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Commemorative tattoos are images etched into the skin to mark a passage in life or to honour someone living. This review aimed to identify all studies of memorial tattoos, to acquire a better understanding of the literature. In recent years, memorial tattoos have become increasingly common expressions of grief; It is important to identify the function they serve in the grieving process of individuals. A systematic review of literature was undertaken following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines. An iterative process was used to identify literature, conceptually map, and recognise gaps for future inquiry. Fifteen databases were searched, and a hand search of journals was conducted. Articles were eligible for inclusion if 1) studies focused on memorial tattoos, and 2) were of primary data. A final sample of 11 research articles were included in the systematic review. Ten studies were qualitative, one used a mixed-methods design and all indicated that memorial tattoos are utilised as a therapeutic tool in the grieving process. Memorial tattoos are a sub-set of commemorative tattoos which offer something unique to individuals. Those who have been inked with a memorial tattoo offer an enlightening and unique perspective on the grieving process. [ABSTRACT FROM AUTHOR]

This article concerns material art, the atmospheres they create, and the affects they engender in their audiences. It is about how the works of art at the National Memorial for Peace and Justice (NMPJ) in Montgomery, Alabama, work to create an atmosphere that enrolls its visitors as empathetic witnesses to the lynchings documented throughout the memorial. The NMPJ is an affecting landscape where visitors learn of the ugly extralegal history of lethal violence against African Americans in the United States. Through a textual analysis of Web-posted Google reviews of the NMPJ, the affecting work that art performs on its viewers is revealed. The NMPJ compels its visitors to both feel and think about a brutal U.S. past and in so doing, it presences the absented victims of lynchings. The NMPJ is not only a place of remembering, but it is a place of re-membering—a reattaching of the lost dead into the narrative body of the U.S. story. [ABSTRACT FROM AUTHOR]

This article addresses competing visions of sovereignty that underwrite recent debates about monuments. It turns to a well-known monument built to commemorate the loss of British lives in the Sepoy Rebellion of 1857–59: the Kanpur (Cawnpore) Memorial Well Monument. The memorial stood over a well in which the bodies of 200 British women and children killed by Indian sepoys lay buried. A large landscaped enclosure was built around the memorial and only European visitors were given access to the site. On August 15, 1947, the day of Indian independence from British rule, a crowd overran the site and defaced the monument. Much of the monument was subsequently dismantled and moved to a more secluded site within the Kanpur cantonment. The desire among the British stakeholders to leave no trace of its former identity focused attention on those aspects of meaning ascribed to the monument that could not be erased. Building on the Hobbesian idea of passion as a key element of sovereignty, this article argues that the monument may be viewed as an aegis — an apotropaion — that deflects gaze more than it enables attentive looking. • Competing visions of sovereignty underwrite the recent debates about monuments. • Analysis of the geography of monuments helps us understand sovereignty and its relation to colonialism. • Colonial sovereignty is a constant state of war. • The test of sovereignty resides in its exercise by those who claim to operate under the aegis of sovereignty. • The Kanpur Memorial Well Monument demonstrates the making/unmaking of the aegis that was intended to tackle fear and failure. [ABSTRACT FROM AUTHOR]

Bruno Goosse, artist-researcher, introduces to his artistic methodology, based on archives reorganized in the form of an exhibition or a book. He discusses two projects, Diagonal listing and Echoué n'est pas coulé (Stranded is not Sunk), which explore the relationships between architecture, landscapes, history and political projects. From the Waterloo battlefield to the Laurentians, from mini-golf to the Baron Empain's hygienic prospects, the discussion evokes the marginal spaces of history and invites us to rethink the "classification" of historic monuments. An interview conducted by Magali Nachtergael. [ABSTRACT FROM AUTHOR]

Nurse honor guards are groups of volunteer nurses that attend fellow nurses' funerals or memorial services and conduct a brief ceremony to recognize the nurse's dedication to the profession. These ceremonies incorporate elements of nursing's history, including the wearing of traditional nursing uniforms. Nurse honor guards highlight that nurses not only tend to the well-being of their patients but also share a collective responsibility to support and care for one another. This article describes what nurse honor guards do and discusses the authors' experiences participating in them. [ABSTRACT FROM AUTHOR]

This paper looks at two memorials built in India to commemorate Sikh victims of the violent events of June 1984 and November 1984. Gurdwara Yaadgaar Shaheedan (Gurdwara Martyrs' Memorial) was built in the Golden Temple complex, Amritsar in 2013, and the Wall of Truth: Sikh Genocide Memorial was inaugurated in Gurdwara Rakabganj, New Delhi in 2017. While both memorials commemorate related events and are built by the same group of people, they differ completely in the choice of nomenclature, design and even the justification given for their creation. This paper discusses the differences between these memorials and their relevance in the memorial politics of contemporary India. [ABSTRACT FROM AUTHOR]

