The unmastered past: decolonization and Dutch collective memory

2000 ◽  
Vol 8 (1) ◽  
pp. 77-85 ◽  
Author(s):  
Vincent J. H. Houben

The decolonization of Indonesia is far from being a peripheral issue for Dutch national identity. Since the 1970s, but especially in 1995, public debate has erupted in an attempt to come to terms with this part of national history. The protestant ethic is still so strong that discussions revolve in particular around morality and a final verdict. Opinion leaders and historians have, however, not been able to solve the issue, so that the way in which the Netherlands lost their Southeast-Asian colony continues to trouble the Dutch self-image.

2021 ◽  
pp. 175069802110179
Author(s):  
Dušan Lužný

The paper explains the current dominance of unbelievers in Czech society as a consequence of the replication of the narrative template about religion, which is part of the national collective memory. This narrative template manifests itself in certain events provided by the interpretative framework. The aim of the study is to identify the Czech religious narrative template based on the analysis of public debate on the restoration of the Marian Column in Prague. The paper shows that a key element of this narrative template is the conflict between Catholicism and Protestantism, which has not been resolved in the course of Czech history and is replicated in contemporary modern society through a discussion of the ‘meaning of Czech history’. This split has become a part of Czech national identity and its long-term consequence is the shift of Czech society away from religion.


Asian Survey ◽  
2007 ◽  
Vol 47 (5) ◽  
pp. 683-704 ◽  
Author(s):  
Alexander Bukh

This article examines the narratives of wartime victimhood and victimization in Japan's junior high school history textbooks in the early 1980s and in contemporary times from the perspective of national identity. Unlike most existing scholarship, this article argues that the narrative regarding the wartime suffering of the Japanese people can be seen as inducing a critical perspective on imperial wars and their disastrous impact on ordinary people. It also argues that contemporary narratives contest the notion of a monolithic Japanese identity and challenge Japan's monopoly over writing its own national history.


2020 ◽  
pp. 236-249
Author(s):  
Caterina Soliani

The purpose of this work is to contribute to the continuous growth of the art world (Street Art in particular) and to discuss how it is essential for the discovery of artists. These artists have been pioneers and forerunners of new pictorial techniques, freeing creative and psychological flair, and combining the latter with the artistic technology that promises great things despite limited materials.  The intention of this article is to consider the elements of artistic expression that are less commonly subject to discussion, such as the world of Street Art. This form of artwork has not always been understood or accepted, with street artists waiting for the opportune moment to express the narrative, experiences, and emotions of society through their artwork, a power that unites sentiment and encourages change.  It is art which affects the community, the population and society. It is designed above all others to become part of the collective memory through violence of image and colour.  This project led me to come into contact with one of the many artistic artefacts of the Street Art movement, the Keith Haring’s mural in Amsterdam, a piece that makes me. understand and appreciate the problems inherent to these type of works, simple, synthetic, but never simplistic.  Therefore, a project, a study and a restoration hypothesis were conducted on one of the many works by Haring. The purpose of this was to shed light once again on the mural made in 1986 by the artist, situated in the Groothandeles Market of Amsterdam. No longer visible for thirty years, the mural was covered by insulation panels placed two years after its creation. With professors Antonio Rava and William Shank, the association Keith Haring Foundation of New York, the Stedelijk Museum of Amsterdam, in collaboration with the gallery Vroom & Varossieau, specialised in road art, on 8 June, the large metal sheet panels were removed and one of the greatest murals by Haring could once again be admired.


Author(s):  
Nele Bemong

Between 1830 and 1850, practically out of nowhere there came into beinga truly 'Belgian' literature, written boch in Flemish and in French, but aimedat a single goal: the creation of a Belgian past and the conscruction of aBelgian national identity. The historical novel played a crucial role in thisconscruction and representation of a collective memory for the Belgian statejust out of the cradle. The prefaces to these historical novels are characterizedboth by the central role granted to the representacion of Flanders as the cradleof nineteenth-century Belgium, and by the organically and religiously inspiredimagery. Attempts were made to create an intimate genealogical relationshipwith the forefathers, in order to make the Belgian citizens feel closer to theirrich heritage. Through the activation of specific recollections from theimmense archive of the collective cultural memory, Belgian independencefound its legitimization both towards the international community andtowards the Belgian people.


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