Zeitschriftenartikel zum Thema „In memoriams (form)“

ABSTRACT Each year, members of the Moore’s Ford Movement conduct a memorial rally for and reenactment of a lynching that took place in 1946 near Monroe, Georgia. While a lynching memorial that includes a reenactment may sound suspect, particularly because lynching reenactments play a role in white supremacist activities, the Moore’s Ford Memorial’s unusual form offers affordances that other lynching memorials do not. This article argues that the memorial’s simultaneous attachment to and critique of necessarily inadequate traces of the past raise questions about what it means to remember violence in situ. Most lynching memorial rhetoric revolves around the narrow archive of lynching photographs produced, for the most part, by lynchers themselves. Through its combination of archival and lived memory, the Moore’s Ford Memorial both tells a broader story and draws attention to the archive’s inability to capture all that was lost. In dwelling in the gap between past and present, the memorial creates a generative space for community action.

Abstract:This article considers rusticated memorials in many churchyards and cemeteries in England and Wales, between c. 1850 and the present day, analysing their forms, chronology, and their wider social and artistic significances. These memorials have hitherto been a neglected form among British memorial styles. The discussion here focuses on the English Midlands, Kensal Green Cemetery (London), and Montgomeryshire in Wales. It appraises how such memorial rustication may relate to changing attitudes to rurality, ‘natural’ landscapes, and secularisation over time. As an analysis of shifting memorial tastes, the article assesses the chronology of rustication against the periodisation of two more dominant memorial types: namely Gothic memorials, which prevailed in the later nineteenth and early twentieth centuries, and Art Deco memorials, which gained popularity from the 1920s. It appraises regional differences in memorial style change, showing little English and Welsh variation in this after the mid-nineteenth century. There is attention to the hitherto little studied decline of the Gothic, and to the wider significance of the more secularised memorial forms that followed it. The role of these Gothic, rusticated, and Art Deco memorials for an understanding of social, attitudinal, religious and secularising change is emphasised.

Without direct reference to the Holocaust or its contemporary “counter-monuments,” Michael Arad’s design for the National 9/11 Memorial at Ground Zero is nonetheless inflected by an entire post-war generation’s formal preoccupation with loss, absence, and regeneration. This is also a preoccupation they share with post-Holocaust poets, philosophers, artists, and composers: how to articulate a void without filling it in? How to formalize irreparable loss without seeming to repair it? In this article, I imagine an arc of memorial forms over the last 70 years or so and how, in fact, post-World War I and World War II memorials have evolved along a discernible path, all with visual and conceptual echoes of their predecessors. As Maya Lin’s design for the Vietnam Veterans’ Memorial was informed by earlier World War I and even World War II memorial vernaculars, her design also broke the mold that made Holocaust counter-memorials and other negative-form memorials possible.

This essay analyzes two American memorials that were built in the post-9/11 era: the National September 11 Memorial in New York City, which opened in 2011, and the National Memorial for Peace and Justice, which opened in Montgomery, Alabama, in 2018. Both of these memorials pay tribute to victims of terrorism, the first to victims of foreign terrorism and the second to victims of lynchings, a form of racial terrorism within the United States. This essay argues that these two memorials define the beginning and end of the post-9/11 era, from memorialization as a nationalist enterprise to memorialization as a reckoning on race that demands the destruction of racist monuments and the construction of memorials to victims of racist violence. It looks in particular at how the modern designs of these two memorials produce very different kinds of experiences of memory to tell distinct narratives of victimhood, loss, and nation.

AbstractExploring the relocation and reuse of fragments and whole artefacts, materials and monuments in contemporary commemorative memorials in the United Kingdom (UK), this paper focuses on the National Memorial Arboretum (Alrewas, Staffordshire, hereafter NMA). Within this unique assemblage of memorial gardens, reuse constitutes a distinctive range of material commemoration. Through a detailed investigation of the NMA's gardens, this paper shows how monument and material reuse, while used in very different memorial forms, tends to be reserved to commemorate specific historical subjects and themes. Monument and material reuse is identified as a form of commemorative rehabilitation for displaced memorials and provides powerful and direct mnemonic and emotional connections between past and present in the commemoration through peace memorials, of military disasters and defensive actions, the sufferings of prisoners of war, and atrocities inflicted upon civilian populations. In exploring monument and material reuse to create specific emotive and mnemonic fields and triggers, this paper engages with a hitherto neglected aspect of late 20th- and early 21st-century commemorative culture.

The comparative study of roadside memorials in New South Wales, Australia, and Texas, United States, raises questions about the consistency in memorial form and practice between societies with diverse ethnic and religious profiles and different historical backgrounds. This article compares roadside memorials in two societies, and suggests that ethnic and sub-group affiliation accounts for local and individual differences in what is essentially an international phenomenon powered by developments in motoring culture, postmodernism, and globalization. The roadside memorial reclaims public space for the celebration of the individual in a period and place of overwhelming technological and cultural change.

The article is devoted to the problem of transformation of the imagery of the monumental sculpture ensemble created in memory of the Sino-Japanese War in Beijing. The construction of the memorial took place in two stages: the Memorial of the Chinese People's War of Resistance to Japanese Aggression was erected in the late 1980s, and a decade later the Sculpture Garden of the Memorial of the Chinese People against the Japanese War was laid. These elements of a single ensemble represent different options for using figurative-meaningful, compositional-spatial, artistic-stylistic and plastic features of monumental sculpture and interpreting its semantic role in such structures. Using the example of these memorials, it is possible to identify and trace the development strategy of memorials and their sculptural design, especially the dynamics of changes in the creation of an artistic image of sculptural groups. The author uses the method of art criticism to describe the visual and expressive features and the ideological content of the monumental sculpture of the memorial plan on the example of an analysis of the aesthetic qualities of two different elements of the ensemble in Beijing. This requires an analysis of the artistic structure and forms through which the authors express their ideological messages, as well as a comprehensive study of visual and expressive means. The object of attention in the article is the role and place of monumental sculpture in the development of historical memory and culture of China, and the subject is the options for the development of figurative and stylistic features of the art of sculpture in the context of the expansion and transformation of memorial complexes. Sculpture is considered as a reflection of the ideological and creative pursuits of Chinese sculptors of the late XX and early XXI centuries. The research material is a monumental sculpture as the most important artistic element of the memorial ensemble in memory of the Sino–Japanese War in Beijing, which allows for artistic comparisons, including with similar monuments on the territory of modern Russia. The article provides an opportunity to reveal the nuances of artistic, spatial and semantic interaction between the memorial and the sculpture garden.