This study examines how a historical, multilingual space is written and constructed, thus questioning monolingual French language ideology. Two cemeteries in Menton, next to the Italian border on the French Riviera, were visited and documented. The presence of Italian is clearly observable, because of the historic proximity to Italy. But also many other languages are represented, such as for example English, Russian, Polish or German: the city also has a history of being a therapeutic town where many foreigners spent time to recover or stayed because of a mild climate. This is also reflected in the linguistic landscape of the cemeteries. Building on the notions of space/place and of heterotopia, the cemeteries are examined from a qualitative, interpretative perspective. Iconicity in writing and script choice is discussed, as well as multilingualism both on cemetery level, and as pertaining to individual tombstones. The construction of linguistic spaces is examined. The results show that other national languages in the cemeteries do not challenge national French as such. However, graves of African soldiers may still question France’s colonial history and the presence of Occitan can be seen as a reminder of a former vernacular. [ABSTRACT FROM AUTHOR]

The tourist's role in engaging with difficult heritage is described as a liminal one, in a state of "limbo" outside of their ordinary lives, embracing the challenging historical narratives presented by difficult heritage while also maintaining a certain detachment. This liminality parallels the cinematic experience, where the audience temporarily resides in a similar state of in-betweenness, delving into imagined traumatic pasts from the safety of the present. This paper contributes both to literature on difficult heritage and to intangible cultural heritage to reveal the need for a more nuanced appreciation of intangible difficulty heritage when concerning genocide and war. It presents the 'Dealing with Trauma through Film' project, with a particular emphasis on its materiality within the context of the German-Namibian conflict and genocide, regarded as difficult heritage. Nelson's concept of liminality plays a pivotal role in understanding the dynamic between the film audience and the experience of the actors involved. The primary focus here is on the production of the German movie 'Der Vermessene Mensch' (The Measures of Men and outlines the intricate representation of intangible aspects of difficult heritage related to conflict through the medium of film. [ABSTRACT FROM AUTHOR]

Covid-19 pandemic generated various discourses which slipped easily from sanitarian issues to political ones. Responses to the unexpected and disturbing worldwide phenomenon had to deal with previous genre and rhetorical matrixes and to venture into discursive materialities which exceed verbal field. This is what happened in the Demonstration of the Stones organised in Buenos Aires, August 2021, to hommage the people who had died without relatives’ and friends’ company due to quarantine official measures. Since the beginning, this march had a political meaning not only from the way it was called but also because of the places chosen to deposit the stones inscribed with the deads’ names. Our analysis takes a glottopolitical perspective which studies the semiotic dimension of social processes practised in political fields. In this paper we consider the development of pandemic discursivities (and the speeches following the protest) as inscriptions in a social disciplining process that fades disruptiveness and standardises practices. First we’ll refer to discursivities on pandemic and summarise antiquarantine demonstrations. Then we are analysing the protest call and meaningful aspects of its realization. In the third section, we will address the “profanation” or “vandalization” figures as much as the ultimate memorial image held by state institutions. Finally, we will concentrate on memories and emotions that broke out then. [ABSTRACT FROM AUTHOR]

This article examines the multilayered meanings of the Korean Workers' Party Headquarters, Cheorwon (WPHQ) as a place of memory. Originally built by North Korea in 1946, the building was partly destroyed during the Korean War, and taken over by South Korea after the 1953 ceasefire. After decades of desertion within the Civilian Control Line near the Demilitarized Zone, it was eventually registered as a cultural heritage property by South Korea. For decades, the WPHQ remains have built on the collective memory of anticommunism in South Korea and contributed to formulating a sense of national identity. From the standpoint of counter-memory, however, the site calls for a more nuanced approach. Oppressed memory can reemerge to integrate with current experiences and produce new meaning. Through this process, the site is recoded as a part of cultural memory and transmitted to future generations. Recognized in South Korea for its value as cultural heritage, the WPHQ has become an unintentional historical monument. But reminding us of loss and demise, it has also become an anti-monument. In this uncanny space, dualities such as south/north, center/periphery, prosperity/collapse, and presence/absence converge and their distinctions are blurred, while the various memories associated with the site lead us to reconsider our views on Korea's modern history. [ABSTRACT FROM AUTHOR]

At the announcement of Ishiguro's 2017 Nobel Prize in Literature award, his writing was described as having 'uncovered the abyss beneath our illusory sense of connection with the world'. Uncovering this abyss entails a confrontation between characters, communities, and the complex relationship with their pasts. Ishiguro's decision to engage with memory on a national scale sees a renewed focus on the theme of forgetting in his oeuvre, and a critical exploration of the multiple layers of collective memory. Ishiguro's text urges the reader to consider the ethical complexities of memorialisation and enforced amnesty. This essay establishes The Buried Giant as a key development within Ishiguro's long-standing memory work, signalling a more considered engagement with themes of shared memory and national identity, as well as the politics of memorialisation, confirming the novel's significance as a focal point on discussions of collective and individual memory within contemporary literature. [ABSTRACT FROM AUTHOR]

During the Second World War, the Supermarine Spitfire played a pivotal role defending the British nation, notably during the 1940 Battle of Britain. Drawing from the aircraft's historiography and its continuing afterlife, we discuss the constitutive elements supporting the Spitfire's transformation from war plane to memorial icon for the British wartime experience. In the context of this machine as memorial, the elements comprising what we refer to as the architecture of memorialisation are narrative permanence, enchantment of war technology, dialogic geometry of remembrance and commemorative adaptive capacity. These elements work to silence war, killing and death and in so doing justify a nation's values, its moral compass. While these four elements may be unique to this aircraft, the architecture of memorialisation is a conceptual framework for analysing other types of memorials including those that are contested or which reflect regimes of power or cultures of remembrance very different to those of the United Kingdom (UK). Diverse social and cultural contexts will reveal different constitutive elements of the architecture of memorialisation. [ABSTRACT FROM AUTHOR]

