress that resulted from the reversal of social roles under occupation: Being Muslim was no longer an advantage or even a privilege: the privileged had become ordinary. Memory was gradually securalised, and the use of allusions facilitated forgetting. [ABSTRACT FROM AUTHOR]

When Edwin Chadwick released his report into burial reform in 1843 he was highly critical of the working-class practice of keeping the dead body in the home for up to a week in the period between death and burial. Chadwick argued that the English working-classes kept the body for so long for economic reasons and that as a result of living in close quarters with a corpse they picked up negative associations with death and suffered moral decline. This paper overturns this assumption by using evidence from nineteenth-century folklore collections and working-class autobiography to argue that the long-standing tradition of keeping the body in the home and rallying round to prepare it for burial held a deep significance for rural working-class people. The gradual preparation of the body for burial engaged the senses and centred on the visual appearance of the corpse enabling rural folk to confirm social bonds through the formation of collective memories, demonstrate the respectability of both the deceased and their family, accept the reality of death, and begin the mourning process. [ABSTRACT FROM AUTHOR]

This paper investigates the mountain man as a historical icon that illuminates how settler memory reverberates in the Rocky Mountain West and helps construct regional expressions of conservative political identity. Kevin Bruyneel's analytic of settler memory describes a habitualized process of selective remembrance, 'forgetting,' and disavowal of settler-Indigenous relationships, where today's settlers benefit from legacies of dispossession, violence, and genocidal policies. Using Carbon County, Wyoming, as a case study, I analyze mountain man symbolism in two contemporary contexts: regional tourism marketing and mountain man rendezvous (MMR) reenactment gatherings. Both contexts elevate the mountain man as a symbol of resilience and noble identity. Just as the construct of whiteness has provided a psychological wage against socioeconomic deficits for many Americans, I argue, settler memory of the mountain man compensates for much that settlers experience but won't name, such as the role the U.S. state in removing Indigenous communities; the hardship of economic precarity in regions marked by boom-and-bust cycles and dependent on tourism; and the reality that government provides the greatest share of employment in the region. Adding mountain man symbolism to our understanding of settler memory expands scholars' understanding of settler colonialism's intertwinement with contemporary place-making and political identity construction. [ABSTRACT FROM AUTHOR]

Based on an analysis of history textbooks and commemorative declarations on International Holocaust Remembrance Day, the paper argues that the leadership of the unrecognized republics of Transnistria and Donbas has instrumentalized Holocaust remembrance to legitimize their regimes internally and externally. The use of the Holocaust in historical politics allowed the secessionist regimes to portray themselves as opponents of radical nationalism and representatives of the multi-ethnic population of Transnistria and Donbas. In external relations, the secessionist leaders have used Holocaust commemorations as a tool for self-positioning within international 'memory wars,' and as a channel for the consolidation of the 'civilized' image of unrecognized republics and the extension of international contacts. Despite a quite similar discourse on the Holocaust, the aims of the instrumentalization of the Holocaust in historical politics have differed in certain respects due to the dissimilar challenges faced by the Transnistrian and Donbas unrecognized republics. [ABSTRACT FROM AUTHOR]

Gobustan, a prehistoric site 60 km south of Baku, has an impressive collection of rock carvings from different prehistoric eras. Near the site, a national museum presents the prehistoric findings in a narrative that connects them with modern-day Azerbaijan, calling the hunter–gatherer tribes that lived in Gobustan 'our ancient Azerbaijani ancestors'. While many nation-building projects dig deep into the past, reconstruct it, claim ancient civilizations as their own and sometimes even invent historical narratives that never happened, the Gobustan Museum and the narrative it implies (that prehistoric people living in 15,000 BCE were Azerbaijanis) seems like 'overkill', an exaggerated effort to connect the past and the present. The data from the museum points to a larger story: the construction of national identity and collective memory in post-Soviet Azerbaijan. This paper presents some of the author's anthropological field research findings in the museum and explains why the narrative of 'ancientness' is so essential in post-Soviet Azerbaijan. [ABSTRACT FROM AUTHOR]

