The (Im)Movable Monument

2019 ◽  
Vol 41 (4) ◽  
pp. 56-82
Author(s):  
Joy M. Giguere
Keyword(s):  
Twentieth Century ◽  
Civil War ◽  
Urban Development ◽  
Public History ◽  
Public Memory ◽  
Lost Cause ◽  
The South ◽  
The People ◽  
The Relationship

Despite Kentucky’s status as a Union state during the Civil War, the Louisville Confederate Soldiers’ Monument, erected in 1895 by the Kentucky Confederate Women’s Monument Association, is a representative example of Confederate memorialization in the South. Its history through the twentieth century, culminating in the creation of the nearby Freedom Park to counterbalance the monument’s symbolism and its ultimate removal and relocation to nearby Brandenburg, Kentucky, in 2017, reveals the relationship between such monuments and the Lost Cause, urban development, public history, and public memory. Using the Louisville Confederate Monument as a case study, this essay considers the ways in which Confederate monuments not only reflect the values of the people who erected them, but ultimately shape and are shaped by their environments.

SOUTHERN IRISH NATIONALISM AS A HISTORICAL PROBLEM

2007 ◽  
Vol 50 (1) ◽  
pp. 197-223 ◽  
Author(s):  
JOHN M. REGAN
Keyword(s):  
Twentieth Century ◽  
Civil War ◽  
Northern Ireland ◽  
State Formation ◽  
Public History ◽  
The South ◽  
Irish Nationalism ◽  
Democratic State ◽  
Methodological Problems ◽  
Revolutionary Period

To what extent has the recent war in Northern Ireland influenced Irish historiography? Examining the nomenclature, periodization, and the use of democracy and state legitimization as interpretative tools in the historicization of the Irish Civil War (1922–3), the influence of a southern nationalist ideology is apparent. A dominating southern nationalist interest represented the revolutionary political elite's realpolitik after 1920, though its pan-nationalist rhetoric obscured this. Ignoring southern nationalism as a cogent influence has led to the misrepresentation of nationalism as ethnically homogeneous in twentieth-century Ireland. Once this is identified, historiographical and methodological problems are illuminated, which may be demonstrated in historians' work on the revolutionary period (c. 1912–23). Following the northern crisis's emergence in the late 1960s, the Republic's Irish governments required a revised public history that could reconcile the state's violent and revolutionary origins with its counterinsurgency against militarist-republicanism. At the same time many historians adopted constitutional, later democratic, state formation narratives for the south at the expense of historical precision. This facilitated a broader state-centred and statist historiography, mirroring the Republic's desire to re-orientate its nationalism away from irredentism, toward the conscious accommodation of partition. Reconciliation of southern nationalist identities with its state represents a singular political achievement, as well as a concomitant historiographical problem.

Appropriation redux: Re-reading George Ryga through Jeannette Armstrong

2020 ◽  
pp. 002198942097099
Author(s):  
Kit Dobson
Keyword(s):  
The People ◽  
Critical Attention ◽  
The Subject ◽  
Jeannette Armstrong ◽  
George Ryga ◽  
Alliance Building ◽  
The Relationship ◽  
Indigenous Voices ◽  
Literary Circles

This article considers ways in which solidarity across social locations might play a role in fostering resistance to vulnerability. My case study consists of the interplay between writer George Ryga’s 1967 play The Ecstasy of Rita Joe, and Okanagan Syilx writer and scholar Jeannette Armstrong’s 1985 novel Slash. While these important and compelling texts have received considerable critical attention, the relationship between them is less known. I am interested in the ways in which these works both hail and offer critique to one another. In the contemporary moment, in which questions of appropriation of voice have gained renewed urgency within Indigenous literary circles in Canada and beyond, the relationship between these texts speaks to a historical instance of appropriation, but also of complicated processes of alliance-building. These texts demonstrate how agency resides across multiple locations. I read Ryga’s Ecstasy in the context of Jeannette Armstrong’s engagement with the play within her novel Slash in order to witness the ways in which Ryga’s text, in the first instance, appropriates Indigenous voices into an anti-capitalist critique. In the second instance, I read these works in order to witness how they might simultaneously provide a compelling analysis of the vulnerability of the people who are the subject of both works. I compare the interplay between Armstrong and Ryga’s texts to contemporary debates around appropriation in order to argue for the historical and ongoing importance of these two works as precursors to the crucial interventions made by contemporary Indigenous critics and writers.