Over the course of the last four decades there has been a growing interest in the development and impact of counter memorials and counter monuments. While counter memorial and monument practices have been explored in Europe and the United States, relatively little research has been conducted in the Australian context. This systematic literature review examines the current state of scholarship by exploring what form counter monuments and memorials have taken and what events they have focussed on. A total of 134 studies met the selection criteria and were included in the final review. The major factors identified that have impacted on the development of the counter memorial and monument genre in Australia are international and domestic influences, historical, political and social-cultural events in Australia, the socio-political agenda of various individuals or organisations, and the aesthetics of the counter memorials and monuments themselves. The review found that Australia has a diverse and active counter memorial and monument genre, with commemorative practices honouring Aboriginal and Torres Strait Islander peoples, women, victims of human made and natural disasters, the experiences of asylum seekers, and the histories and experiences of the lesbian, gay, bisexual, transgender and queer communities.

Ternopil region today is the center of tourist routes. Many monuments of memorial stonework have been preserved here. Most of them are currently in an abandoned and little-studied state. Therefore, the research of memorial buildings is relevant today. The research methodology is based on systematics, reliability, logic, historicism. The purpose of the study is to begin a comprehensive work on the study, preservation, restoration of memorials and to explore the problem of using these art objects for tourism purposes. The author examined hundreds of memorial buildings in Ternopil region. Most of them have been developed and put into scientific circulation for the first time. In particular, in Terebovlya, Narayiv and other centers of stonemasonry. The national peculiarities of memorial constructions of masonry are considered, i.e. isosceles/ Greek type of crosses with endings in the form of a shamrock, peculiarities of iconography of drawings of figures of Saints, of Jesus Christ, etc., thematic variety of sculptural figures. In the perspective of further research, it is recommended to provide theoretical justifications for the creation of lapidary museums of memorials in order to better preserve them for posterity and use as artistic objects for tourist routes.

Is the Holocaust Memorial in Berlin a Jewish space? How are Jews presented there? What are the points of interest about Jews in the memorial from the perspective of the foundation that runs it as well as from various visitors' perspectives? This article focuses on interaction and performance at the memorial, an understudied topic in comparison to what the memorial presents in its installation and the debates that preceded its realisation. I argue that the memorial's form and location create interpretation strategies that are based on the dialectics of representation and non-representation, emotional experience versus knowledge about the Holocaust. This is differently manifested in the action of various groups visiting the memorial. Interpretation strategies rest on Jews being a category of memory. In substantiating this claim, I focus on the experience of German visitors, compared to that of Jewish visitors and claim that whereas Jews' experience of the site is directly linked to sharing intimate knowledge about the Holocaust, Germans tend to talk about the site metaphorically and in emotional terms, confirming the memorial's own ontology.

On 22 May 2017, a homemade bomb was detonated in the foyer of Manchester Arena as people were leaving the Ariana Grande concert. Twenty-three people (including the bomber) were killed and over 800 were injured. Within hours of the attack, people of Manchester began to leave flowers, candles, soft toys, balloons, written notes and other items in St Ann’s Square and other locations around the city. In June 2017, the Manchester City Council tasked Manchester Art Gallery to oversee the removal and collection of material objects from St Ann’s Square. Manchester Art Gallery ultimately stored more than 10,000 objects to form what is now known as the ‘Manchester Together Archive’ of the public response to the Manchester Arena attack. An associated research project, co-designed by the author with Manchester Art Gallery staff, aimed to document creatively the evolving thinking, interactions with different stakeholders and decision-making about the archive, as well as the impact of those decisions on institutional life, policy and practice.After reviewing the literature on museum practices around spontaneous memorials, this paper goes on to critically reflect on how cultural professionals in Manchester addressed the gap in their experience with spontaneous memorials by adapting or diverting from standard collecting processes. It aims to demonstrate that this was a creative process of negotiating the interaction between their professional ethics and a strong sense of civic and social responsibility, which led to a new museum practice altogether. The paper argues that this museum practice was also the result of accepting and inviting the migration of the memorial’s characteristics (as a public, spontaneous and mass participation heritage performance) into the resulting Manchester Together Archive and the collecting process itself. This meant that the archive was not a ‘collection’ of the spontaneous memorial, but another form and manifestation of the memorial itself, which offered a perspective of cultural remembrance that is driven by a focus on process, rather than permanence. The paper concludes with some brief thoughts on how this new museum practice around the Manchester Together Archive is impacting already on Manchester Art Gallery’s broader policy and practice and its process of rethinking its spaces, activity and engagement with its publics.

RESUMO Neste artigo, analisa-se o conceito de memorial, considerando as atuais definições de Museu propostas pelo Conselho Internacional de Museus e pelo Instituto Brasileiro de Museus, tendo como objeto de investigação o Memorial de Imigração Polonesa de Curitiba. Evidenciam-se a importância e a complexidade no trato com o patrimônio e as dificuldades de pensá-lo a partir dos sujeitos e das referências culturais de determinado grupo em contraponto aos interesses políticos e econômicos; no caso em questão, voltadas às necessidades da política de city marketing como estratégia de construção da imagem da cidade. Para tanto, foram considerados os perfis de atuação dos memoriais em diferentes partes do mundo, na tentativa de delimitação conceitual, exemplificando-se a pluralidade de temas e formatos dessas instituições no âmbito nacional e global. As discussões levantadas permitem pensar que os Museus Memoriais desempenham as atividades de um memorial no âmbito museológico, confirmando a ambivalência dessas duas instituições e sua interface privilegiada com o poder político.

Creating and visiting Web memorials represent new opportunities for post-death ritual. A content analysis was conducted on a sample of 244 of the memorials found on the largest Web Cemetery: Virtual Memorial Gardens (catless.ncl.ac.uk/Obituary/memorial.html). Analyses revealed that memorials were written, in descending order of prevalence, by children (33%), friends (15%), grandchildren (11%), parents (10%), siblings (8%), spouses (4%), and various other family members. This pattern favoring younger authors may reflect the newness of this venue and facility with computer technology. The content of such memorials often contained reference to missing the deceased, rarely spoke of the cause of death, or made mention of God or religion. Memorials were more likely to be written to the deceased (e.g., in the form of a letter) rather than about or for the deceased (e.g., eulogy/obituary or tribute). Parents, family groups, and other relatives more frequently made religious references in their memorials than did other authors. In addition to the Web as a novel, untapped data source, these memorials offer intriguing opportunities for theoretical refinement (i.e., the ongoing connection between the bereaved and the deceased).