Invented market traditions are practices and memories of the past created by corporations and sustained through consumption. Invented market traditions show how organisations have the potential to reorganise collective memories of the past, creating new mnemonic narratives rather than drawing on existing ones. Materiality provides long-term stability to these narratives. This paper focuses on the institution of Italian breakfast, based on milk, coffee, and convenience bakery products such as biscuits, invented by the brand Mulino Bianco. Biscuits exemplify how commodities imbued with nostalgic meanings can mobilise these invented memories and fold them into social practices. The recurring consumption of biscuits at breakfast, which was marketed as a rediscovery of Italian heritage, created those very nostalgic memories that consumers wanted to remember. Invented market traditions show the social repercussions of organisations' rhetorical work and expose how context plays a role in understanding their success. [ABSTRACT FROM AUTHOR]

Despite the prevalence of research in Holocaust memory and Holocaust education, the historical development of British Holocaust education remains understudied. This paper reconstructs this history, presenting Anglo-Jewish efforts to teach about the Holocaust in the 1970s for the first time and using the concept of ‘cosmopolitan memory’ to explain its proliferation in the early 1980s. This article argues that the origins of contemporary Holocaust education should not be found in the increase of its teaching with the National Curriculum of 1991 but in the changing culture of memory and history teaching in the late 1970s and early 1980s. [ABSTRACT FROM AUTHOR]

Social sustainability is an increasingly important aspect of urban development and renewal. Other than looking at preserving the greenery, ecosystems, and physical environment, urban scientists are also looking at ensuring the preservation of history, heritage, identity, and the memories of the people involved. With an increasing demand for public participation in the process of urban and heritage preservation, social sustainability cannot be achieved without the involvement of communities and individuals who are the "most ordinary everyday citizens." Hence, capturing the oral history accounts and personal narratives of these "most ordinary everyday citizens" becomes crucial in documenting life and the collective or social memory of a place. In Singapore, Kampong Lorong Buangkok is the last remaining village or kampong on the mainland. Under the current Urban Redevelopment Authority (URA) Masterplan 2019, the kampong is expected to give way to a 3-lane bi-directional highway, 2 schools (primary and secondary), and a public park. This paper provides a glimpse into the broad themes drawn from the oral history accounts and personal narratives documented from the residents living in the kampong, as part of a project to capture the rich history and heritage about the kampong and its residents, in a bid to "preserve" the kampong as urbanization and gentrification are imminent. [ABSTRACT FROM AUTHOR]

Historically, researchers have studied commemorative events primarily for their political role in the (re)construction of contested national collective memories and identities, but globalisation, social justice movements, multiculturalism and regionalism forces are further transforming commemorative practices in the 21st century. This study adopts the semiotic paradigm to deconstruct commemorative narratives communicated during major anniversary celebrations of the fall of the Berlin Wall. In doing so, this paper evidences how interwoven signs in these commemorative events construct multi-layered narratives of transnational collective memory and identity based on shared values that transcend the political boundaries of the nation. The study further showcases how shifting political contexts influence commemorative narratives, whilst at the same time commemorative events may increasingly be designed to appeal to a broader, global audience as leisure phenomena of transnational significance. [ABSTRACT FROM AUTHOR]

Cultural heritage is an integral part of a people's identity, both for future generations and for preservation of historical memory and cultural development. In the face of the aggression of the Russian Federation, preservation of Ukraine's cultural heritage requires the joint efforts of national and international organisations, scientists and cultural experts. The paper compares the loss and damage brought about by Russia's war on Ukraine since 2014 to the loss and damage inflicted by Germany during World War II. Both aggressors have inflicted serious damage with large-scale theft and looting of cultural values on the territory of Ukraine, destroying architectural monuments, museums and libraries, with the aim of erasing national awareness. [ABSTRACT FROM AUTHOR]