The Greek Historiography of the 1940s. A Reassessment

Südosteuropa ◽  
2017 ◽  
Vol 65 (2) ◽  
Author(s):  
Polymeris Voglis ◽  
Ioannis Nioutsikos
Keyword(s):  
Civil War ◽  
Public History ◽  
Public Memory ◽  
Analytical Framework ◽  
Social Dimension ◽  
The Past ◽  
Greek Historiography ◽  
Historical Production

AbstractThis article is a presentation and assessment of Greek historiography and public memory regarding the period of occupation, resistance, and civil war during the 1940s. It examines historical production and culture from the first postwar years until 1989 and explains the relation between the changing visions of the past and political developments in Greece. In addition, the article evaluates works published after 2000, in order to discuss new questions that were raised and the ensuing debates. The article concludes by addressing themes that can revitalize the study of the 1940s, regarding the analytical framework, the territorial and social dimension, the notion of state and governmentality, and the issue of memory and public history.

“Fractions of Men”: Engendering Amputation in Victorian Culture

1997 ◽  
Vol 39 (4) ◽  
pp. 742-777 ◽  
Author(s):  
Erin O'Connor
Keyword(s):  
Civil War ◽  
The Body ◽  
Altered State ◽  
Complete Understanding ◽  
Victorian Culture ◽  
After Effects ◽  
The Mind ◽  
The Relationship

In 1866, theAtlantic Monthlypublished a fictional case study of an army surgeon who had lost all of his limbs during the Civil War. Written anonymously by American neurologist Silas Weir Mitchell, “The Case of George Dedlow” describes not only the series of wounds and infections which led to the amputation of all four of the soldier's arms and legs but also the after-effects of amputation. Reduced to what he terms “a useless torso, more like some strange larval creature than anything of human shape,” Dedlow finds that in disarticulating his body, amputation articulates anatomical norms. His observation of his own uniquely altered state qualifies him to speak in universal terms about the relationship between sentience and selfhood: “I have dictated these pages,” he says, “not to shock my readers, but to possess them with facts in regard to the relation of the mind to the body” (1866:5). As such, the story explores the meaning of embodiment, finding in a fragmented anatomy the opportunity to piece together a more complete understanding of how the body functions—physically and metaphysically—as a whole.

Developing accommodation business for specificial interest tourism: The case study in Ngawas Village, Pasuruan Disctrict, Province of East Java

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Sugito .
Keyword(s):  
Main Concept ◽  
Traditional Art ◽  
The People ◽  
Marketing Activities ◽  
The Moment ◽  
Online Travel ◽  
Relationship Of ◽  
The Village ◽  
The Relationship

The land of PT. Hide Way Resort area 1.5 ha located in Ngawas village, Pasuruan district, the Province of East Java as at the moment is empty land and was planted apple, Eugenia, red pepper, carrot and pumpkin. It is located almost at the same position with Mount Bromo. This land will be used for accommodation/ 10 villas and 1 meeting room. We have to drive and reach this location and can see the apple and vegetable garden on mountain also very nice scenery we can see during passing this location. Also, we can see the natural village condition and warmest welcome from the people around the village. We can see very nice view after reaching the place by mountain view and hill view in cold temperature. Land and hill view on the area make more convenience to stay here. This kind of location can attract the tourist especially specific tourist who always searching the specific destination since it is not many kind of destination like this. The main concept is staying in natural village with traditional villa style and look like the traditional house in the past including the furniture inside and how to cook the food by burning wood. This kind of situation also completed with daily people around the village activities, traditional art show, transportation to Mount Bromo, golf and other activities. The marketing activities will be used the relationship of the owner with his channels abroad, community of specific tourism, you tube, social media and online travel agent. This opportunity is good to be developed in the future since many inquiry for this kind of specific tourism, increase the economy level of the people around and create more working opportunity.