The First World War has had an indelible impact on Newfoundland, shaping not only its relationship with Britain and empire, but also its union with Canada in 1949. For some, the Battle of the Somme was a powerful display of Newfoundland's identity as a British dominion and its loyalty to the mother country. Many Newfoundlanders, however, lament the tragic economic and political consequences of Newfoundland's war service that many believe led to its loss of independence and its union with Canada decades later. Edward Riche's 2017 play Dedication explores the legacy of the First World War on Newfoundland identity and the province's continued positive association with Sir Douglas Haig through the dramatisation of a grieving female journalist interviewing Haig in St. John's in 1924, just before the unveiling of the national war memorial. The play grapples with themes of colonisation, patriotism, and duty as the playwright seeks to challenge the prevailing myth of identity grounded in glorious sacrifice. While the interview in the play raises questions about the war's legacy through its focus on the dedication of the WWI monument by Haig himself, Riche interrogates Newfoundland's established memory of the war, as well as the value of monuments as historical markers of memory and identity. [ABSTRACT FROM AUTHOR]

I examine the aesthetic (re)production of the state in disaster museums and memorials in a comparative analysis of the Wenchuan Earthquake Memorial in Beichuan, China, and the September 11 Memorial and Museum in New York. I explore how particular national imaginaries and narratives of the past were projected to produce narratives that cloak the chaos of catastrophe and channel powerful public emotions into a robust state imaginary operating heroically on an Other-Nature-Disaster without history. In China, the state is embodied by conventional faces of the state apparatus. By contrast, in New York, such leaders are notably absent. Instead, the focus is on "heroic" first responders that I argue constitute devolved encounters with the state—neither faceless nor portrayed by official leaders, but instead embodied by neighbors, friends, and everyday heroes. In both contexts, I find similar techniques of producing aesthetic assemblages within which, whether the proximal agent of suffering be human or no, any purportedly external perturbation creates a crisis of state integrity that is discursively cloaked in the language of the Nature of the Other and this is partially accomplished by enframing emergencies in carefully delimited timeframes. [ABSTRACT FROM AUTHOR]

The sermon preached by The Rt. Rev. Frank T. Griswold, twenty-fifth Presiding Bishop, at the Eucharist service for The Rev. Mark A. McIntosh, PhD. [ABSTRACT FROM AUTHOR]

Aminatta Forna's novel The Hired Man, on post-war Croatia, attests to the author's continued interest in transitional, post-conflict societies where mass atrocity and human rights violations such as forced disappearance and ethnic cleansing have taken place. Drawing on the conceptual framework of transitional justice and memory studies, this paper argues that the novel deepens and extends the concerns of post-conflict fiction in two main ways. Firstly, it explores the role of ordinary individuals as agents of restorative justice in small communities. The actual restoration of the house at the centre of the narrative transforms the building into a permanent site of memory that challenges collective amnesia and functions as a monument to coexistence on which to model future social relations. Secondly, the narrative provides an apt illustration of Rothberg's notion of implication, foregrounding a model of indirect responsibility for historical injustice that problematises the figure of the naïve outsider through the foreign characters in the story. The narrative will work to engage these characters in collective restorative actions in the country's troubled progress towards a fairer and more sustainable peace. The use of situational irony to enhance the theme of the indestructibility of the past will also be addressed. [ABSTRACT FROM AUTHOR]

This paper examines the cultural identity expressed by The XII Travelers Memorial of the Southwest in El Paso, Texas, USA. According to the monument's statement, the memorial is an ongoing regional project formed by "... 12 heroic bronze monuments celebrating the multicultural contributions of both men and women to the development of the Southwest." The paper's argument is threefold. First, it argues that the XII Travelers project could be regarded as a collage that incorporates different historical and cultural references into a single narrative. Secondly, by doing this, the memorial blurs spatial scales and builds a regional history with El Paso at its center. Finally, the paper suggests that the construction of this heroic and multicultural regional identity must be understood in relation to growing tourist activities and the expectations that visitors have about a Southern border area in USA. The research is based on a critical review of the material produced by The XII Travelers Foundation and the examination of the characters and monuments of Fray García and Juan de Oñate, the only two approved travelers of the proposed list. [ABSTRACT FROM AUTHOR]

The alabaster wall monument to Robert Claudius Billing, Suffragan Bishop of Bedford, placed in the crypt of St Paul's Cathedral, commemorates the life and service of a Victorian cleric known for his work in the overcrowded parishes of east London. Supplied by Powell and Sons, a London-based glassmaking firm that made stained glass and mosaics as well as reredoses and tablets, the monument echoes the architectural style and decoration of the iconic building in which it is placed, as well as showcasing a new vitreous mosaic material known as opus sectile that the firm innovated and marketed as suitable for both wall and floor decoration. The striking opus sectile portrait of Billing preserves an image of the deceased, and together with the accompanying epitaph demonstrates the affection and high esteem in which he was held in the Diocese of London and beyond. [ABSTRACT FROM AUTHOR]

