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The public memory of slavery and the Atlantic slave trade, which some years ago could be observed especially in North America, has slowly emerged into a transnational phenomenon now encompassing Europe, Africa, and Latin America, and even Asia – allowing the populations of African descent, organized groups, governments, non-governmental organizations and societies in these different regions to individually and collectively update and reconstruct the slave past. This edited volume examines the recent transnational emergence of the public memory of slavery, shedding light on the work of memory produced by groups of individuals who are descendants of slaves. The chapters in this book explore how the memory of the enslaved and slavers is shaped and displayed in the public space not only in the former slave societies but also in the regions that provided captives to the former American colonies and European metropoles. Through the analysis of exhibitions, museums, monuments, accounts, and public performances, the volume makes sense of the political stakes involved in the phenomenon of memorialization of slavery and the slave trade in the public sphere.
The forgotten history of Russian disabled veterans' political struggle for equal rights, specialised care, education and adapted work.
This volume presents the intellectual autobiographies of fourteen leading scholars in the fields of history, literature, film and cultural studies who have dedicated a considerable part of their career to researching the history and memories of France during the Second World War. Basedin five different countries, Margaret Atack, Marc Dambre, Laurent Douzou, Hilary Footitt, Robert Gildea, Richard J. Golsan, Bertram M. Gordon, Christopher Lloyd, Colin Nettelbeck, Denis Peschanski, Renée Poznanski, Henry Rousso, Peter Tame, and Susan Rubin Suleiman have playeda crucial role in shaping and reshaping what has become a thought-provoking field of research. This volume, which also includes an interview with historian Robert O. Paxton, clarifies the rationales and driving forces behind their work and thus behind our current understanding of one of the darkest and most vividly remembered pages of history in contemporary France.
The writing of recent history tends to be deeply marked by conflict, by personal and collective struggles rooted in horrific traumas and bitter controversies. Frequently, today’s historians can find themselves researching the same events that they themselves lived through. This book reflects on the concept and practices of what is called “contemporary history,” a history of the present time, and identifies special tensions in the field between knowledge and experience, distance and proximity, and objectivity and subjectivity. Henry Rousso addresses the rise of contemporary history and the relations of present-day societies to their past, especially their legacies of political violence....
This book focusses on the several forms of reconstructing the slave past in the present. The recent emergence of the memory of slavery allows those who are or who claim to be descendents of slaves to legitimize their demand for recognition and for reparations for past wrongs. Some reparation claims encompass financial compensation, but very often they express the need for memorialization through public commemoration, museums, and monuments. In some contexts, presentification of the slave past has helped governments and the descendants of former masters and slave merchants to formulate public apologies. For some, expressing repentance is not only a means to erase guilt but also a way to gain ...
A major new study on the role of French railwaymen in resistance and genocide during the Second World War.
Guerres exogènes ou conflits endogènes, famines, catastrophes naturelles, esclavage, exploitations, dominations, humiliations : ces traumatismes partagés sont érigés en un patrimoine qui, pour douloureux qu’il soit, n’en n’est pas moins présent dans la construction mémorielle d’une communauté. Les traumatismes du passé constituent un héritage que les descendants des victimes d’hier portent désormais moins comme fardeau et plus comme patrimoine identitaire qui légitime les demandes de reconnaissance et de réparations. Or, cette patrimonialisation est accompagnée par l’affirmation du témoin au dépens de l’expert et par la montée de la mémoire, qui occupe la plac...
Le dessin est un champ fructueux et aujourd’hui inexploré. Dessiner l’Histoire, c’est se demander ce que cela implique de traduire le passé, qui par définition est évanoui, par le biais du dessin. Si quelque chose, au-delà du style graphique des auteurs rassemble les bandes dessinées «historiques» c’est bien qu’elles re-donnent à voir, qu’elles re-mettent en scène le passé par le biais de l’image et plus précisément du dessin. Là où une bande dessinée « historique » pourrait se définir c’est bien là où – qu’elle soit « sérieuse » ou humoristique – le dessinateur invoque tout un espace d’imagination, de considérations, de connaissances et d’influences qui viennent s’incarner au sein de sa production, de son tracé. Que ce soit Astérix, Fritz Haber ou les bandes dessinées de Séra, ces oeuvres transcrivent et traduisent, par le dessin, une certaine forme du passé historique. Dessiner l’Histoire interroge cette culture du passé au coeur de notre époque. Si le passé est une image, comment peut-on comprendre et répandre une nouvelle pensée de l’écriture visuelle de l’histoire ?
La Grande Guerre a fortement marqué les sociétés occidentales du XXe siècle jusqu'à nos jours, tout particulièrement l’Allemagne et la France. Si l’histoire des conflits mondiaux leur est commune, le cheminement mémoriel de la Première Guerre diffère d’un pays à l’autre. La construction du souvenir et de la mémoire est au cœur des textes proposés..