Routledge International Handbook of Memory Studies

Tota, Anna Lisa; Hagen, Trever

doi:10.4324/9780203762844

Cited by 20 publications

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“…It has transformed into an object of scholarly study, as indicated by the recent increase in books that attempt to trace the genealogy of the field and anthologies that seek to define a critical canon of memory studies. Collections like Cultural Memory Studies: An International and Interdisciplinary Handbook (Erll & Nünning, ), The Collective Memory Reader (Olick, Vinitzky‐Seroussi, & Levy, ), and the recent Routledge International Handbook of Memory Studies (Tota & Hagan, ) have been complemented by monographs which also focus on memory as a methodology such as Astrid Erll's Memory in Culture (), Patrick Hutton's The Memory Phenomenon in Contemporary Historical Writing: How the Interest in Memory Has Influenced Our Understanding of History (), Marek Tamm's Afterlife of Events: Perspectives on Mnemohistory (), and Martin Pogačar's Media Archaeologies, Micro‐Archives and Storytelling: Re‐presencing the Past (), just to name a few examples. The fact that academic presses such as Palgrave Macmillan and Routledge have series devoted to varieties of memory studies has served to further legitimize and promote the field, as has the appearance of journals such as History & Memory and Memory Studies and the formation of an international Memory Studies Association .…”

Section: The History Of Memory Studiesmentioning

confidence: 99%

Memory studies and the eighteenth century

Davis

2019

Literature Compass

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In Memory in Culture, Astrid Erll contends that if we want to understand the various crises of the present, we need to consider the “mental, discursive, and habitual paradigms that were formed in long historical processes – via cultural memory.” In the current climate of debates about the national past, it is timely to take stock of the field of memory studies, as such studies can help us understand, as Ann Rigney suggests, “how stories about the past emerge as common points of reference and, in the process, help to define collective identities.” This article will provide some background to the field of memory studies and discuss two important new directions in the field: a concern with the mediation of memory and an interest in postcolonial, transnational, and “traveling” memory. The specific objective is to consider the relevance of memory studies for scholars of 18th‐century literature and, conversely, the relevance of 18th‐century literature for the field of memory studies. The broader aim is to encourage further work that will focus attention on the constructedness of even the most long‐standing and pervasive national memories.

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Section: The History Of Memory Studiesmentioning

confidence: 99%

Memory studies and the eighteenth century

Davis

2019

Literature Compass

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“…In particular, this research is based on the principle of feminist CRT practice in oral history, which draws from the interviewees' memory and reflections as a tool for feminist and POC intersectional scholarship (Gluck & Patai, 1991;Johnson, 2000;Matsuda, 1991). Collective memory studies are an essential method for urban sociology to construct a history of space and illuminate social inequalities (Hunter et al, 2018;Tota & Hagen, 2015). While research on female leadership exists, primarily in an urban context, there is limited research on the impact of racial-ethnic identity and activism (Hicks, 2010;Yoder et al, 1998;Yosso, 2005).…”

Section: Introductionmentioning

confidence: 99%

Advocating for Latino equity: Oral histories of Chicago women leaders

García

2021

Journal of Race, Ethnicity and the City

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Although a number of scholars have studied the dynamics of migration from Puerto Rico to Chicago, which accelerated between the early 1950s and late 1960s, the story of Puerto Rican community leaders, in particular women, has been largely neglected by urban scholars. To fill this gap, oral histories utilizing the critical race theory lens were conducted with Puerto Rican women who were part of the Puerto Rican Agenda-a think tank of community leaders within the Humboldt Park area, where Puerto Ricans have concentrated historically. The oral histories covered topics from their migration story to their leadership development to their struggles creating a more just city. The counterstories of three Latina pioneras-Hilda Frontany, Aida Maisonet Giachello, and Ada Lopez-are told to highlight how their identity led them to "shape change" not only in their own lives and families but their communities and beyond.

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“…Rubin (2002, p. 81) [16], for example, in illustrating the aim of cultural history, states that access to the past is mediated through "the informed subjectivity, human and intellectual capacities for categorization, system-building and empathy" and the "wishes, pain, hope and desire" that the historian brings to the past. Moreover, if we switch from the historical realm to that of memory studies, statements about the constructive nature of any process of remembrance and/or narration of the past become even more radical (Tota and Hagen, 2016) [17]. If one considers the current debate on memory studies (Olick, Vinitzky-Seroussi and Levy, 2011) [18], concerns about the authenticity of the past can be framed in terms of the past's structure of plausibility.…”

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confidence: 99%

“I Know, But I Have No Proof”. Authentic Past and Aesthetic Truth in Post-War Italy

Tota¹

2017

JSS

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Following the perspective of cultural trauma theorists, this article focuses on the public memory of Italy's recent past, specifically the period of the so-called strategy of tension, a still very obscure time in the country's recent history and which includes the terrorist attacks that took place from 1969 to 1993 in several Italian cities. When "State Terror" occurred in Italy, access to legal and political arenas was systematically denied and the cultural trauma process could be performed only in aesthetic arenas. This article focuses on the role played by the cinema and other cultural artefacts in producing an "aesthetic truth" of Italy's recent past. By analysing the main features of the artistic and cultural representation of this past, the status of this "truth" is questioned and compared to that produced for example in the legal arena. When narrating the past, it is difficult for movies (and the same can be argued for other cultural artefacts) to achieve the quality standards of historical narration. When they narrate the past, they can remain a "second best" option. In the Italian case a very interesting trend can be noted: public knowledge of highly controversial events is often narrated using fiction. "Fiction" (more than a documentary film) seems to create the conditions that make possible the public communication of what all the citizens know but no one has proof to document. On 14 November 1974, Pier Paolo Pasolini, an Italian intellectual, published a long article under the headline "What is this coup d'état? I know" in Corriere della Sera, a leading newspaper in Italy. Probably Pasolini was murdered because of that article: he died on 2 November 1975. In that article he wrote about the strategy of tension in Italy and he said: "I know, but I have no proof". In Italy, many citizens, many intellectuals, many artists know, but they still have no proof. For this reason they can narrate the recent past of the country only by using fiction and theatrical performance. Will the aesthetisation of the recent past remain the only way to carry out the trauma process in Italian society? Keywords

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Routledge International Handbook of Memory Studies

Cited by 20 publications

References 0 publications

Memory studies and the eighteenth century

Memory studies and the eighteenth century

Advocating for Latino equity: Oral histories of Chicago women leaders

“I Know, But I Have No Proof”. Authentic Past and Aesthetic Truth in Post-War Italy

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