Este trabalho apresenta uma pesquisa desenvolvida no Programa de Pós-Graduação Stricto Sensu em Ensino de Ciências e Matemática –PPGEM, da Universidade do Estado de Mato Grosso-UNEMAT, Campus Deputado Renê Barbour, localizado no município Barra do Bugres-MT. A investigação teve como objetivo investigar, na formação inicial de Professores, o processo de constituição da identidade docente, que emerge a partir da produção dos Memoriais de Formação dos Licenciandos de Matemática da UNEMAT, Campus Deputado Renê Barbour, município de Barra do Bugres - MT; desenvolvidos durante os Estágios Curriculares Supervisionados I e II, realizados nos períodos 2016/02 e 2017/01. O corpus da pesquisa está constituído por narrativas autobiográficas de licenciandos do curso de Licenciatura em Matemática, coletadas durante a produção de Memoriais de Formação. Os Memoriais foram produzidos em momentos distintos. O primeiro, na disciplina de Estágio Curricular Supervisionado – I, no período 2016/02, do qual participaram 6 licenciandos; e, o segundo, em Estágio Curricular Supervisionado II, no período 2017/01, do qual participaram 5 licenciandos. Os Memoriais expressam as narrativas autobiográficas dos licenciandos e consistem em importantes instrumentos para analisar as trajetórias de formação e processos reflexivos sobre a constituição da identidade docente, sobre o formar-se professor de Matemática, uma vez que apresentam as narrativas dos sujeitos que os compõem. A metodologia utilizada teve como base a abordagem qualitativa, de cunho interpretativo, adotando-se o método (auto)biográfico, com ênfase nas narrativas das histórias de vida, tendo como instrumento de produção de dados os Memoriais de Formação produzidos pelos licenciandos. Os memoriais produzidos no Estágio Curricular I foram refeitos pelos licenciandos, após momentos de intervenção da pesquisadora e reflexão dos estudantes sobre a experiência vivida e narrada nos documentos. Os memoriais produzidos no Estágio Curricular II tiveram o mesmo procedimento de escrita e reescrita até chegarem às versões finais, que foram, posteriormente, analisadas. Para tanto, este trabalho apoiou-se nos contributos teóricos de autores que discutem temas relativos à formação docente, identidade e Memorial, como Marcelo Garcia (1999), Larrosa (2002, 2004), Pimenta (1999, 2005), Fiorentini (2003), Jaramillo (2003), Fiorentini e Castro (2003), Hall (2006), Silva, Woodward e Hall (2004), Nóvoa (1992, 2009, 2010), Nóvoa e Finger (2014), Passeggi (2006, 2008), dentre outros. Os resultados da análise evidenciaram vários elementos em contato, influenciando a constituição da identidade docente dos licenciandos pesquisados. Dentre eles, podemos destacar alguns, tais como: família, amigos, escola, contextos sociais, professores, universidade; os discursos produzidos pelos licenciandos; marcas (positivas ou negativas) de formação deixadas por professores etc. Verificou-se ainda que, em alguns casos, os licenciandos estão ressignificando essas marcas e, em outros, ainda enfrentam dificuldades na resolução de alguns traumas que afetam a constituição de suas identidades profissionais e sua formação. O Memorial configurou-se, nesta pesquisa, como um instrumento com grande potencial formativo, que permite aos sujeitos refletirem sobre suas trajetórias de vida, ressignificando-as e percebendo essas marcas em sua própria constituição como futuros docentes de Matemática. Compreendemos que o Memorial pode ser um valioso instrumento no processo de formação inicial dos licenciandos, podendo contribuir para a formação de sujeitos reflexivos que compreendam seu próprio processo de formar-se professores. Assim, esperamos que esta pesquisa amplie as discussões sobre os Memoriais como instrumento de Formação, e aponte caminhos para a compreensão da constituição da identidade docente de licenciandos para o formar-se Professor de Matemática.Palavras-chave: Formação Inicial de Professores, Identidade Docente, Memorial de Formação.

How do memorials act to transmit memory through the organization of space? In this article, we contrast a ‘preservation’ model of the endurance of encoded memory with a ‘meshwork’ model which treats memory as emergent on the perdurance of the memorial site. Developing a theoretical framework from Tim Ingold’s work, we describe how memorialization receives its spatial form through a collective work of braiding together multiple threads of activities and material flows. To illustrate, we examine the spatial and temporal organization of the Hyde Park 7/7 memorial from its initial designs, through to installation and contemporary use. We draw on interview data featuring various stakeholders in the 7/7 memorial project to analyse the relationship between memorial space and material relations. We develop an approach to organizational space as an unfinished meshwork that folds together wanted and unwanted memory, making the historical a matter of ongoing live concern but with the absence of a permanent guiding narrative.

This article forms part of series of comparative studies dealing with tourist guidebooks to the memorials of various former concentration camps in Germany published years ago during the GDR era and today. The authors substantiate the need to consider the former concentration camp memorial guidebook as an independent kind of genre identifying both functions for the memorial guidebook and inappropriate functions and underlying the need to expand the usual genre functionality of the guidebook. A new group of tourist guidebooks has been introduced. These are guidebooks of so-called places of traumatic memory as the former Nazi concentration camps can be considered. These guidebooks form homogeneous group among a vast variety of tourist guidebooks.

It's remarkably simple, really.Constructed in 1982, the Vietnam Veterans Memorial, generally referred to as the “Wall,” consists of two black granite wings, each almost 250 feet long, which meet at an obtuse angle that is submerged into the landscape of the National Mall, a green space between the Lincoln and Washington Memorials and some distance behind White House, in Washington, D.C. The form of the Wall, designed by Maya Ying Lin, is minimalist in nature, not only because it includes the right angles, hard edges, shiny surface, and repeated increments of Minimalism, but because even though it is a war memorial, unlike most, its only ornament and representation is the seemingly endless list of 58,226 names of American service men and women killed in Vietnam.

War memorial architecture that emerged after World War II was a significant part of the building program of Yugoslavia. Marking the war events (traumas) is an important constituent of memory, and thus participates in the construction of contemporary knowledge regarding a given historical period. The aim of this paper is to present the influence of legislation and politics on the formation of the image of society and history of that period, through the analysis of the case study of Memorial park Kragujevački Oktobar in Šumarice, Kragujevac. After WWII, the dominant tendency in Yugoslav planning of memorials was to establish a new form of memorial park. Even though the building requirements in this case were clear, they were not carried out consistently, which left to the memorial incomplete. Nevertheless, within the Memorial park and Memorial museum in the park, there are several pieces of art of the highest quality, completed through a synthesis of different art disciplines. The influence of decisions of the authorities on the development of the Memorial park and the creation of its art will be described through the methodology of rhythmanalysis. The same analysis will be applied to determine how the construction of the park impacted the local community

The report informs about the conference organized by the Museum of Romani Culture in Brno titled „Places of memory: from building exhibitions to education in museums / memorials“, which took place on 10 and 11 November 2021 in Villa Stiassini and in the area of Roma and Sinti Holocaust Memorial in Hodonín by Kunštát. This international conference was held in a hybrid form in the Czech and Polish language, with the attendees from both the Czech Republic and Poland. The report summarizes the individual contributions as well as the accompanying program.

