"Latin American comics and graphic novels have a unique history of addressing controversial political, cultural, and social issues. This volume presents new perspectives on how comics on and from Latin America both view and express memory formation on major historical events and processes. The contr
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ibutors, from a variety of disciplines including literary theory, cultural studies, and history, explore topics including national identity construction, narratives of resistance to colonialism and imperialism, the construction of revolutionary traditions, and the legacies of authoritarianism and political violence. The chapters offer a background history of comics and graphic novels in the region, and survey a range of countries and artists such as Joaquín Salvador Lavado (a.k.a Quino), Hector G. Oesterheld, and Juan Acevedo. They also highlight the unique ability of this art and literary form to succinctly render memory. In sum, this volume offers in-depth analysis of an understudied, yet key literary genre in Latin American memory studies and documents the essential role of comics during the transition from dictatorship to democracy." (Publisher description)
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"The Routledge International Handbook of Memory Studies offers students and researchers original contributions that comprise the debates, intersections, and future courses of the field. It is divided in six themed sections: Theories and Perspectives; Cultural artefacts, Symbols and Social practices;
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Public, Transnational, and Transitional Memories; Technologies of Memory; Terror, Violence and Disasters; and Body and Ecosystems. A strong emphasis is placed on the interdisciplinary breadth of Memory Studies with contributions from leading international scholars in sociology, anthropology, philosophy, biology, film studies, media studies, archive studies, literature, and history. The Handbook addresses the core concerns and foundations of the field while indicating new directions in Memory Studies." (Publisher description)
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"This book offers an in-depth account of social media, journalism and collective memory through a five-year analysis of Weibo, a leading Chinese micro-blogging platform, and prism of transitional China in a globalizing world. How does society remember public events in the rapidly changing age of soc
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ial media? Eileen Le Han examines how various kinds of public events are shared, debated, and their historical significance and worthiness of remembrance highlighted on Weibo. Journalism plays a significant part in mobilizing collective remembering of these events, in a society with rapidly changing topics on the platform, the tightening state control, and nationalism on the rise. The first five years of Weibo reflect a dramatic change in Chinese society, where journalists, media professionals, and opinion leaders in other fields of expertise, together with ordinary citizens directly affected by these changes in everyday life collaborate to witness the rapid social transition." (Palgrave Macmillan website)
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"In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by d
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iverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first 'Maus' story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of 'atomic bomb manga,' the comic book Ore Wa Mita (I Saw It), a title that alludes to Goya's famous Disasters of War etchings. Chute explains how the form of comics - its collection of frames - lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness." (Publisher description)
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"The chapter examines the complex relations of communication processes, generations and cultural memory in the socio-cultural setting of North Vietnam. It critically reviews present scholarly work in the flourishing, but scattered, field of memory research in communication and media studies, and dis
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cusses links to Mannheim’s sociological concept of generations. The theoretical concepts of generation and cultural memory demonstrate several commonalities along the lines of time and space, experiences, perceptions and mediation processes as determining dimensions. The chapter presents an exemplary case study of a family in Hanoi and probes a respondent-centred empirical approach to describe these relations in terms of memory-related communication repertoires. The repertoire-oriented analytical framework proved to be an efficient tool to elicit and merge perspectives on memory and communication practices from the research material." (Abstract)
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"Considering both retrospective memories and the prospective employment of memories, Memory in a Mediated World examines troubled times that demand resolution, recovery and restoration. Its contributions provide empirically grounded analyses of how media are employed by individuals and social groups
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to connect the past, the present and the future." (Publisher description)
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"The paper presents: A discussion of the methods used in memory studies, explaining how attention to questions of methodology has been limited in memory studies because much research has been more concerned with theoretical issues. The paper reflects on the methods from oral history, as well as othe
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r methods such as discourse analysis, which has been used in processes of remembering, showing how people co-construct the past in their joint production of the social worlds they inhabit through speech and language; Some thoughts about how memory studies and media studies intersect, particularly given that the mass media plays a key role in the constitution of memory – and the politics of remembering is intrinsically connected to power; A brief discussion of the critiques of memory studies, mainly that the field has not paid attention to the problem of reception (in terms of methods and sources) and thus cannot illuminate the sociological basis of historical representations." (Executive summary)