C.P. Pow was my confidant, colleague and (occasional) collaborator for more than 20 years. He had fought a valiant and dignified battle with an aggressive cancer but ultimately succumbed to it in July 2021. I will reminisce a few of the little known traits of Pow which had shaped him to become the conscientious, obliging and humble academic that he was known for. [ABSTRACT FROM AUTHOR]

War memorials were intended to console the living, honour the dead and remind future generations of duty and sacrifice. In living memorials, the combination of remembrance with celebrating life introduces a tension between the sacred and the profane, affecting the memory work of the memorial. Here, the persistence of memory in living memorials is explored using the 1956 Onehunga War Memorial Swimming Pool in Auckland. Intended as a permanent reminder of the sacrifices of war, changes to the complex have externalised the memorial. The meanings embodied in memorials that resonate with one generation can have less connection for the next, resulting in loss of memory over time. [ABSTRACT FROM AUTHOR]

An interview conducted with Emeritus professor Karla Holloway on the African American funeral director as preservers of culture and history illuminates her scholarship and importance to the field of Death Studies. Questions asked in order to understand her interdisciplinary academic background and her canonical book Passed On: African American Mourning Stories, A Memorial were received with answers on how her knowledge of language and letters provide important understandings of death and dying in broad and heterogenous African American communities. Holloway shared her own personal grief narratives and how they inform her work by disclosing her purposeful and continual use of the term 'Vilomah' which she borrowed from Sanskit as a way to bring comfort to those who have lost a child. Ultimately, the interview showcases how premature loss in African American communities, inclusive to children and adults, lead to creative and distinctive rituals and memorial work – work born of trauma and pain but also resistance and resilience. [ABSTRACT FROM AUTHOR]

This is a brief personal reflection on Stanley Aronowitz's contributions to our understanding of academic labor and management. [ABSTRACT FROM AUTHOR]

Earthquake memorials dot the Japanese archipelago, marking its long history of destructive tremors. Today, many of these memorials are designed to serve the dual purpose of commemorating victims, and educating future generations. Almost a hundred years ago, however, this idea that a commemorative statue could also serve as a pedagogical tool proved to be novel and controversial. This article focuses on a case study of a memorial dubbed the Statue of Sadness. First unveiled to the public in 1929, the life-like figures of twelve children provoked an outcry. By exploring the conflicting hopes and expectations from the perspective of different stakeholders, I highlight the complicated issues surrounding earthquakes, commemoration, and children. I argue that the new form and function of the statue reflected the emerging desire of Japanese educators and government officials to educate future generations about the risk of earthquakes by reminding them about the tragic deaths of children, not to comfort bereaved families as many hoped. These issues are relevant today for communities endeavouring to construct memorials in order to save lives in the future. [ABSTRACT FROM AUTHOR]

This study was conducted to investigate how memorial tattoos impact upon the grieving process of individuals who wear them. Semi-structured interviews were conducted on a 1:1 basis with six diverse individuals and analysed using interpretative phenomenological analysis (IPA). The findings suggest that memorial tattoos play a beneficial role within the grieving process and that they serve as a positive therapeutic tool. We found that memorial tattoos have five fundamental features: (1) Permanence, (2) A tool for managing grief, (3) Communicative tool, (4) Continuing bonds, (5) Transformation of self. As a result of our findings we recommend that a more flexible approach to the management of grief should be offered to bereaved individuals. We further propose that this study serves as a catalyst for the positive role memorial tattoos play in the grieving process and recommend further qualitative research to broaden our understandings of this area. [ABSTRACT FROM AUTHOR]

In recent years, new exciting, publicly debated, and further thought-provoking events have appeared in the Czech Republic including, the restoration and benediction of the Marian Column on the Old Town Square in Prague, Darina Alster's art performance, the Non-binary Madonna, the opening of the new Jan Palach Memorial in Všetaty and the temporary memorial to the victims of COVID-19. All these events, taking place in public, manifested qualities associated with religious practices and the concept of the sacred. Pointing selectively to trends in religious geography (Kong) and utilising the concepts of liquid religion (de Groot) and iconic religion (Tweed, Knott), this case study describes and analyses those events and shortly discusses their public reconciliatory character. It claims that the religious or sacral character of public objects or acts in a secular setting is permanently subject to questioning, contesting and opposition. Ritually enacted boundaries between non-negotiable values (the sacred) and values permanently negotiated (the profane) are always temporary and elusive in the public domain, as so it is with public acts of reconciliation. [ABSTRACT FROM AUTHOR]

This essay traces the late-Victorian campaign to erect a monument to Felicia Hemans in Liverpool, the city of her birth. The campaign was conducted through reports and correspondence in the liberal newspaper, the Liverpool Mercury, which itself supported the campaign. Drawing on recent critical work relating to the recovery of women's writing, nineteenth-century understandings of celebrity and fame, and the high-Romantic idea that true literary success is posthumous, the essay analyses the representation of Hemans and her work in this public correspondence, and its engagement with Hemans's international fame and literary achievements. The essay argues that concepts of celebrity (as opposed to literary fame) were used to devalue the work of women poets, particularly those who benefitted from contemporary innovations in print culture, and the exponential expansion of print markets in the Victorian era, and that the treatment of Hemans in this campaign offers insights into the erasure of women from the twentieth-century canon. [ABSTRACT FROM AUTHOR]