Abstract Following the cessation of hostilities in Europe in 1945, a debate ensued in colonial Zambia on what was the best tribute to dedicate to its servicemen who had lost their lives in the Second World War. On the one hand, the colonial government advocated for conventional forms of a war memorial such as statues, obelisks, and triumphal arches. On the other side, African servicemen supported the idea of ‘living memorials’ in form of useful projects such as educational institutions, clinics or community centres. In the end, proponents of traditional memorials won this contest—eventually leading to the erection of a cenotaph in the heart of the seat of government. Using data from the National Archives of Zambia, this article argues that the erection of a cenotaph, was another blow to African servicemen who felt cheated by colonial authorities in the way they were to forever honour their dear departed compatriots.

This article offers translation as a new model for conceptualising the transnational travel of memories that operates through transcultural memorial forms. It draws on translation studies, world literature studies and receptions studies to describe the domesticating and foreignising effects of memories that are ‘born translated’ and the ways they are received. The second part of the article discusses Sofi Oksanen’s novel Purge as a translation of memories of Soviet state terror through the transcultural memorial form of war rape and its foreignising effects in the local context of remembering of these events.

Este artigo propõe apresentar o vestuário como suporte de memória mediante a análise de conteúdo aplicada a relatos orais. Baseado na perspectiva de vestuário como fenômeno social (Crane, 2006), signo urbano (Volpi, 2014) e nos processos memoriais como reconstrução do passado no presente a partir das lembranças. As análises de conteúdo foram feitas por meio da codificação e categorização temática apresentadas por Bardin (2004). Por fim, além das relações traçadas com as entrevistas, evidenciamos essa materialidade como um ponto de acesso memorial ao passado.

Este texto foca-se na análise de um memorial coletivo de formação denominado Armazém de Momentos, elaborado por sete professoras das séries iniciais do Ensino Fundamental. O objetivo do estudo foi investigar o modo como o trabalho com narrativas, em contexto formativo, poderia potencializar e revelar movimentos individuais e coletivos de formação. Foram estabelecidos diálogos teóricos com autores que investigam a pesquisa-ação-formação centrada nas narrativas, sobretudo, em histórias de vida, com o apoio do uso de memoriais, bem como com autores que abordam o conceito de símbolo e processo de individuação e processo de grupação, na perspectiva da Psicologia Analítica. A análise das narrativas que compõem o Armazém de Momentos evidenciou que a elaboração de um memorial escrito coletivamente, por professores, desencadeou percursos singulares e coletivos de formação, com pontos de aproximação e também de tensões, mediados pelo uso da linguagem e pela seleção de símbolos que foram construídos ao longo do percurso.

Summary The article examines Soviet memorial designs of the Great Patriotic War period (1941–1945). These monuments were unorthodox in terms of visual language, and they differed strikingly from the Stalinist neoclassical mainstream of the previous decade. Architects tried to find means of commemoration of the enormous tragedy of war that they faced. Analysis of the poetics of their designs along with the commonplaces of the respective critical discourse reveals the process whereby the memorial genre was transformed. This article discusses the monumental tradition developed by the 1940 s, the models, the sources of motifs and solutions, and some stylistic and architectural peculiarities characteristic of wartime projects. Whereas previously the Soviet architects from the early 1930s had been working on the ‘ultimate’ monument – the Palace of Soviets in Moscow – with the beginning of the war they shifted to improvising in order to ‘stretch’ the limits of genre. I examine the ways in which they broke the limits and shaped the dense, overwhelming memorial narrative to be transmitted by the monuments. New memorials were considered as a form of heroic epic, analogous to the literary epics but expressed by means of architecture and sculpture. The nationalistic sentiments typical of the war years were reflected in both the design ideology and the perception of memorials. Alongside persistent motifs (such as 'prancing' tanks) emerged new themes (the commemoration of victims along with heroes). The technique of provoking the viewer’s emotions, as well as the visual language and architectural style of some structures and particular solutions (such as massive stone cubes), demonstrate the inheritance from the post-Revolutionary Modernist architecture. This unorthodox stylistic flexibility illustrates the ‘liberation’ of architects – and the short cultural ‘liberalization’ on the wartime period.

In this article I analyse the TAZARA Memorial Park in Zambia, which opened in 2022 and commemorates the Zambians, Tanzanians and Chinese who died while building the TAZARA Railway in the mid-twentieth century. Although the memorial is on Zambian soil and recalls a trinational history, it is largely driven by China as a form of Chinese nation branding and soft power. ‘International friendship’ typical of historic Afro-Asian solidarity permeates the memorial’s narratives, and is expressed through large bronze statues as well as museum dioramas, which have loaded museological histories. Zambia, however, was never a tabula rasa onto which this ‘friendship’ was simply imposed, and contemporary attempts to resuscitate historical solidarity are complex. Through interviews with Zambians who live close to the heritage site or worked on the construction of the railway, I demonstrate that there are multiple Zambian responses ranging from frustration and anger to deep feelings of camaraderie. Moving beyond the language of mainstream international relations, I embrace the performativity and generative creativity of culture itself, developing what I refer to as ‘creative power’. In doing so, I analyse two performative interventions that form part of the series, Tulelosha (‘We are mourning’) (2022–23), and which register the gaps and oversights of the memorial.

В статье рассматривается мемориальная культура советской Армении, где один из основных идеологических принципов «национальное по форме и социалистическое по содержанию» здесь действовал с точностью до наоборот: «национальное по содержанию и социалистическое по форме». Такая подмена происходила особенно в тех мемориалах, которые отсылали к существенным для армянской идентичности историческим сюжетам (геноцид армян в Османской империи, отчасти Великая отечественная война). Возможность вписать советский мемориальный язык в национальный контекст является результатом семантической связи народных поминальных традиций с соответствующими религиозными практиками, а также ассоциативной связи архитектуры, считающейся «национальной», с церковной. С другой стороны, мемориальный язык армянского советского модернизма позволил найти с точки зрения идеологии такую нейтральную форму, которую можно было заполнить замалчиваемой советскими властями темой геноцида. The article deals with the memorial culture of Soviet Armenia, where one of the main ideological principles “national in form and socialist in content” was acting exactly in the opposite way: “national in content and socialist in form”. Such a substitution took place especially in those memorials that referred to historical subjects important for the Armenian identity (Armenian genocide in the Ottoman Empire and partly the Great Patriotic War). The chance to inscribe the Soviet memorial language into the national context was the result of the semantic connection of folk obitual traditions with the corresponding religious practices, as well as the associative connection of the “national” architecture with the church one. On the other hand, the memorial language of Armenian Soviet modernism made it possible to find such a neutral form from the point of view of ideology, which could be filled with the theme of genocide hushed up by the Soviet authorities.