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"The world wars, genocides and extremist ideologies of the 20th century are remembered very differently across Central, Eastern and Southeastern Europe, resulting sometimes in fierce memory disputes. This book investigates the complexity and contention of the layers of memory of the troubled 20th ce
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ntury in the region. Written by an international group of scholars from a diversity of disciplines, the chapters approach memory disputes in methodologically innovative ways, studying representations and negotiations of disputed pasts in different media, including monuments, museum exhibitions, individual and political discourse and electronic social media. Analyzing memory disputes in various local, national and transnational contexts, the chapters demonstrate the political power and social impact of painful and disputed memories." (Publisher description)
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"El presente volumen recoge diferentes enfoques teóricos y metodológicos sobre las memorias, transiciones políticas e identidades en Alemania, Argentina y España, buscando establecer comparaciones y puntos de convergencia en sociedades signadas durante el siglo XX por regímenes políticos autor
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itarios y procesos de democratización paradigmáticos. Privilegia la reflexión a partir de fuentes orales, indagación en archivos, sitios de memoria y otros documentos como representaciones literarias y cinematográficas." (Descripción de la casa editorial)
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"Welche Bilder prägen unser Gedächtnis? Bilder nehmen im „visuellen Zeitalter“ eine herausragende Bedeutung für europäische Identität, Geschichtsbewusstsein und Geschichtskultur ein. 14 Bildquellen – Gemälde und Fotografien –, die in den aktuellen Schulgeschichtsbüchern europäischer
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Staaten am häufigsten abgebildet werden und sich über dieses Medium europaweit im visuellen Gedächtnis von Kindern und Jugendlichen verankert haben, werden in diesem Band vorgestellt. Die Bildwerke werden gemäß den Standards der fachspezifischen „visual literacy“ von Expertinnen und Experten erschlossen und aufbereitet. Viele der Bilder, wie beispielsweise die fotografische Darstellung der Konferenz von Jalta, waren bislang nie Gegenstand von Analysen. Auch die Grundlagen zur „visual literacy“-Kompetenz im Umgang mit Bildikonen und dem kulturwissenschaftlichen Zugang zum Bild kommen in dem neuen Band nicht zu kurz. Sie werden in drei grundlegenden Beiträgen zugänglich gemacht. Das Buch ist ein Gewinn für alle, die den Beitrag der Schule zur Bildung einer europäischen Identität ernst nehmen und ihn weiterentwickeln wollen." (Verlagsbeschreibung)
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"This collection of essays and interviews offers perspectives on traumatic experience from the social and public side of the equation. Like other books in the Palgrave Macmillan Memory Studies Series, it is concerned with redressing the balance of public memory through a focus on what has been negle
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cted or excluded, but traumatic memory poses special problems in this regard. Andrew Hoskins and John Sutton, the series editors, suggest that the question of how we remember has become central to historical enquiry, but the question itself is fraught with complexity. Generational change and new technologies of memory are reshaping the ways in which memory works, and the influence of trauma narratives is a factor in this. They pose another question: ‘What is “memory” under such conditions?’ Here, we focus on the distance between traumatic narratives in the public domain, and the experience of traumatic recall in the mind of a person who has been directly affected by extreme events." (Introduction, page 1)
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"El primer capítulo, titulado “Hacia una conceptualización del humor gráfico”, se propone aportar herramientas conceptuales y teóricas que nos permitan concebir al humor gráfico como un tipo particular de discurso social. El capítulo comienza con un intento de organización conceptual de l
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os campos semánticos relacionados con el llamado humor gráfico (comic, historieta, cartoon, viñeta de humor, tira cómica y tira de humor) y, desde luego, de la categoría de humor gráfico misma, con el objetivo de lograr desprender de los usos habituales de estas categorías (a las que llamaremos categorías nativas) una conceptualización erudita que permita organizar y fundamentar tanto una metodología para la investigación histórica como los criterios que guían la escritura de este libro. El capítulo ofrece, asimismo, un breve mapa conceptual para ubicar al humor gráfico en el marco de la teoría psicoanalítica del humor, y finalmente, algunos lineamientos para caracterizar al humor gráfico como discurso social, a partir del cual podemos abordar tanto la dimensión representacional de la experiencia colectiva como así también el carácter político de estos actos de lenguaje, en los cuales un autor, llamado humorista, toma la palabra. En el segundo capítulo, titulado “El lenguaje del comic y el cartoon”, se ofrece una descripción sistemática de los principales elementos y componentes del género, desarrollada por la semiología estructural, y se incorporan algunos comentarios de desarrollos posteriores en el marco del posestructuralismo. Allí se describen los principales componentes del comic y sus vínculos, prestando especial atención a los mecanismos de producción de sentido en el marco de las viñetas. Los siguientes dos capítulos se abocan a la historización de los géneros vinculados con el humor gráfico. El capítulo 3 aborda la historia del comic focalizando en el desarrollo de la industria periodística estadounidense, en el seno de la cual nació el comic propiamente dicho, aunque se ofrecen también referencias permanentes a los desarrollos de géneros afines en los países europeos. Por su parte, el capítulo 4 se ocupa de la historia del humor gráfico y de la historieta en la Argentina desde el siglo xix hasta avanzado el proceso de la transición democrática. Siguiendo un criterio similar, los siguientes dos capítulos abordan un recorrido por los principales desarrollos académicos vinculados a estos géneros: el capítulo 5 se centra en los portes y debates internacionales; y el capítulo 6, en los estudios sobre el género en la Argentina, incluyendo, en ambos casos, no solo comentarios sobre las producciones académicas o eruditas, sino también sobre los circuitos de producción y circulación extraacadémicos." (Introducción, página 14-15)