The Göktürk goverment declared independence in 682 in the leadership of Kutlug and Tonyukuk after 40 years captivity following the collapse in 634 because Bilge Kağan and Kül Tigin were at small ages Kapgan Kağan's ascended the throne after Kutlug Kağan's death. Later İnel Kağan inherited the throne. Bilge Kağan and Kül Tigin came to power by staging a coup in 716. After Tonyukuk and Kül Tigin died, Bilge Kağan got poisoned and died in 734. The memorial lands were made for Kül Tigin and Bilge Kağan's memory. Lumir Jisl dug Kül Tigin's monument square and found note worthy information. But Bilge Kağan's monument square has not been dug. Turks made a project about reperation and prevention of Orkun tablets and other Turkish masterpieces in Mongolia in 2000. To that end, twenty five scientists, deported from Turkey in 19th June 2000, arrived at Orkun. Archeolojical excavations in 2000 as a part of MOTAP Project were pursued by Turkish archeological excavators in Mongalia until 2004. It was searced mainly the surface in July and August. The sculptures depicting Bilge Kağan an his wife, and other sculptures except from the tablets around Kül Tigin's monument site were put under protection by TİKA. Later in 2001,2002,2003 and 2004 the excavations were carried on and the baseline of the construction was unearthed. According to this, monument was constructed in around 36x72 cm rectangle site. The monument site of Bilge Kağan included an enterance gate with the marble sculptures of two bucks looking at each other's face in a square land. [ABSTRACT FROM AUTHOR]

The liturgical actualization of the Paschal Mystery of Christ's sacrifice has an intrinsic relationship with the words of the Redeemer at the end of the Institution of the Eucharist, "Do this in Memory of Me" (11 22, 19). Already in the early Church this mandate of Christ had been understood in its character of liturgical memorial, by which, each time the offering of the Last Supper is renewed, the sacrifice that He offered and consummated the following day is offered anew. This word, in the context of the Jewish liturgy, holds a deep and singular meaning that Catholic theology has come to know more profoundly, since it was only at the end of the twentieth century that a complete theological vision ofits application to the Eucharistic liturgy emerged. The studies of Heinz Shormann, Max Thurian and Joachim Jeremias have shed new light on its meaning. This consideration is linked to the triple temporal dimension of the pre-pascal, pascal, and post-pascal sacrificial supper, evidencing an intrinsic relationship between the Supper, Calvary and the Resurrection; events that take place and are renewed in every liturgical celebration of the Church. Thus, in their threefold temporal dimension of offering, realization and sacramental actualization, they transcend simply human acts in their ontological sense. This sacrifice of divine value is made effective by The man Jesus Christ. born ofwoman, subject to the Law (cli ITin 2.5, Gal 4,4), demonstrating that the theandric actions of Jesus are made possible by His human nature, hypostatically united to His divine nature in personal unity, a mystery that is realized in Mary, through Mary and counting on the voluntary and active acceptance ofthe "handmaid of the Lord" (Lk 1,38). [ABSTRACT FROM AUTHOR]

The following article proposes an update of the geographic information present in Law nº 0171/94 that created and delimited the municipality of Vitória do Jari. The update proposal is associated with the hydrographic characteristics of the southern region of the State of Amapá and was based on Law No. 311/1938, which provides for the territorial division of the country. The city's descriptive memorial contains geographic features that refer to water bodies without nominal information and with inadequate scales. During this research, it will be evidenced that there is a contradiction in the territorial information provided for by law and those defined by the Brazilian Institute of Geography and Statistics (IBGE) for the year 2020. IBGE's cartographic data indicates that the municipality of Vitória do Jari has a territorial area equivalent to 2,508,979 km² and the proposed new polygonal in the municipality corresponds to an area of 2,483,870 km². This research showed the identification of some streams that were not included at the time of the emancipation of the municipality of Vitória do Jari, such as the Arapiranga stream and the Pacas stream. In addition, the proposal for a new polygonal can assist in the territorial planning of the municipality and contribute to the updating of geographic information present in the descriptive memorial of the city of Vitória do Jari. [ABSTRACT FROM AUTHOR]

Since the Covid-19 pandemic 2020 we have experienced so much of our lives through our computer and phone screens - including the 1,787,366 people have shared the image of the Mona Lisa on social media. I consider how we can design artworks to communicate digitally utilising a range of senses testing the notion that if you enable visitors to galleries and museums to touch sculptures it should enable greater understanding about complex ideas. The focus of my artworks was the history of the transmission of disease. I original designed ceramic sculptures that incorporated touch sensitive electronic sound components. Touching objects and visiting galleries became off limits during the pandemic so the touch hypothesis could not be tested, and instead QR codes were used to allow the digital viewer to extend their experience beyond the visual. The project started as an art in science experiment in incorporating sound, sight and touch into sculpture, but finally became my personal memorial to 2020 pandemic and a tribute to the many we have lost to Covid-19. [ABSTRACT FROM AUTHOR]

The experience of narrating the memory of a traumatic and transformative event becomes a meditation on how one person is launched into psychoanalysis, psychoanalytic training, and the psychoanalytic profession. Listening to imagery, paying attention to serendipity, honoring memory in its creative, emergent form, and retaining the ideology from a first career as an advocate for criminal justice are the themes that come to define the writer's analytic voice. Approaching the twenty-year anniversary of 9/11, she looks back at her last two decades of unfolding. [ABSTRACT FROM AUTHOR]