When conducting accounting in budgetary institutions, one of the most important is the preparation and approval of the estimate at the beginning of the financial year. Then it is necessary to develop and approve internal rules in accordance with the legislation on accounting. Accounting in budgetary institutions is carried out mainly in the form of a memorial order. Each memorial warrant is drawn up once a month by the relevant accounting staff. A memorial order is drawn up after clarification of the primary accounting documents, approval by the head and signing by him, and then signed by the responsible person and the chief accountant.

The article is devoted to the main historical narratives and practices that form in the memory infrastructure of Petrozavodsk. Based on the actor-oriented approach to memory politics, we show the diversity of mnemonic actors and their strategies of commemoration of historical events and persons. The research has shown that the expansion of the usable past in the memorial landscape of Petrozavodsk is connected with both the process of national identity formation and the commodization of history, i.e. the use of the past as an attractive commodity for tourists. The lack of a unified strategy of commemorative politics doesn’t allow to formulate a hegemonic historical narrative linking most of the existing memorials. At the same time, all mnemonic actors tend to shape the image of the city as an important part of Russian history, and the narratives they form are aimed at overcoming the city’s provincial position.

A problemática do artigo situa-se entre duas questões acerca da natureza do PROF-FILO: 1) Quais as singularidades do PROF-FILO em relação ao mestrado acadêmico?; 2) Como escapar à reciclagem e atualização, que são, usualmente, os objetivos dos mestrados profissionais do tipo PROF? Estas questões serviram de subsídios teórico-metodológicos para o planejamento e execução da disciplina "Laboratório de Ensino de Filosofia", ministrada pelo núcleo sediado pela UFABC, que adotou a valorização das experiências profissionais e dos saberes da experiência. O foco da disciplina foi o processo de escrita de si, considerando três modalidades: caderno de escrileituras, cartas e memorial. Para ativar a escrita do memorial, cinco dispositivos foram trabalhados: análise de memoriais acadêmicos, narrativas das experiências históricas, escritas ficcionais, narrativas das experiências-limite e escritas durante o caminhar pela cidade. Alguns resultados preliminares apontam para o descondicionamento e estranhamento do lugar de professor e das aulas ministradas pelos participantes da disciplina.

Los dos tomos de memorias de la escritora y profesora rusa Nadiezhda Mandelstam están concebidos como un recuerdo, un intento de mantener viva la memoria y la obra de su marido el gran poeta Ossip Mandelstam. Sin embargo, superan este propósito y constituyen un testimonio esclarecedor sobre la vida y la resistencia de los seres humanos en el régimen totalitario, así como una denuncia de las miserias que acompañan a dichos sistemas.

Artikkelen er en fenomenologisk og hermeneutisk betraktning av Trondheims minnepark for 22. juli-ofrene. Bakgrunnen ligger i et etisk moment av hermeneutisk selvkritikk, som utspilte seg i storsamfunnets reaksjoner på terroren, og som parken må sees i lys av. Artikkelen tar utgangspunkt i at flere av diktene som er slipt inn i minneparkens hvite betong, tematiserer behovet for mellommenneskelig anerkjennelse. Ved hjelp av kunstteoretikeren Bourriaud og filosofene Fichte og Hegel synliggjøres det hvordan dette temaet – mellommenneskelig anerkjennelse – kan sies å være integrert i parkens helhetlige estetikk. Siste del drøfter ved hjelp av Gadamer hvordan anerkjennelse også er relevant for aktiviteten med å gå omkring og lese diktene i parken. Til sammen belyser artikkelen hvordan minneparken utgjør en sammenveving av det etiske og det estetiske, og hvordan ordet minne her har to betydninger. Med parken minnes vi ofrene for terroren i betydningen kollektiv hukommelse, eller in memoriam. Samtidig blir vi påminnet vår evne til å være i relasjon med andre mennesker, og til å vokse i relasjonelt samspill. Den siste betydningen er filosofisk, og spiller på betydningen gjenerindring (gresk: anamnesis). Nøkkelord: hermeneutisk selvkritikk, anerkjennelse, deltakelse, hverdagslighet, lesning English summary: "Becoming fully oneself by being seen." On the connection between ethics and aesthetics in Trondheim's Memorial Park for the July 22 victims This article presents a phenomenological and hermeneutical consideration of Trondheim's Memorial Park for the July 22 victims. The background evolves in an ethical and hermeneutical form of self-criticism, which emerged in Norway in the public reactions to the terror. The article observes the fact that several of the poems embedded in the white concrete of the Memorial Park promote the need for interpersonal recognition. Through considering ideas of Bourriaud, Fichte, and Hegel, the author demonstrates how this very theme of interpersonal recognition is integrated into the park's overall aesthetics. The author considers how recognition is also relevant to the activity of reading the poems in the park through evoking Gadamer's philosophical hermeneutics. In sum, the article demonstrates how the Memorial Park constitutes a joining of the ethical and aesthetic dimensions and how the word memorial [Norwegian: minne] here gains two meanings. In the park we remember the victims of the terror in the sense of collective memory, or in memoriam. At the same time, we are reminded of our ability to be in relationship with other people and to grow in relational interaction. The latter sense is philosophical and draws on the meaning of recollection (Greek: anamnesis). Keywords: hermeneutical self-criticism, recognition, participation, everyday life, reading

A presente pesquisa objetivou descrever os efeitos de sentido mobilizados pela modalização avaliativa no gênero discursivo memorial. Especificamente, buscou-se mapear esse fenômeno, analisar o seu funcionamento argumentativo e identificar a estrutura composicional, estilo linguístico e conteúdo temático do gênero. A parte teórica fundamentou-se nos estudos de Cervoni (1989), Castilho e Castilho (2002), Nascimento e Silva (2012), além de outros autores que abordam o gênero memorial. O corpus foi composto de três memoriais coletados na rede mundial de computadores e foram produzidos por discentes do curso de Secretariado Executivo Bilíngue da Universidade Federal da Paraíba. Em termos metodológicos, trata-se de uma pesquisa cuja natureza é qualitativa, tendo em vista a perspectiva teórica adotada e, também, quantitativa, uma vez que o objeto de estudo é catalogado em termos numérico. Além disso, apresenta cunho descritivo e base interpretativa. Os resultados revelam que a argumentatividade nesse gênero fica marcada nas expressões, adjetivos e orações adjetivas, usadas pelos locutores para expressar pontos de vista e juízo de valor no enunciado.

