Canonical Generations and the British Left: The Narrative Construction of the Miners’ Strike 1984–85

‘Generations’ have been invoked to describe a variety of social and cultural relationships, and to understand the development of self-conscious group identity. Equally, the term can be an applied label and politically useful construct; generations can be retrospectively produced. Drawing on the concept of ‘canonical generations’ – those whose experiences come to epitomise an event of historic and symbolic importance – this article examines the narrative creation and functions of ‘generations’ as collective memory shapes and re-shapes the desire for social change. Building a case study of the canonical role of the miners’ strike of 1984–85 in the narrative history of the British left, it examines the selective appropriation and transmission of the past in the development of political consciousness. It foregrounds the autobiographical narratives of activists who, in examining and legitimising their own actions and prospects, (re)produce a ‘generation’ in order to create a relatable and useful historical understanding

‘The Rest is Silence’:Psychogeography, Soundscape and Nostalgia in Pat Collins’ Silence

Guy Debord defines the term psychogeography as 'the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals' (Debord 1955: 23). Similar to the belief of psychogeographers that the geography of an environment has a psychological effect on the human mind, proponents of acoustic ecology such as R. Murray Schafer hold that humans are affected by the sound of the environment in which they find themselves. Further to this, they examine the extent to which soundscapes can be shaped by human behaviour. Recently a body of Irish films has emerged that directly engages with the Irish soundscape and landscape on a psychogeographical level. Rather than using landscape as a physical space for the locus of action, these representations of the Irish landscape allow for an engagement with the aesthetic effects of the geographical landscape as a reflection of the psychological states of the protagonists. Bearing this in mind, this article examines how Silence (Collins 2012) arguably demonstrates the most overt and conscious incursion into this area to date. It specifically interrogates how the filmic representation of the psychogeography and soundscape of the Irish rural landscape can serve to express emotion, alienation and nostalgia, thus confronting both the Irish landscape and the weight of its associated history

Memory, post-socialism and the media: nostalgia and beyond

While research on the mediation of post-socialist memory has gained momentum in recent years, the field remains fragmented and limited to small-scale case studies, with little attempt to develop a more general reflection on the nature of the processes investigated. Engagement with the wider literature on the mediatisation of memory has been limited as well, with research typically applying established conceptual frameworks rather than using post-socialist materials to generate new theoretical insights. Given the state of the field, this article has a double aim. First, it offers a critical review of the main trends in existing research, focussing on four key issues: the fascination with nostalgic modes of remembering, the dominance of national frames of analysis, the lack of research on the mediation of personal and vernacular remembering, and the privileging of descriptive over explanatory modes of analysis. Second, the article outlines a new agenda for the field, and proposes three main research trajectories. The first pays attention to how mediated memories at local and national levels interact with transnational processes of remembering the Cold War, the second focusses on to the intersections between personal and public modes of mediated remembering, and the last moves the discussion from description to explanation, using comparative approaches to advance explanations of different modes of mediated post-socialist memories

Constructing Memories of Holmfirth through 'Last of the Summer Wine'

Last of the Summer Wine (BBC, 1973-2010) was filmed in Holmfirth, West Yorkshire, UK for 37 years. Its presence in the town has affected collective memories of the space and place of the region. In examining Summer Wine’s continued presence in Holmfirth even after it has ceased production, we investigate how the series as a text, institution and brand serves to spatially inform Holmfirth and construct, embed and inform cultural memory

Researching Identities through Material Possessions: The Case of Diasporic Objects

The article aims to contribute to the growing literature on exploring relationships between objects, homes, and identities in the context of migration. Using examples from a qualitative study of homemaking practices of Russian-speaking communities in the UK, the article discusses how the presence and use of certain objects and foods reflects complex meanings about home and belonging. Specifically, the article deploys the idea of ‘diasporic’ objects that signify the ambivalent nature of migrants’ relationships with their past and present homes simultaneously acting as symbols of connection and detachment. As the objects ‘travel’ through different homes so too do their meanings, and, through this, ‘diasporic’ objects accumulate new values and biographies embedded in wider cultural and transnational contexts. Analytically, the concept of diasporic objects is offered as a way to approach the feeling of home as a changing category that is (re)produced through memories and senses, as well as through particular ways of appropriation and personalisation of spaces and places

Industrial and Human Ruins of Post Communist Europe

With the former industrial cities of Eastern Europe in ruin - once the pillars of these former communist economies - the attention of both investors and academics has shifted towards capital cities and their political and economic potential fueled by the rise of new governments and foreign direct investment. The failed attempts to privatize many of these former industrial spaces, has left entire cities in ruin and despair, forgotten by all but artists and preservationists, who see these spaces not only as aesthetically inspiring but also as charged with redemptive potential. This article puts forward an alternative exploration of the Eastern European post-communist transition through these ruined spaces, arguing that the aesthetic dimension of change is key to understanding the human impact of the transition. Focusing on two former industrial sites – the Hunedoara Ironworks in Romania and the Vitkovice Ironworks in the Czech Republic, the article seeks to understand the rhetorical and material relationship between these ruined spaces and the workers who once inhabited them as well as the effect that different practices of representation – mainly photography - and preservation have had on these spaces

Researching Memory in Early Modern Studies

This essay pursues the study of early modern memory across a chronologically, conceptually and thematically broad canvas in order to address key questions about the historicity of memory and the methodologies of memory studies. First, what is the value for our understanding of early modern memory practices of transporting the methodologies of contemporary memory studies backwards, using them to study the memorial culture of a time before living memory? Second, what happens to the cross-disciplinary project of memory studies when it is taken to a distant period, one that had its own highly self-conscious and much debated cultures of remembering? Drawing on evidence and debates from a range of disciplinary locations, but primarily focusing on literary and historical studies, the essay interrogates crucial differences and commonalities between memory studies and early modern studies