The editorial flourishing of graphic narratives in Spain provided memoirs and fictionalisations of the civil war and the dictatorship at the core of the phenomenon. I analyse the transmission of paternal memories in the works of Miguel Ángel Gallardo and Francisco Gallardo (Un largo silencio, 1997) and Antonio Altarriba and Kim (El arte de volar, 2009). While both Gallardo and Altarriba collect and (re)produce their father's memories, I point out their distinct approaches that echo two different zeitgeists of representation. The spirit of the Spanish transition – the so-called 'Pact of Silence' – that prevails in Gallardo's patrilineal account, was revisited throughout a sort of Lacanian père-version in Altarriba's narrative. The latter perverts, in form and substance, the Transition as a patrilineal norm, constituting a transgression from the symbolic status quo, from the silence that actually prevails in both Gallardo's story and the transition itself, although without abandoning the patriarchal lineage and scope. I argue that while that patrilineal account is symbolic, celebratory and literal in Un largo silencio, such patrilineality unfolds as imaginary, inquisitive and literary in Altarriba's narrative. [ABSTRACT FROM AUTHOR]

Through a consideration of their reverberant characteristics, this article places representations of recording studios as an active cultural process that plays out through the recorded sounds such spaces become associated with. Like other heritage sites, the work to define, maintain, and allocate certain structures as unique or significant relies on the cultural process of collective memory. By focusing on the concept of sonic recollection, the reconfiguration of unique tracking room environments for "in the box" digital audio workstation software, exemplified through reverberation, is shown to draw from a network of people, sounds, and technologies that cumulatively reflect various stages of a recording studio's trajectory. By uncovering this network – encompassing well-known and unnamed engineers, famous to merely aspiring recording artists, established or defunct studios and software companies, and technologies such as convolution reverb, all of which articulate one another in digital audio workstation software – it suggests that the theoretical underpinnings of collective memory studies are a useful tool of analysis to more fully frame reconstructions or representations of physical spaces undertaken through recorded sound, and that reverberation is an ideal metaphor for the work of collective memory. [ABSTRACT FROM AUTHOR]

This short piece introduces the special issue 'Partition and the South Asian diaspora: exploring (inherited) memories and creative practices of remembering'. This issue was conceived at the juncture of intersecting commemorations of key historical events – 1947 Partition of British India, 1971 Bangladesh independence and 1972 exodus from Uganda – in South Asia and its diasporas. By bringing together articles focused on practices of commemorating these events, we propose that studying entangled memories of Partition and its associated events in the diaspora provides a distinct perspective, both in terms of creative and cultural practices of remembering and in terms of the construction of diasporic identities and belongings. [ABSTRACT FROM AUTHOR]

This article offers a practical and theoretical exploration of a (highly) specialised type of comics re-mediation, namely, audio described (AD) comics for the Blind and Partially Sighted (BPS). Building on relevant work in comics studies and translation studies, it is argued that translation activity, broadly seen to include interlingual as well as intersemiotic translation (Jakobson 1959), helps rewrite original works. Translation is defined as a blend, or a hybrid mental space combining characteristics of source and target contexts. As such, it entails the imbrication of personal memory, collective memory and the diffusion of a translator's memory in linguistic codes, social milieus, textual traditions and digital capabilities at play. AD exhibits the same blend logic in that it selectively contains visual source-text information in target-text audio performance. An exploratory comics AD pilot project at The Cartoon Museum (London) serves as an exemplar. The project consists of three phases: a focused interview with the creative team (describer, curator, comic artists); scripting and performance of three AD samples; and collecting feedback from BPS visitors. The project reveals how collective memory started to form in this dialogic process and, ultimately, which aspects of AD practice may be deemed to be effective. [ABSTRACT FROM AUTHOR]

In the first three decades following the establishment of the People's Republic of China, the rapid urbanization in northeastern China and the promotion of atheism education and ethnic integration policies by the Chinese Communist Party pushed Shamanism, the religion of the Manchu ethnic group – a major minority in northeastern China – to the brink of extinction. However, during our investigation of Manchu autonomous villages in Jilin and Liaoning provinces in the Northeast, we discovered an emerging Manchu shamanic group calling themselves "Siden Saman" (Public shaman). They dedicate themselves to restoring Manchu identity and memory and are active in northeastern China. Although they are not the majority of the Shamanic population, they have established their influence in cyberspace. Through our tracking interviews over nearly six months, we believe that the religious practices of the Siden Saman should not be simply understood as an emerging religious force but rather as an effort by them to reconstruct their ethnic narrative. This effort is prominently manifested in their resistance to the history of 'de-Manchurization.' The resurgence of Siden Saman symbolizes the struggle for memory by minority ethnic groups against the backdrop of the long-term implementation of ethnic integration policies in China. [ABSTRACT FROM AUTHOR]