The article examines the poetics of an epitaph “On the Death...ˮ on the example of the work of the same name proposed for analysis by the poem “On the Death of Alexander Druzhinin, January 19, 1864ˮ by Afanasy Fet. The purpose of the analysis is to determine the genre of the poem, which still remains unclear. The novelty of the author's approach is due to the fact that the discovery through analysis of such genre-forming attributes as genesis dating back to the epicedium (a kind of mourning elegy), genre “concept of personality”, burial portrait, the characteristic principle of figurative visualisation, dating of writing, that allows us to reveal the independent genre status of the poem. It is the genetic heredity of the epicidium, around which other considered genre attributes are concentrated, that helps to define the poem “On the Death...ˮ as a special genre form associated with mortal and memorial genres – the epitaph and the poem “In Memoriam...ˮ. Since the set of genre attributes, the composition of which may vary depending on the object of research, is ideally modelling in nature, the method of its application can be used in the future when studying both the genre poem “In Memoriam...ˮ and other lyric genres.

The article deals with the poetics of the poem «In Memoriam...» in the works of Joseph Brodsky in terms of works of the same name. It is established that the genre-forming factor in it are elements of compositional and content unity, such as the title, thematic refl ection, the status of the author’s «I», archetypal images of water and related connotatives that make up the internal chronotope and locus indices, which are associated with the metaphor «to recur to memory» and which in Brodsky have the form of mythopoesis, defi ned by autobiographical and semiotic meanings. It is revealed that works of the type «In Memoriam...», although they have genealogical connections, are different from the epitaph, poems to commemorate death of certain persons, that the typological connection brings them closer to the dedicatory tradition. In this connection, it is concluded that in relation to the desired genre that combines the poems «In Memoriam...», one can use the original name that separates it, or consider it a poetic mnemonic dedication.