This paper offers a detailed analysis of a holograph memorial (also referred to as 'articles' or 'instructions') sent by Margaret Tudor, Queen of Scots, to the English court in January 1522, in an effort to persuade Henry VIII to agree to a renewal of Anglo‐Scots peace. Despite their prevalence in many diplomatic correspondence collections, there has been little study on the exact nature and purpose of the memorial genre, or analysis of how the memorial differed from the medieval and early modern letter. Through an analysis of this holograph memorial, I offer some initial thoughts on the format, function and performative impact of the memorial genre, as well as exploring why Margaret chose to send a memorial (and accompanying correspondence) to Henry VIII in January 1522 instead of a more conventional letter. This case study shows that Margaret Tudor was a skilled writer, well‐versed in the mechanisms of diplomatic literacy, who held a central role in the mediation of Anglo‐Scots diplomatic relations and communication in the early sixteenth century. [ABSTRACT FROM AUTHOR]

Halit Ziya (Uşaklıgil) explained his thoughts on Tanzimat literature in his work named, “Kırk Yıl” in which he wrote his literary memoirs. One of main elements that draw attention in the work is the author’s observations and opinions about the literary circles he visited here, after he went from Izmir to Istanbul. The author gathered those who worked on the path of classical literature under the roof of Muallim Naci School and those who worked on the path to new litrature under the roof of Namık Kemal School. Muallim Naci evaluated and his environment from a negative point of view. He stated that the writers belonging to this school produced Works within the framework of Divan literature. He accused the Muallim Naci School of having a narrow World view, which was devoted to the past. H eapproached Ebuzziya Tevfik, Recaizade Mahmut Ekrem and Samipaşazade Sezai with a positive perspective and praised these authors for giving Works within the framework of new literature. He depicted Ebuzziya Tevfik as kind and gentleman. He highlighted Recaizade Mahmut Ekrem in terms of lifestyle, wordview and literary criticism. Halit Ziya drew attention to the fact that Sami Paşazade Sezai is a powerful pen in prose. [ABSTRACT FROM AUTHOR]

The "Faro a Colón," or "Columbus Lighthouse," is perhaps the largest memorial to Christopher Columbus in the world. Inaugurated in 1992 as a celebration of the five-hundredth anniversary of Columbus's first arrival in the Americas, it is visible throughout much of Santo Domingo, Dominican Republic. This article argues that the typical presentation of the monument is badly misaligned with the historical record, but that a historically and historiographically informed interpretation can lead to a truer understanding of the violence and greed of colonization. Contrary to what its designers wanted to show about Columbus, and in some ways in spite of itself, the Columbus Lighthouse conveys with unusual clarity the problems of memorializing one of the most (in)famous figures in world history. [ABSTRACT FROM AUTHOR]

My composition Call It What You Will, in memoriam Milton Babbitt, is a piece of music that is itself about music. This essay illustrates some of the kinds of reference to other music made in the composition, all of which act to constrain as a cantus firmus might. Literal borrowing and quotation operate close to the surface, while use of Babbitt's own compositional techniques and theoretic ideas works on a structural level. Every piece referred to in the composition was formative for Babbitt's 'thinking in and about music', especially as manifested in his teaching. Babbitt likewise either developed or wrote about and taught nearly all of the compositional techniques used in the piece. [ABSTRACT FROM AUTHOR]

The French region of Alsace has a strong Germanic tradition, in having shifted four times between France and Germany between 1870 and 1945. Hence, the question of regional and national identity is a recurring one in Alsatian cemeteries, which reflect changing identities in several ways. Starting out from the epitaphs and more precisely the names that are inscribed on the gravestones, the language chosen and the life narratives that are told, this study examines how Alsatian cemeteries express messages of identity intended to last, and also how they contribute to the construction of regional and national identities. Furthermore, the materiality of the tomb is taken into consideration. In sum, the study testifies to how identity operates beyond death. It shows how the Alsatian graves and their cemeteries are endowed with an agency on their own, making cemeteries participate to the construction of regional and national identity. [ABSTRACT FROM AUTHOR]

With the notable exception of modifications to memorials related to the Titanic, public transportation accidents have remained largely ignored by the academic community. This article fills a gap in the literature by developing a model to explain modifications which occur many years after the event. Such modifications, beyond the financial means of most individual families, are unexpected given that the lack of need to reinterpret the event, as often occurs with modifications to memorials which may have a wider social significance. The article develops a model using existing literature on transportation accident memorials, memory studies and death studies, pointing to the need for three factors: local approval, co-ordination (of both people and funds), and a trigger. In relation to the trigger, the model finds that this relates to the continuation of the bereavement process as well as potentially issues relating to 'dark tourism'. Having developed the model, it is tested against the case study of a modification made to a memorial for the world's largest single-plane crash, JAL flight JL123. The article finds, in addition to the model working for this case, there is a need for bereavement theory to be better used within studies on memorialisation. [ABSTRACT FROM AUTHOR]

When we occupy the spaces of war memorials, we respond with certain bodily comportments that relay the "truth" of those killed by war violence. Through a phenomenological examination of embodied responses to two war memorials, the Vietnam Veterans Memorial Wall and the Tomb of the Unknown Soldier at Arlington National Cemetery, I argue that social institutions employ bodies as a means of legitimizing a violence that is seen as redemptive. More specifically, I demonstrate how the redemptive quality of certain types of violence is an assumption replicated in social practices where individuals have learned the particular bodily skills of discourses surrounding redemptive violence. [ABSTRACT FROM AUTHOR]

