‘Musicking’ children from the Bohemian lands: nurtured and hidden musical practices on both sides of the Iron Curtain

Based on an analysis of musical childhood memories from over 80 Germans from the Bohemian lands and historical evidence, this article investigates processes of social and political integration and assimilation of German children and young adults who, in the aftermath of the Second World War, were either expelled to Germany or remained in their Bohemian homelands. Memories of Germans expelled to West Germany disclose the various ways in which musical repertoire and musical practices are able to mitigate both the loss of the homeland and the distressing overall effects of expulsion, as well as reveal how music facilitates the building of a new sense of belonging in the face of geographic displacement and material dispossession. The study further highlights how the reframing and even silencing of musical practices on the other side of the Iron Curtain in Czechoslovakia affected processes of social-identity reconstruction until and after the 1989 fall of Communism. Results of this study foreground that individual musical experiences reveal new historical narratives of how German expellees used and still use musical practices to negotiate intercultural power relationships and rebuild a sense of belonging in their respective post-war environment in West Germany or Czechoslovakia/Czech Republic.     

By the People,for the People. The Case of a Community Museum of Traumatic Greek Heritage

Abstract

This article will delineate the history and activities of the Museum of Political Exiles of Ai Stratis in Greece. The museum was founded in the 1980s by a group of former inmates who were banished in the North Aegean island of Ai Stratis, a site of political confinement between 1920s and 1960s. Since its inception, the museum has aspired to be a platform of communication, a place of healing that is by the people for the people. The aim here is to examine how this was achieved and what lessons have been learned from the endeavours of an organization that deals with a rather traumatic chapter of modern Greek history. Emphasis will be placed especially on what role the subjects of history have assumed in the design of the permanent exhibition and the educational and cultural activities.     

THE SOVEREIGNTY OF MODERN TIMES: DIFFERENT CONCEPTS OF TIME AND THE MODERNIST PERSPECTIVE

Given World and Time is a collection of essays that summarizes much of the recent work on the theory of time, including cultural, political, and social conceptualizations of temporality. The grounding narrative of this collection, roughly stated, leads from the German and German‐Jewish ideas of a temporality of crisis developed in the 1920s, to the French poststructuralism of the 1960s and 1970s, and concludes with the American syntheses of the 1980s and 1990s. Methodologically, the book weaves together different historical narratives with a new emphasis on their temporal dimension, all seen from the perspective of critical theory and recent cultural critique. However, it is interesting to point out that the majority of the articles do not challenge the classic critical tools of modernism, in spite of the frequent reference to poststructuralist critique. The volume editor has also not acknowledged more recent work that treats similar topics and themes through the application of a radical political critique, most significantly the work associated with biopolitics and the so‐called theological turn.     

中国早期文明研究中的几个问题

本文提出了有关中国早期文明研究的几个问题:第一,对中国古代文明中相关文化的崩溃和消失现象应该予以重视和研究;第二,在古代文明研究中要注意“中国”概念的形成和使用问题, 对一些基本概念要进行分析,对“中国”观念认同的形成及其所包涵文化的融合和变迁进行了研究; 第三,利用“集体记忆”理论,对炎黄传说形成过程及其本质作了初步分析,结合疑古派成果,认为将炎黄传说作为史前古史框架使用应慎重考虑。     

Remembering an Industrial Landscape

Abandoned industrial factories and decaying communities have become a common sight in many places throughout the western world. Since the beginning of the postindustrial age communities have needed to make decisions about how to deal with these industrial landscapes. The celebration and interpretation of these places become important in a region's heritage. The struggle between labor and capital to control the meaning of the past is ongoing. Often, when under the control of government agencies, the story of labor is overshadowed by the benefits of industrial and engineering feats. Working-class histories, which are readily available for public interpretation, are omitted or downplayed in an industrial site's official memory.Virginius Island, located in Harpers Ferry National Historical Park, is one example where a working-class history is available for public interpretation, although the park continues to promote industrial heritage over working-class heritage. While archaeological investigations over the past several decades on the island have mainly focused on recovering signatures of its industry, recent work has explored the lives of the workers and their families who toiled in this industrial community. The latest effort to stabilize above-ground ruins that continues into the early twenty-first century has concentrated exclusively on the industrial sites. The interpretation of the island and the development of trails have made many of the industrial ruins accessible to the public. Today the National Park Service spends considerable time protecting, stabilizing, and interpreting the industrial sites on the park's landscape. It is obvious that the histories fading from the official memory are those that belong to the craft-oriented and working-class community.     