From Ajanta to Sydenham: ‘Indian’ art at the Sydenham Palace

After 1851 ◽  
2017 ◽  
Author(s):  
Sarah Victoria Turner
Keyword(s):  
Twentieth Century ◽  
Material Culture ◽  
The South ◽  
Crystal Palace ◽  
A Site ◽  
Victoria And Albert Museum ◽  
Great Exhibition ◽  
Indian Art

Discussions about the display of Indian art and material culture in the Victorian imperial metropolis have largely focused on the Great Exhibition of 1851 and its progeny, the South Kensington Museum (now the Victoria and Albert Museum). However, the Crystal Palace at Sydenham Hill was an important, but much overlooked, location of imperial and colonial display well into the twentieth century. This essay begins by examining the Sydenham Palace at a site of imperial spectacle from its opening in 1854 and well into the twentieth century. Relevant events included the African Exhibition of 1895, the opening of the Victoria Cross Gallery in the same year and the Colonial Exhibition of 1905, and the display of Major Robert Gill’s copies of the frescoes from the Buddhist rock-cut temples at Ajanta in India (until they were destroyed by fire in 1866). The crowning occasion in the Sydenham series of imperial events was the Festival of Empire in 1911 which celebrated the ascension of George V as ‘King-Emperor’. Taking the 1911 Festival as a case study, this essay explores the complex and often conflicting narratives of empire that were communicated through the courts and grounds at Sydenham.

Volunteers for Anarchy: The International Group of the Durruti Column in the Spanish Civil War

2020 ◽  
pp. 002200942094992
Author(s):  
Morris Brodie
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
Complex Nature ◽  
Melting Pot ◽  
International Group ◽  
Political Views ◽  
The Relationship ◽  
Hostile Attitude

This article explores the twin phenomena of anti-fascism and transnational war volunteering through a case study of the International Group of the Durruti Column in the Spanish Civil War. This anarchist-led unit comprised approximately 368 volunteers with a variety of political views from at least 25 different countries. The article examines the relationship between these foreign volunteers and their Spanish hosts (both anarchist and non-anarchist), through, firstly, the militarization of the militias in the winter of 1936, and, secondly, the group’s role in the May Days of 1937 and its aftermath. These episodes show the often hostile attitude of Spaniards to foreigners within Spain and challenge the characterization of the conflict as distinctively internationalist. The lives of these volunteers also highlight the continuity of anti-fascism between the interwar and wartime period, with Spain acting as an ‘anti-fascist melting pot’ where volunteers of different backgrounds and political leanings came together in a common cause. This commitment, however, was not unconditional, and was frequently challenged due to circumstances within Spain. Through studying these transnational fighters, we have a more comprehensive understanding of the complex nature of twentieth century anti-fascism.

As Seen on TV: Putting the NBC Opera on Stage

2018 ◽  
Vol 71 (3) ◽  
pp. 595-654 ◽  
Author(s):  
Danielle Ward-Griffin
Keyword(s):  
Twentieth Century ◽  
Small Scale ◽  
Television Watching ◽  
New Model ◽  
The 1950S ◽  
La Traviata ◽  
The Relationship ◽  
Opera Houses

This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.

Herman Trunk’s Cubist Crucifix: A Case Study

2011 ◽  
Vol 15 (5) ◽  
pp. 628-647
Author(s):  
Cynthia Fowler
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Alternative Perspective ◽  
Time Period ◽  
The Relationship

Abstract American modern artist Herman Trunk (1894–1963) serves as a noteworthy case study in a consideration of the relationship between religion and American modern art in the first half of the twentieth century. One of his few overtly religious works, Crucifix (c. 1930), stands out for its intriguing convergence of a most important Catholic subject with Cubist art. This essay examines Trunk’s Cubist Crucifix in relation to other Crucifix and Crucifixion paintings created around the same time period. Trunk’s Crucifix is unique among abstract paintings of religious subjects in the artist’s distinctive use of Cubism to create a quiet meditation on the crucified Christ. In some respects affirming the long tradition of Crucifix and Crucifixion paintings, Crucifix also counters those traditions to provide an alternative perspective on the Crucifix as a subject. Through his Crucifix painting, Trunk successfully brings together two traditions that historically have been viewed as diametrically opposed—Catholicism and Cubist abstraction—to produce a devotional image of the Crucifix as a form of veneration.

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