Canon and oblivion. The memorials of archaeologyThe article takes its point of departure in the sun chariot; the find itself and its find site at Trundholm bog where it was discovered in 1902. The famous sun chariot, now at the National Museum in Copenhagen, is a national treasure included in the Danish “Cultural Canon” and “History Canon”.The find site itself has alternated bet­ween experiencing intense attention and oblivion. A monument was erected in 1925; a new monument was then created in 1962 and later moved in 2002. The event of 1962 was followed by ceremonies, speeches and songs, and anniversary celebrations were held in 2002, during which a copy of the sun chariot was sacrificed.The memorial at Trundholm bog is only one of several memorials at archaeological find sites in Denmark. Which finds have been commemorated and marked by memorials? When did this happen? Who took the initiative? How were they executed? Why are these finds remembered? What picture of the past do we meet in this canon in stone?Find sites and archaeological memorials have been neglected in archaeology and by recent trends in the study of the history of archaeology. Considering the impressive research on monuments and monumentality in archaeology, this is astonishing. However, memorials in general receive attention in an active research field on the use of history and heritage studies, where historians and ethnologists dominate. The main focus here is, however, on war memorials. An important source of inspiration has been provided by a project led by the French historian Pierre Nora who claims that memorial sites are established when the living memory is threatened (a thesis refuted by the many Danish “Reunion” monuments erected even before the day of reunification in 1920).Translated into Danish conditions, studies of the culture of remembrance and memorials have focused on the wars of 1848-50 and 1864, the Reunion in 1920, the Occupation in 1940-45 and, more generally, on conflicts in the borderland bet­ween Denmark and Germany.In relation to the total number of memorials and public meeting places in Denmark, archaeological memorials of archaeology are few in number, around 1 % of the total. However, they prompt crucial questions concerning the use of the past, on canon and oblivion.“Canon” means rule, and canonical texts are the supposed genuine texts in the Bible. The concept of canon became a topic in the 1990s when Harold Bloom, in “The Western Canon”, identified a number of books as being canonical. In Denmark, canon has been a great issue in recent years with the appearance of the “Danish Literary Canon” in 2004, and the “Cultural Canon” and the “History Canon”, both in 2006. The latter includes the Ertebølle culture, the sun chariot and the Jelling stone. The political context for the creation of canon lists is the so-called “cultural conflict” and the debate concerning immigration and “foreigners”.Canon and canonization means a struggle against relativism and oblivion. Canon means that something ought to be remembered while something else is allowed to be forgotten. Canon lists are constructed when works and values are perceived as being threatened by oblivion. Without ephemerality and oblivion there is no need for canon lists. Canon and oblivion are linked.Memorials mean canonization of certain individuals, collectives, events and places, while others are allowed to be forgotten. Consequently, archaeological memorials constitute part of the canonization of a few finds and find sites. According to Pierre Nora’s thesis, memorials are established when the places are in danger of being forgotten.Whether one likes canon lists or not, they are a fact. There has always been a process of prioritisation, leading to some finds being preserved and others discarded, some being exhibited and others ending up in the stores.Canonization is expressed in the classical “Seven Wonders of the World”, the “Seven New Wonders of the World” and the World Heritage list. A find may be declared as treasure trove, as being of “unique national significance” or be honoured by the publication of a monograph or by being given its own museum.In practice, the same few finds occur in different contexts. There seems to be a consensus within the subject of canonization of valuing what is well preserved, unique, made of precious metals, bears images and is monumental. A top-ten canon list of prehistoric finds from Denmark according to this consensus would probably include the following finds: The sun chariot from Trundholm, the girl from Egtved, the Dejbjerg carts, the Gundestrup cauldron, Tollund man, the golden horns from Gallehus, the Mammen or Bjerringhøj grave, the Ladby ship and the Skuldelev ships.Just as the past may be used in many different ways, there are many forms of memorial related to monuments from the past or to archaeological excavations. Memorials were constructed in the 18th and 19th centuries at locations where members of the royal family had conducted archaeology. As with most other memorials from that time, the prince is at the centre, while antiquity and archaeology create a brilliant background, for example at Jægerpris (fig. 2). Memorials celebrating King Frederik VII were created at the Dæmpegård dolmen and at the ruin of Asserbo castle. A memorial celebrating Count Frederik Sehested was erected at Møllegårdsmarken (fig. 3). Later there were also memorials celebrating the architect C.M. Smith at the ruin of Kalø Castle and Svend Dyhre Rasmussen and Axel Steensberg, respectively the finder and the excavator of the medieval village at Borup Ris.Several memorials were erected in the decades around 1900 to commemorate important events or persons in Danish history, for example by Thor Lange. The memorials were often located at sites and monuments that had recently been excavated, for example at Fjenneslev (fig. 4).A large number of memorials commemorate abandoned churches, monasteries, castles or barrows that have now disappeared, for example at the monument (fig. 5) near Bjerringhøj.Memorials were erected in the first half of the 20th century near large prehistoric monuments which also functioned as public meeting places, for example at Glavendrup, Gudbjerglund and Hohøj. Prehistoric monuments, especially dolmens, were also used as models when new memorials were created during the 19th and 20th centuries.Finally, sculptures were produced at the end of the 19th century sculptures where the motif was a famous archaeological find – the golden horns, the girl from Egtved, the sun chariot and the woman from Skrydstrup.In the following, this article will focus on a category of memorials raised to commemorate an archaeological find. In Denmark, 24 archaeological find sites have been marked by a total of 26 monuments (fig. 6). This survey is based on excursions, scanning the literature, googling on the web and contact with colleagues. The monuments are presented chronological, i.e. by date of erection. 1-2) The golden horns from Gallehus: Found in 1639 and 1734; two monu­ments in 1907. 3) The Snoldelev runic stone: Found in c. 1780; monument in 1915. 4) The sun chariot from Trundholm bog: Found in 1902; monument in 1925; renewed in 1962 and moved in 2002. 5) The grave mound from Egtved: Found in 1921; monument in 1930. 6) The Dejbjerg carts. Found in 1881-83; monument in 1933. 7) The Gundestrup cauldron: Found in 1891; wooden stake in 1934; replaced with a monument in 1935. 8) The Bregnebjerg burial ground: Found in 1932; miniature dolmen in 1934. 9) The Brangstrup gold hoard. Found in 1865; monument in 1935.10-11) Maglemose settlements in Mulle­rup bog: Found in 1900-02; two monuments in 1935 and 1936. 12) The Skarpsalling vessel from Oudrup Heath: Found in 1891; monument in 1936. 13) The Juellinge burial ground: Found in 1909; monument in 1937. 14) The Ladby ship: Found in 1935; monument probably in 1937. 15) The Hoby grave: Found in 1920; monument in 1939. 16) The Maltbæk lurs: Found in 1861 and 1863; monument in 1942. 17) Ginnerup settlement: First excavation in 1922; monument in 1945. 18) The golden boats from Nors: Found in 1885; monument in 1945. 19) The Sædinge runic stone: Found in 1854; monument in 1945. 20) The Nydam boat: Found in 1863; monument in 1947. 21) The aurochs from Vig: Found in 1904; monument in 1957. 22) Tollund Man: Found in 1950; wooden stake in 1968; renewed inscription in 2000. 23) The Veksø helmets: Found in 1942; monument in 1992. 24) The Bjæverskov coin hoard. Found in 1999; monument in 1999. 25) The Frydenhøj sword from Hvidovre: Found in 1929; monument in 2001; renewed in 2005. 26) The Bellinge key: Found in 1880; monument in 2003.Two monuments (fig. 7) raised in 1997 at Gallehus, where the golden horns were found, marked a new trend. From then onwards the find itself and its popular finders came into focus. At the same time the classical or old Norse style of the memorials was replaced by simple menhirs or boulders with an inscription and sometimes also an image of the find. One memorial was constructed as a miniature dolmen and a few took the form of a wooden stake.The finds marked by memorials represent a broader spectrum than the top-ten list. They represent all periods from the Stone Age to the Middle Ages over most of Denmark. Memorials were created throughout the 20th century; in greatest numbers in the 1930s and 1940s, but with none between 1968 and 1992.The inscriptions mention what was found and, in most cases, also when it happened. Sometimes the finder is named and, in a few instances, also the person on whose initiative the memorial was erected. The latter was usually a representative part of the political agency of the time. In the 18th and 19th centuries it was the royal family and the aristocracy. In the 20th century it was workers, teachers, doctors, priests, farmers and, in many cases, local historical societies who were responsible, as seen on the islands of Lolland and Falster, where ten memorials were erected between 1936 and 1951 to commemorate historical events, individuals, monuments or finds.The memorial from 2001 at the find site of the Frydenhøj sword in Hvidovre represents an innovation in the tradition of marking history in the landscape. The memorial is a monumental hybrid between signposting and public art (fig. 8). It formed part of a communication project called “History in the Street”, which involved telling the history of a Copenhagen suburb right there where it actually happened.The memorials marking archaeological finds relate to the nation and to nationalism in several ways. The monuments at Gallehus should, therefore, be seen in the context of a struggle concerning both the historical allegiance and future destiny of Schleswig or Southern Jutland. More generally, the national perspective occurs in inscriptions using concepts such as “the people”, “Denmark” and “the Danes”, even if these were irrelevant in prehistory, e.g. when the monument from 1930 at Egtved mentions “A young Danish girl” (fig. 9). This use of the past to legitimise the nation, belongs to the epoch of World War I, World War II and the 1930s. The influence of nationalism was often reflected in the ceremonies when the memorials were unveiled, with speeches, flags and songs.According to Marie Louise Stig Sørensen and Inge Adriansen, prehistoric objects that are applicable as national symbols, should satisfy three criteria. The should: 1) be unusual and remarkable by their technical and artistic quality; 2) have been produced locally, i.e. be Danish; 3) have been used in religious ceremonies or processions. The 26 archaeological finds marked with memorials only partly fit these criteria. The finds also include more ordinary finds: a burial ground, settlements, runic stones, a coin hoard, a sword and a key. Several of the finds were produced abroad: the Gundestrup cauldron, the Brangstrup jewellery and coins and the Hoby silver cups.It is tempting to interpret the Danish cultural canon as a new expression of a national use of the past in the present. Nostalgia, the use of the past and the creation of memorials are often explained as an expression of crisis in society. This seems reasonable for the many memorials from 1915-45 with inscriptions mentioning hope, consolation and darkness. However, why are there no memorials from the economic crisis years of the 1970s and 1980s? It seems as if the past is recalled, when the nation is under threat – in the 1930s and 40s from expansive Germany – and since the 1990s by increased immigration and globalisation.The memorials have in common local loss and local initiative. A treasure was found and a treasure was lost, often to the National Museum in Copenhagen. A treasure was won that contributed to the great narrative of the history of Denmark, but that treasure has also left its original context. The memorials commemorate the finds that have contributed to the narrative of the greatness, age and area of Denmark. The memorials connect the nation and the native place, the capital and the village in a community, where the past is a central concept. The find may also become a symbol of a region or community, for example the sun chariot for Trundholm community and the Gundestrup cauldron for Himmerland.It is almost always people who live near the find site who want to remember what has been found and where. The finds were commemorated by a memorial on average 60 years after their discovery. A longer period elapsed for the golden horns from Gallehus; shortest was at Bjæverskov where the coin hoard was found in March 1999 and a monument was erected in November of the same year.Memorials might seem an old-fashioned way of marking localities in a national topography, but new memorials are created in the same period as many new museums are established.A unique find has no prominent role in archaeological education, research or other work. However, in public opinion treasures and exotic finds are central. Folklore tells of people searching for treasures but always failing. Treasure hunting is restricted by taboos. In the world of archaeological finds there are no taboos. The treasure is found by accident and in spite of various hindrances the find is taken to a museum. The finder is often a worthy person – a child, a labourer or peasant. He or she is an innocent and ordinary person. A national symbol requires a worthy finder. And the find occurs as a miracle. At the find site a romantic relationship is established between the ancestors and their heirs who, by way of a miracle, find fragments of the glorious past of the nation. A paradigmatic example is the finding of the golden horns from Gallehus. Other examples extend from the discovery of the sun chariot in Trundholm bog to the Stone Age settlement at Mullerup bog.The article ends with a catalogue presenting the 24 archaeological find sites that have been marked with monuments in present-day Denmark.Jes WienbergHistorisk arkeologiInstitutionen för Arkeologi och ­Antikens historiaLunds Universitet

