Unsettling Memories

Settling and Unsettling Memories analyses the ways in which Canadians over the past century have narrated the story of their past in books, films, works of art, commemorative ceremonies, and online. This cohesive collection introduces readers to overarching themes of Canadian memory studies and brings them up-to-date on the latest advances in the field. With increasing debates surrounding how societies should publicly commemorate events and people, Settling and Unsettling Memories helps readers appreciate the challenges inherent in presenting the past. Prominent and emerging scholars explore the ways in which Canadian memory has been put into action across a variety of communities, regions, and time periods. Through high-quality essays touching on the central questions of historical consciousness and collective memory, this collection makes a significant contribution to a rapidly growing field.

Tarlo provides and account of India's Emergency of 1975-97, when Indian democracy was temporarily suspended in favor of authoritarian rule, from the perspective of ordinary people.

Tarlo provides and account of India's Emergency of 1975-97, when Indian democracy was temporarily suspended in favor of authoritarian rule, from the perspective of ordinary people.

This volume examines the ways in which the violent legacies of the twentieth century continue to affect the concept of the nation. Through a study of three societies’ commemoration of notorious episodes of 1930s state violence, the author considers the manner in which attention to the state violence authoritarianism, and exclusions of the last century have resulted in challenges to dominant conceptions of the nation. Based on extensive ethnographic research in El Salvador, Spain, and the Dominican Republic, Remembering Violence focuses on new public sites of memory, such as museum exhibitions, monuments, and commemorations – powerful loci for representing ideas about the nation – and explores the responses of various actors – civil society, government, and diasporic citizens – as well as those of UN and other international agencies invested in new nation-building goals. With attention to the ways in which memory practices explain ongoing national exclusions and contemporary efforts to contest them, this book will appeal to scholars across the social sciences and humanities with interests in public memory and commemoration.

This book critically examines the ways that collective pasts are commemorated and contested in a wide variety of national locations, media and genres. Collective remembering is a dynamic process, through which narratives about the past, about ‘us’ and ‘them’ as well as beliefs, values and affective conditions contained in these stories, are produced and reproduced. This facilitates room for not only the creation of unity but also the potential for contestation and conflict, given that different interpretations of the past are often vehicles for opposing political interests. This book reflects the geographical breadth and empirical depth of the field of collective remembering. Foregrounding the idea that collective remembering always entails contestation, individual chapters explore the field of remembrance and its various genres – including murals, memorials, museums, newspaper reports, speeches, textbooks, tourist tours and the work of community activists – in countries as diverse as Australia, Germany, Hungary, Israel, Italy, Portugal, South Africa, the UK and the USA. This volume will be of interest to advanced students and researchers in Critical Discourse Studies, Memory Studies, Rhetoric and Communications. The chapters in this book were originally published in Critical Discourse Studies.

No one experienced the Freedom Summer of 1964 quite like Tracy Sugarman. As an illustrator and journalist, Sugarman covered the nearly one thousand student volunteers who traveled to the Mississippi Delta to assist black citizens in the South in registering to vote. He interviewed these activists, along with local civil rights leaders and black and white residents not directly involved in the movement, and drew the people and events that made the summer one of the most heroic chapters in America’s long march toward racial justice. In We Had Sneakers, They Had Guns, Sugarman chronicles the sacrifices, tragedies, and triumphs of that unprecedented moment in our nation’s history. Two white students and one black student were slain in the struggle, many were beaten and hundreds arrested, and churches and homes were burned to the ground by the opponents of equality. Yet the example of Freedom Summer—whites united with heroic black Mississippians to challenge segregation—resonated across the nation. The United States Congress was finally moved to pass the civil rights legislation that enfranchised the millions of black Americans who had been waiting for equal equal rights for a century. Blending oral history with memoir, We Had Sneakers, They Had Guns draws the reader into the lives of the activists, showing their passion and naïveté, the bravery of the civil rights leaders, and the candid, sometimes troubling reactions of the black and white Delta residents. Sugarman’s unique reportorial art, in word and image, makes this book a vital record of our nation’s past.

Asha Nadkarni contends that whenever feminists lay claim to citizenship based on women’s biological ability to “reproduce the nation” they are participating in a eugenic project—sanctioning reproduction by some and prohibiting it by others. Employing a wide range of sources from the United States and India, Nadkarni shows how the exclusionary impulse of eugenics is embedded within the terms of nationalist feminism. Nadkarni reveals connections between U.S. and Indian nationalist feminisms from the late nineteenth century through the 1970s, demonstrating that both call for feminist citizenship centered on the reproductive body as the origin of the nation. She juxtaposes U.S. and Indian feminists (and antifeminists) in provocative and productive ways: Charlotte Perkins Gilman’s utopian novels regard eugenic reproduction as a vital form of national production; Sarojini Naidu’s political speeches and poetry posit liberated Indian women as active agents of a nationalist and feminist modernity predating that of the West; and Katherine Mayo’s 1927 Mother India warns white U.S. women that Indian reproduction is a “world menace.” In addition, Nadkarni traces the refashioning of the icon Mother India, first in Mehboob Khan’s 1957 film Mother India and Kamala Markandaya’s 1954 novel Nectar in a Sieve, and later in Indira Gandhi’s self-fashioning as Mother India during the Emergency from 1975 to 1977. By uncovering an understudied history of feminist interactivity between the United States and India, Eugenic Feminism brings new depth both to our understanding of the complicated relationship between the two nations and to contemporary feminism.

Holy Terrors presents exemplary original work by fourteen of Latin America’s foremost contemporary women theatre and performance artists. Many of the pieces—including one-act plays, manifestos, and lyrics—appear in English for the first time. From Griselda Gambaro, Argentina's most widely recognized playwright, to such renowned performers as Brazil's Denise Stoklos and Mexico’s Jesusa Rodríguez, these women are involved in some of Latin America's most important aesthetic and political movements. Of varied racial and ethnic backgrounds, they come from across Latin America—Argentina, Brazil, Mexico, Chile, Colombia, Puerto Rico, Peru, and Cuba. This volume is generously illustrated with over seventy images. A number of the performance pieces are complemented by essays providing context and analysis. The performance pieces in Holy Terrors are powerful testimonies to the artists' political and personal struggles. These women confront patriarchy, racism, and repressive government regimes and challenge brutality and corruption through a variety of artistic genres. Several have formed theatre collectives—among them FOMMA (a Mayan women’s theatre company in Chiapas) and El Teatro de la máscara in Colombia. Some draw from cabaret and ‘frivolous’ theatre traditions to create intense and humorous performances that challenge church and state. Engaging in self-mutilation and abandoning traditional dress, others use their bodies as the platforms on which to stage their defiant critiques of injustice. Holy Terrors is a unique English-language presentation of some of Latin America's fiercest, most provocative art. Contributors Sabina Berman Tania Bruguera Petrona de la Cruz Cruz Diamela Eltit Griselda Gambaro Astrid Hadad Teresa Hernández Rosa Luisa Márquez Teresa Ralli Diana Raznovich Jesusa Rodríguez Denise Stoklos Katia Tirado Ema Villanueva