This article examines the work of 'image construction' and 'memory reconstruction' by focusing on World Expos held in Sydney and Brisbane, Australia. We argue the construction of urban imaginaries through triumphal narratives induces a form of mega-event amnesia: the erasure from collective memory of communities and cultural artefacts, and the suppression of protest and resistance against these events. We then show how art can be used as a form of 'memory reconstruction'. Two case studies offer alternative narratives in the form of public art and archival media. The first case forges new storylines that remember Aboriginal culture and language through a major public art project in the heart of Sydney. The second discusses how a digitised archival film made by feminist filmmakers spotlights decades of disregard for the destruction of Brisbane's working-class inner-city fabric when made accessible to new audiences. These alternative narratives reconstruct the memory of the 1879 Sydney International Exhibition and Brisbane's World Expo 88 to show how art may be used to awaken urban memories and collective remembrance. Alternative narratives also breathe new life into the complex and contested histories of mega-events. While protest and 'the art of dissent' have been widely discussed regarding the Olympics, few scholars have considered their relationship to World Expos. Fewer still have considered how art reconstructs and reinterprets mega-events decades after they were held. [ABSTRACT FROM AUTHOR]

This article conducts a critical reading of the British war films Mark of Cain (Munden, M., 2007. Mark of Cain) and Battle for Haditha (Broomfield, N., 2007. Battle for Haditha.). Establishing the significance of cultural representations for politics and collective memory, I first locate both films in their historical and cultural contexts before I offer analyses that focus on the representation of US and British soldiers, Iraqi insurgents, and Iraqi civilians. I argue that Mark of Cain dissects how misunderstood loyalty, peer-pressure, and military organization facilitated abuses by British soldiers against Iraqi prisoners, but at the same time narrowly frames the Iraqi other as either largely invisible threat or hyper-visible helpless victim. In contrast, Battle for Haditha draws a more sophisticated picture of the Iraq war as a complex political economy with shifting allegiances and blurring loyalties that problematizes self-other distinctions. This, I conclude, makes Battle for Haditha an anti-war film proper. [ABSTRACT FROM AUTHOR]

The Mission Compound is a residential enclosure in a small town in the hinterland of south-western Odisha, India that is exclusively inhabited by Christians. Acquired by German missionaries who introduced new forms of religion, administration and togetherness, this land became Christian and fostered the importance of rituals as well as the clergy's dominance in a formerly self-administered Adivasi-tribal culture. I conceptualise this Compound as a religious infrastructure, encompassing material components – roads, buildings, walls, and gates – as well as the collective memories and meanings with which these are entangled. Examining the residents' interactions with this infrastructural apparatus offers a window into the everyday dynamics of security and power that they navigate, as well as the processes of Christian identity formation and belonging in which they – and the infrastructure itself – participate. In this sense, the Mission Compound has great material, religious, social and semiotic meaning for the local Christian community. [ABSTRACT FROM AUTHOR]

Hakim Belabbes's Collapsed Walls (2022) is an innovative Moroccan film that visually retells a set of stories from the life experience of the filmmaker in the city of Bejaad (Morocco). Grounding our work in transnational cinematic approaches and in cultural studies, our reading of Collapsed Walls attempts to holistically (de)encode the filmic construction of the contextual, the formal, and the thematic narratives that suffuse the film. We shed light on how this film engages with Belabbes's cinematic style and how the Moroccan cultural identity is reshaped through his poetic filmic narratives. The methodology is bolstered by non-participant observation at the avant-première of the film in Casablanca on 20 May 2022, as well as an interview with the film director. Belabbes was trained in Chicago, where he lives, but the transnationality of his films is blurred by his heavy focus on his hometown, as a source of inspiration and as an iconic representation of his cultural identity. The other main characteristic of the disruptive approach to transnationalism in Belabbes' films is permeated by what we have dubbed the 'genre's transnomadism', considering the liminal, dialogic and transborder use of genres in Belabbes' work. Collapsed Walls' transnational resonances create a disruptive version of experimentation at the heart of the real narrative of the film, creating a knot of contrasts and ambivalent discourses through the negotiation of the real and the unreal, the spiritual and the sublime, the sacred and the profane. [ABSTRACT FROM AUTHOR]