Memorial plaques are one of the most common forms of commemorative practices. Organically fitting into the geographical and socio-cultural landscape and having several functions, memorial plaques not only become a kind of marker of a “site of memory” (lieu de mémoire), play an important role in preserving names, transmitting historical memory, but also contribute to the construction and consolidation in the mass consciousness of ideologically verified representations of historical political events. Various “initiatives from below” and projects of independent activists (for example, the “Last Address” (“Poslednij adres”) project with memorial tablets to victims of state terror or the anonymous “questions about repressions” action discussed in this article) become vivid examples of how today’s Russian civil society reacts to a unilateral submission historical facts by power structures. The organizers of such actions become new actors in the politics of memory. They seek not only to expand the space of specific “places of memory” – memorial plaques and their contents – but also to change the perception of certain historical events and attitudes towards them. On the example of memorial plaques as a form of commemoration, the article examines the communicative strategies of different groups of memory subjects in modern Russia.

The article is devoted to the daily life of a Russian language teacher. A peculiar and insufficiently studied source of everyday life description is the poems In Memoriam. We have analyzed poems published in various sources and dedicated to famous language teachers of the late XIX – early XX centuries: V.I. Vodovozov, S.A. Varsher, V.P. Ostrogorsky, P.V. Smirnovsky. The purpose of the work is to reconstruct the perception of the image of a language teacher in the In Memoriam poems of students’. The article uses a comparative historical research method, recruits memoirs, introduces previously little-known materials to the scientific community. It is revealed that the poems In Memoriam have a single organization principle: The emphasis in them is put on the perception of the death of the teacher and the teacher himself. At the same time, personal qualities and biography facts are mentioned in a condensed form. The authors do not create specific images of their heroes (one can only catch the real traits), but artistically recreate the image of the teacher with his set of virtues. Poems have a specific emotional coloring: the motives of sadness, grief, irreplaceability of loss dominate in them; there is a combination of motives for passing away and immortality. At the same time, the primary attention is paid specifically to the teaching merits of the educators’, their role in shaping the spiritual world of their students. It is established that the category of memory is the most important in the system of artistic coordinates of all works. It is concluded that all the poems are united by the author’s understanding of the personality and fate of the teacher of literature, expressed in them, and the works of memorial poetry can supplement the overall picture of the history of school literary education.

The purpose of the article is to analyse modern Arab rap culture in the politics of memory. The author analyses the tactics and strategies of imagining and inventing the past, its ideologically and politically motivated reinterpretations in the discourse of Arabic rap. The novelty of the study lies in the analysis of Arabic rap as a form of memory politics, since most academic studies of memorial culture are limited to the analysis of the visualization and actualization of the past in the nationalist and political imagination, which leads to ignoring the texts of modern mass culture and consumer society as forms and dimensions of the mnemonic space. The article analyses the contribution of Arabic rap to the formation and development of modern memorial culture in contexts of the historical memory of the Arab countries of the Middle East and North Africa. The article also analyses a wide range of problems presented in the Arabic rap discourse. It is presumed that texts of the rap singers inspire the fragmentation of the Arab societies, actualising and visualising various versions of the memorial culture. It is assumed that rap as a form of mass culture can significantly influence the politics of memory as one of the spaces for the actualization and visualization of various memorial canons inspired by the generational differences in ideological and political preferences of Arab societies in contexts of the transformation of collective historical memory.

In response to recent work in cultural geography on the spatial practices of mourning and remembrance, I draw upon my own research on the discourse of romantic love (in the field of literary and cultural theory) in order to theorise a connection between the memorial practices associated with the ‘life’ of a relationship and those pursued in retrospect. Through a focus on embodied mobility, I propose that there are implicit links between the way in which we create and store memories ( à propos Bergson), the way we protect and project them (the processes commonly associated with nostalgia) and the way we activate them in later years (memorialisation). A secondary – but related – line of argument concerns the distinction between public (and ‘spectacular’) and private (and ‘invisible’) memorial practices and the function of mobilities of various kinds within each. With reference to a small selection of autobiographical and literary texts, I reflect upon the way in which burials (in the Christian tradition) have, for centuries, been inscribed by spectacular hypermobility (for the deceased as well as the bereaved) and how, by contrast, our more private memorial practices are often invisible precisely because they exist only as micro-mobilities of some kind. For while mourning may involve visits to memorials in the landscape (as explored in the work of Avril Maddrell and others), it may equally take the form of walks (or drives) devoid of both destination and visible trace (what I refer to here as a ‘trackless mourning’) or express itself in the smallest of gestures that, unbeknown to the world, unite the deceased and the bereaved.

This is an edited transcript of the Caroline Benn Memorial Lecture, given by Ken Jones, at the request of the Socialist Education Association, in November 2020. The lecture situates Caroline's work in the context of the 'Long Revolution' of twentieth-century Britain. The lecture discusses the meaning of that revolution for education; it charts the course of the right-wing reaction to it from 1976 onwards, and the growth of managerial cultures at the level of the school which have blocked its further development. The effects within education of the Black Lives Matter and the Covid pandemic have revived, in both practical and ideational ways, some of the themes of the Long Revolution. The lecture argues that this is a change of historical significance. The possibility of change as a collective democratic project has been reawakened.