This paper draws on a case study of Achill Henge, County Mayo, Ireland, to examine the interplay between economic crisis, rebel creativity and shifting geographies of commemoration. Built in 2011 in a remote part of the west of Ireland, Achill Henge is a highly contested monument. Unfinished and under perennial threat of demolition, the Stonehenge-like structure was originally conceived as a 'tomb of the Celtic Tiger', in reference to Ireland's ill-fated economic 'miracle' of the 1990s and 2000s. This paper examines this economic context before adopting two perspectives. Firstly, drawing on critical ideas about commemoration, we identify how the Henge remembers economic and political failure, materialising a unique site of subaltern memory. Situating it within memorial landscapes in Ireland, we explore how it can serve to critically analyse practices of traditional and contemporary commemoration. Secondly, we examine how its unsanctioned liminality produces a valuable, exemplary site at which numerous unregulated, playful, performative and political practices can be carried out, away from mainstream convention and commercial banality. [ABSTRACT FROM AUTHOR]

This article traces the biographical and geographical itinerancy of a sculpture created by the artist Khalifa Qattan in 1991-1993. It was conceived as a monument to the liberation of Kuwait and the memory of the women martyrs during the 1990 Iraqi invasion. By combining text, images and cartography, the article reconstructs the production process, the displacements, and the ‘sociological life’ of this monument by going beyond the multiple stages of an object’s life. This approach aims to capture the material and symbolic uses of this sculpture, the narratives it conveys, its appropriation by various people and the negotiations that take place among people as they move and locate it around Kuwait City. By considering this object in its overall trajectory, the biographical approach adopted articulates the changes in status during the life of an object that still occupies a relatively contested place in the visual and urban space. The study of this sculpture thus invites us to question the conditions of art production in relation to the artistic, historical and political contexts before and after the military invasion of Kuwait. [ABSTRACT FROM AUTHOR]

The Ipswich Railway Workshops War Memorial stands as a tribute to the men from the workshops who enlisted to serve in the First World War. Research into the efforts to raise funds, construct and dedicate the memorial provides insight into the culture and internal workings of the workshops, its workforce and its role within Queensland Railways. The cost of producing the memorial it was met through contributions from the workshops workforce, as well as in kind donations and provision of materials and equipment from the Railways. It was designed by the Queensland Railways architect Vincent Price. As it was located on Queensland Railway property it was the railway department's responsibility to ensure it was maintained and cared for just like any other asset in the Railway's portfolio. Despite these unique qualities the story of this memorial also runs parallel to the efforts of cities, towns and communities across Queensland and Australia to raise funds and build tributes to the members of their communities who served and died in the First World War. Communities across Queensland commissioned 61 similar memorials in response to the significant loss of community members as a result of the war. The Ipswich Workshops Memorial therefore reflects a broader aesthetic and commemorative trend. The legacy of this trend continues to influence aspects of community remembrance today. The Ipswich Workshops Memorial and many like it continue to serve as the focal point for commemorative activities on ANZAC and Remembrance Day. [ABSTRACT FROM AUTHOR]

The pain of war and genocide is often very physical and place-based. At the same time, displacement compels many of those who lost their loved ones to remember them and their homeland's violent past from afar. This article explores the territoriality and materiality of diaspora remembrance by looking at diaspora initiatives to remember victims of genocide and war in Rwanda and Sri Lanka. In Brussels, a memory conflict between supporters and critics of the Rwandan government is played out around a small monument. In rural United Kingdom, an envisioned memorial park to Tamils martyred in the struggle for independence illustrates how memorial spaces in the diaspora challenge official homeland state narratives of the past and carry meaning as a symbolic land for Tamils. Initiatives to plant trees, name streets and throw flowers on a river provide additional examples of how diaspora actors strive to anchor memory of atrocities physically and territorially. The article suggests that materiality and spatiality of memorialization takes on different meanings in a diasporic context, as initially 'meaningless' places are turned into self-referential sites for remembrance, and the establishment of more permanent memorial structures can form part of home-making processes in the country of settlement. [ABSTRACT FROM AUTHOR]

The production, unveiling, and reception of David Powers' public mural American Nocturne, 1932, in Elgin, Illinois illustrates ongoing challenges of publicly memorializing race terror. In 2007 the mural was dedicated and deceptively introduced by Powers as an allegory of the American Depression. In May 2016 two Elgin citizens recognized the mural depicted the lynch mob from the infamous photograph of the August 1930 lynchings of J. Thomas Shipp and Abram Smith in Marion, Indiana. Their post about it to a community Facebook page began a controversy. African American citizens lead the Elgin community in successfully protesting and demanding removal of the mural. Using the methods of participatory critical rhetoric, I analyze interviews with various community members to understand different perspectives on the mural and the artist's intent. I argue that epideictic theory explains why the artist's arguments about the meaning and intent of the mural could not withstand protestors' critical scrutiny. Powers departed from epideictic conventions in formulating his purpose and adapting to his audience, and his ethos could not compensate. I conclude that epideictic theory may help to explain other efforts to publicly acknowledge and memorialize incidents of race terror. [ABSTRACT FROM AUTHOR]