This article explores the development of an important subculture which has received scant academic attention: football's casual movement of the 1980s. By analysing hooligan autobiographies, it investigates how the casual look spread from Merseyside and Manchester in the late 1970s to encompass every major city and town in Britain by the middle of the following decade. It delineates the attractions of the hooligan firms and shows how, through their use of ritualised violence they fought to become hegemonic in working-class communities. It explores how two key myths about football hooligans became dominant in the popular memory of the 1970s and 1980s. First, the hooligan became uniquely associated with racism in the popular imaginary. The second dominant myth was that the widespread consumption of the drug ecstasy during the acid house and rave years between c.1988 and 1992 saw the end of terrace violence. While the autobiographies largely provide support for the latter, the former is more complex. Via the analysis of the testimony of black and white football hooligans, I show that the racist/hooligan couplet did important ideological work to conceal the degree to which racism continued to figure in British football, into the 1990s, despite the decline in football-related violence. [ABSTRACT FROM AUTHOR]

This article asks why no comparable spy ring to the Cambridge Five developed concurrently at Oxford University and argues that, based on an updated and comprehensive review of primary and secondary sources, holding out hope for a new revelation of one may be waiting for Godot. We argue that whilst structural and institutional factors played a significant role in the creation of a mid-20th century Cambridge spy ring, the role and agency of individuals was paramount, and Oxford was missing comparable personalities. Specifically, the galvanising effect of an intellectual authority figure in the person of Cambridge Don Maurice Dobb, the greater attention, talent, and strategy by Soviet intelligence recruiter Arnold Deutsch, and the higher level of ideological commitment and social reinforcement on the part of the Cambridge Five themselves—as a ring—were of greater significance. Not all these factors were present in Oxford and casts increasing doubt on whether an equivalent Oxford spy ring ever existed. Recently declassified files reveal that Oxford did produce Soviet era spies, but never a collective akin to that of the infamous Cambridge spies, who remain a unique historical and cultural touchstone to the present day. [ABSTRACT FROM AUTHOR]

This article proposes the use of ruins and rubble as entry points to the study of agrarian change. Drawing from peasants' collective memories of the so-called "abandonment of the banana company" in Palmar Sur, Costa Rica and the observation of ruined spaces and objects, this article argues that ruins and rubble allow us to see the spatial simultaneity of different temporalities in processes of agrarian change, aspects often obscured in linear transition narratives. This approach uses ruins and ruination as a lens for asking a different type of agrarian question: What does agrarian change look like after capitalist destruction has already taken place? In ruined spaces and objects we find both the materiality of crisis and oblivion as well as places of reappropriation and autonomy that guide the political possibilities for making ruined spaces livable. [ABSTRACT FROM AUTHOR]

For decades, a White narrative of self-defence against a Black uprising suppressed the truth of the 1921 Tulsa (Oklahoma) race massacre and blocked reparations to survivors. In 2001, the Oklahoma Commission to Study the Tulsa Race Riot of 1921 (often called the Tulsa Race Riot Commission, or TRRC), a truth commission established by the state of Oklahoma, demonstrated that Whites had conducted a pogrom against the Black community of Tulsa for which the government shared culpability. The TRRC recommended to the state legislature a reparations programme that included restitution and compensation to survivors and their descendants. However, because of flaws in the conception and execution of its mandate, the TRRC failed to convince the Oklahoma legislature to implement and fund its recommendations. The experience of the TRRC illustrates the gap between the measures that a truth commission recommends and those ultimately implemented by policymakers and offers lessons to future truth commissions charged with proposing reparations in response to organised violence. [ABSTRACT FROM AUTHOR]