THE MANIFESTO,THE TIMELINE,AND THE MEMORY SITE: THE 22 JULY 2011 ATTACKS IN NORWAY AND THE CHRONOPOLITICS OF GENRE

In addition to being heinous crimes, acts of terrorism are complex chronopolitical events. Perpetrators, victims, survivors, families, and authorities manage their relationship to the events by engaging with and giving shape to time, or, rather, to a plurality of times. To perform this time work, they avail themselves of different genres, which serve as chronopolitical tools. This article discusses three such genres: the manifesto, the timeline, and the memorial site. These genres belong not only to different phases of the terror attacks but also to different actors. They are used to shape temporal progression in ways that enable specific forms of action, survival, and memory. The article takes the 22 July 2011 attacks in Norway as an example to map and analyze the role of these chronopolitical genres in managing the multiple times of terror.     

WHAT,AT LONG LAST,IS HISTORICAL THEORY FOR? REFLECTIONS ON HISTORICAL THEORY IN A POST-TRUTH WORLD

The term “post-truth” is a capacious trope that collects threats to the stability of shared knowledge on many fronts—digitally spread disinformation, ignorance and resistance to science, unabashed lies in the public sphere, mythologizing by resurgent nationalist forces, and so on. History is particularly vulnerable to this array. Post-truth threats to serious history produced to professional standards for research and reasoning by historians free of coercion, intimidation, or pressures for co-optation are too blatant to need explanation. Avenues of response to the politicizing of history have been protests by public intellectuals and academics and a growing scholarly literature recording the imposition of memory laws by the police powers of numerous states. Attacks on empirical history, and the academic freedom required to sustain it, provoke clear responses, but the situation of historical theory is more problematic. Historical theory is a superstructure of analysis that presupposes the free production of history that invites and justifies the cultural work of theorizing. Reading Karen S. Feldman's Arts of Connection: Poetry, History, Epochality, an erudite, philosophical contribution to historical theory advancing a severe critique of history's fundamental powers of representation against a widening background of nationalist state-sponsored policing of history, produced an acute cognitive dissonance in this reviewer. In this essay, I frankly acknowledge this dissonant experience and lay out some of the most egregious causes of it in history distorted and undermined to nationalist ends in Russia, Poland, Hungary, and beyond. I pose the question of whether the intellectual work of theorizing history can continue with any confidence when the ground on which theory stands is being eroded and distorted.     

TYING MEMORY TO THE GROUND

In the 1980s Pierre Nora, one of France's most prominent historians, developed the concept of lieux de mémoire (places of memory). Studies of such places where, in Nora's words, “memory crystallizes and is being diffused,” were conducted and published in France and in other European countries in the ensuing decades. Marc Andre Matten's collection of essays, Places of Memory in Modern China: History, Politics, and Identity, is the first methodological attempt to use Nora's theoretical guidelines in the context of greater China (mainland China, Hong Kong, and Taiwan). The book explores sites that are connected with three of China's founding leaders, and with some of its constitutive moments as a nation. Using a variety of research methods, the articles in this book concentrate on the years of the People's Republic, taking the reader from the early revolutionary phase of its short and turbulent history, through the disaster and the chaos of the 1960s and the early 1970s, to the current postsocialist era. The articles in the book examine the local: an archeological site, a memorial hall, a mausoleum, a museum, a park, and a public garden, in order to understand how each one of these locales reflects broader vicissitudes of memory and changes of identity in China.     

Domestic destinies: colonial spatialities,Australian film and feminist cultural memory work

Elsa and Charles Chauvel's 1955 film Jedda was the first Australian feature film to cast Aboriginal actors in lead roles. The film was also unusual in the context of Australian film of the time for its rural domestic setting. Because the film explored the experiences of its lead character – Jedda – as an Aboriginal child adopted by a white woman, it is also one of the few films of the period to deal with colonial legacies in its attention to policies and practices of assimilation. The twin processes of racialisation and gendering of space in Jedda have been responded to by Tracey Moffatt in her surrealist short film Night Cries. This article uses the notion of intimate geographies to examine the production of relationships of power within domestic space that both films explore. The temporal and spatial practices deployed by the female figures within each film make visible a set of possible transformations of, as well as continuities within, enduring colonial power relations. Moffatt's retelling and respatialising of the Jedda narrative, however, is ultimately understood as a specifically feminist practice of cultural memory work, suggesting that struggles over memory are also struggles over place.