Lincoln Boyhood National Memorial is an example of one memorial site that has successfully managed to retain relevance for nearly one hundred years by adapting to changes in scholarship and the expectations of its visitors. Initially created as a purely commemorative site, it has evolved into one where visitors can actively engage with the Lincoln story. By embracing an interpretive approach to managing the site, the National Park Service has been able to add an educational component to the experience of visiting the memorial that complements its commemorative nature. These efforts demonstrate how a memorial site can evolve and remain relevant for future generations while honoring the wishes of past ones. [ABSTRACT FROM AUTHOR]

This research deals with the Teaching Learning Focus to investigate what prospective biology teachers have learned about teaching. The aim of the research was to investigate what future biology teachers have learned about teaching. The analytical tools of the Teaching Learning Focus focused on writings from 71 memorials of Biological Sciences degree students attending supervised internship in a public university. The results show that these prospective teachers centralize what they have learned about teaching in topics such as interests, attitudes, knowledge and skills, and also think about teaching as in articulation between their selves, their practices and their social context. We conclude that FADs are important analytical tools not only for teaching learning and for the training needs of prospective biology teachers, but also for their identity constitution. [ABSTRACT FROM AUTHOR]

This article argues that libation, often associated with the ancestors, artefacts, images and pre-Christian religious devotions, constitutes sources for articulating authentic African cultural history of Obang community in the Northwest Region of Cameroon. It highlights that among traditional memory carriers, the ritual of libation remains trust worthy and pervasive, even among communities challenged by globalisation and colonising effects of Christianity. The article demonstrates the immense potentials of libation as an epitome and stabiliser of cultural memory, and a maxim in cultural resilience in contemporary Africa. Thus, the article calls for revisiting this ancient ritual to expose its potentials as a veritable memory repertoire in cultural–historical studies, especially at a time when social change and modernism continue to challenge the memories of traditional societies. [ABSTRACT FROM AUTHOR]

After a genocide, leaders compete to fill the postwar power vacuum and establish their preferred story of the past. Memorialisation, including through building memorials, provides a cornerstone of political power. The dominant public narrative determines the plotline; it labels victims and perpetrators, interprets history, assigns meaning to suffering, and sets the post-atrocity political agenda. Therefore, ownership of the past, in terms of the public account, is deeply contested. Although many factors affect the emergence of a dominant atrocity narrative, this article highlights the role of international interactions with genocide memorials, particularly how Western visitors, funders, and consultants influence the government's narrative. Western consumption of memorials often reinforces aspects of dark tourism that dehumanise victims and discourage adequate context for the uninformed visitor. Funding and consultation provided by Western states and organisations – while offering distinct benefits – tends to encourage a homogenised atrocity narrative, which reflects the values of the global human rights regime and existing standards of memorial design rather than privileging the local particularities of the atrocity experience. As shown in the cases of Rwanda, Cambodia, and Bosnia, Western involvement in public memory projects often strengthens the power of government narratives, which control the present by controlling the past. [ABSTRACT FROM AUTHOR]

Silence appears frequently in discourses of the Holocaust – as a metaphorical absence, a warning against forgetting, or simply the only appropriate response. But powerful though these meanings are, they often underplay the ambiguity of silence's signifying power. This article addresses the liminality of silence through an analysis of its richly textured role in the memorial soundscapes of Berlin. Beyond an aural version of erasure, unspeakability, or the space for reflection upon it, I argue that these silent spaces must always be heard as part of their surrounding urban environment, refracting wider spatial practices and dis/order. When conventions are reversed – when the present is silent – the past can resound in surprising and provocative ways, collapsing spatial and temporal borders and escaping the ritualized boundaries of formal commemoration. This is explored through four different memorial situations: the disturbing resonances within the Holocaust Memorial; the transgressive processes of a collective silent walk; Gleis 17 railway memorial's opening up of heterotopic 'gaps' in time; and sounded/silent history in the work of singer Tania Alon. Each of these examples, in different ways, frames a slippage between urban sound and memorial silence, creating a parallel symbolic space that the past and the present can inhabit simultaneously. In its unpredictable fluidity, silence becomes a mobile and subversive force, producing an imaginative space that is ambiguous, affective and deeply meaningful. A closer attention to these different practices of listening disrupts a top-down, strategic discourse of silence as conventionally emblematic of reflection and distance. The contemporary urban soundscape that slips through the silent cracks problematizes the narrative hegemony of memorial itself. [ABSTRACT FROM AUTHOR]

Memories of the Japanese American Incarceration Camps during WWII vary widely across America. For some, memories of the incarceration are a focal point of their identity and a driver of political action. Others who underwent this imprisonment choose not to recall their experiences. Incarceration can haunt their descendants as an ever-present but silenced past. Broadly, the United States' relationship to this past is fractured. Activists invoke the incarceration as an affront to American values. As recently as 2017, politicians recall it as precedent for immigration bans and proposed legislation for the incarceration of minority groups. For many, it is not remembered at all, left out of the master narrative of American history. In this article, I discuss the dissonant memorialisations associated with seven detention facilities, key components to the infrastructure of mass removal and incarceration. Archaeology must actively engage with such uneven terrains of memory. [ABSTRACT FROM AUTHOR]