This article discusses the case of migrants' heritage inclusion into the mainstream through the lens of theoretical perspectives originating from both the heritage and migration studies fields. It presents a case study of the event Jul på Polsk organised by the Norwegian Folk Museum in the years 2016–2018 and compares it to the findings from the study focusing on the individual engagement with Christmas heritage by the Poles settled in Norway. The aim of the article is to analyse the various impacts of the institutionalisations of minority heritage. These include, on the one hand, the opening of the mainstream heritage to minorities and giving agency to the minorities in shaping the way their heritage is displayed to broad audiences. On the other hand, these include selling minority heritage, creating a deficit of meaning in relation to heritage upon institutionalisation and an inevitable split between individual engagement with heritage and its institutionalised imageries, even if the same people put in force both implementations. In the final section, the article discusses the responsibilities of the museums regarding the shaping of national memories as a path for the creation of more inclusive futures. [ABSTRACT FROM AUTHOR]

This article explores the intersection of cultural heritage, migration, and identity politics. It discusses how traditional approaches to heritage have focused on institutional narratives and materiality, but a shift towards a performative approach has allowed for a focus on the actions and meaning-making of individuals and groups. The article also highlights the limited research on the cultural heritage engagement of migrants and the need to move away from national frames in heritage studies. It discusses the coloniality of power in heritage studies and the importance of decolonial perspectives in resisting domination. The article includes case studies from various regions, emphasizing the intercultural heritage of migrants beyond Europe. Overall, it aims to contribute to the theoretical and empirical discussion on the cultural heritage of people on the move and the link between heritage practices, interculturality, and identities. The text also discusses the concept of intercultural heritage and its various modes of understanding and engagement. It explores interculturality as symbolic heritage making, where minority heritage is often displayed in museums for mainstream society. It also discusses interculturality as a dialogue, where common historical identities and values are sought to create heritage that addresses everyone. Lastly, it examines interculturality as co-production, where diverse actors are involved in the heritage-making process. The text emphasizes the importance of recognizing the dynamic and negotiable nature of heritage practices and involving minority groups in the production and display of heritage. [Extracted from the article]

In 2017, UNESCO started developing a programme aimed at promoting tolerance and social cohesion in Southern Africa, as well as countering xenophobia and other forms of discrimination, through historicizing the heritage and memory of the diverse experiences of the region's liberation struggle. In the same year the House of European History, a cultural institution aimed at preserving the memories of European history, opened its doors in Brussels. While the two projects are different in scope, reach and tools, they both have the stated objective of employing memory and transnational heritage to foster a collective history and sense of belonging across a wide region, in ways that go beyond ethnicity/ nationality and broaden inclusivity. By comparing how the concepts of memory and of heritage are employed in these two cases, this article explores the potential and limitations of embracing a transnational cultural heritage framework to promote inclusion. What emerges is that adopting a transnational heritage approach plays out differently in Europe and Southern Africa especially in relation to colonial history. [ABSTRACT FROM AUTHOR]

This article discusses everyday spatial heritage practices in Rio de Janeiro's favelas. It focusses on the experiences of faveladas, Black and poor women residents of the favelas, as they build their houses and struggle for political memory in the city. Based on ethnographic fieldwork and photowalks conducted in 2011–2013 and 2018 with residents of the favelas of Pavão-Pavãozinho and Cantagalo (PPG), this article documents the insurgent heritage practices of 'women warriors' and analyses the ways in which these practices typify means of resistance to urban coloniality. I draw on theories by the Afro-Brazilian feminist scholars and activists Beatriz Nascimento on quilombos (maroon communities) and Lélia Gonzalez on 'Amefricanity', who recourse to black and indigenous women's Southern Atlantic experiences of oppression and forced migration and of resistance, to suggest the notion of 'Amefrican' heritage practices. The women warriors' spatial practices and resistance encompass curated favela heritage. They challenge prejudice against the favelas and Afro-Brazilians, thereby sustaining 'Amefrican' heritage practices and shaping Rio de Janeiro's cultural heritage and future, especially against contemporary processes of urban coloniality. [ABSTRACT FROM AUTHOR]