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"Despite the growing field of media memory studies, the impact from film and media studies has been scarce within memory studies. This unique study offers new theorizations of three crucial concepts for media memory studies: remediation, transculturality and the archive. This book takes a closer loo
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k at the media specificity of archival footage and how it is adapted, translated and appropriated. In its original approach this work reflects upon the role of documentary film images for the construction of memory. By merging film and media studies with memory studies the work offers multiple theoretical and methodological approaches for everyone interested in the heritage of audiovisual media: film and media scholars, memory scholars, historians, art historians, social scientists, librarians or archivists, curators and festival programmers alike." (Publisher description)
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"This paper provides one of the first studies on the role of social media in articulating individuals’ experiences and memories and (re-)shaping collective memory in contemporary China. It investigates how social media enable and facilitate the participation of ordinary citizens in distributing an
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d accumulating alternative narratives and memories of the past against the authoritarian version by taking the debate over China’s Great Famine – a topic long considered a political taboo – on Sina Weibo, one of the country’s most popular social media sites, as the case study. This study demonstrates that weibo provides people with an alternative communicative sphere for sharing previously suppressed, marginalised, “unofficial” memories as civil disobedience and accumulating them into an alternative collective memory that is relevant to the changing socio-political context of China." (Abstract)
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"This article aims at demonstrating the relevance of the concept of 'media witnessing' as an analytical lens for the study of audience engagement with media reports of distant suffering. Drawing upon existing theoretical work on the concept, the article approaches media witnessing as a distinct moda
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lity of audience experience and constructs an analytical framework for its study. Applying this framework on an empirical study of Greek audiences, the article provides a typology of witnessing, consisting of four different types of audience engagement with media stories of human suffering. This typology illustrates the complexities inherent in the practice of watching suffering on television, as well as the limitations of mediated cosmopolitan imagination." (Abstract)
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"This book approaches the memory sharing of groups, communities and societies as inevitable struggles over the interpretation of, and authority over, particular stories. Coming to terms with the past in memory work, alone or with others, is always unsteady ground and the activation of memory will al
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ways relay imaginations of futures we want to shape and inhabit. The contributors all explore in different ways how citizens can actualize a public and how citizens and groups struggle with their pasts and presents - and other group's understandings - in their work for futures they dream of, or envision. This implies an engagement with the notion of social justice, which in turn entails trial and revision of ideas and procedures of how to share the world. But to share also requires some kind of common ground and distributed power. The anthology thus engages with a range of cases that bring views and voices back in public, demanding justice, recognition, sometimes literally triggering new trials. Some of the memory work is done strategically, in the context of communication for development and social change interventions where NGOs, community-based organizations, governments or UN agencies pursue not just voice and views, but also very material demands for social justice and social change." (Publisher description)
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"This book presents a wide ranging survey of the ways in which comics have dealt with the diversity of creators and characters and the (lack of) visibility for characters who don't conform to particular cultural stereotypes. Contributors engage with ethnicity and other cultural forms from Israel, Ro
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mania, North America, South Africa, Germany, Spain, U.S. Latino and Canada and consider the ways in which comics are able to represent multiculturalism through a focus on the formal elements of the medium. Discussion themes include education, countercultures, monstrosity, the quotidian, the notion of the "other," anthropomorphism, and colonialism." (Publisher description)
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"How do memories circulate transnationally and to what effect? How to understand the enduring role of national memories and their simultaneous reconfiguration under globalization? Challenging the methodological nationalism that has until recently dominated the study of memory and heritage, this book
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charts the rich production of memory across and beyond national borders. Arguing for the fruitfulness of a transnational as distinct from a global approach, it places the issues of circulation, articulation and the scales of remembrance at the centre of its inquiry. In the process, it sheds new light on the ways in which mediation, post-coloniality, migration and regional integration affect both the way we remember and the role of memory in contemporary societies. In this interdisciplinary collection, humanities and social science scholars examine a rich sample of cases from the nineteenth century on, stretching across the globe from Vietnam to Europe and the Middle East, to the USA and the Pacific, and involving a wide range of cultural practices from quilting to films, from photography to heritage sites and monuments. In the process, the volume develops a new theoretical framework while proposing new methodological tools and resources for studying collective remembrance beyond the nation-state." (Publisher description)
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