This book explores the history and legacy of monuments to the fallen from the Francoist side in the Spanish Civil War. Del Arco Blanco studies thousands of monuments in towns and cities across Spain to provide a detailed account of the history and memory of the civil war, Francoism, and the transition to democracy. Chapters in the book focus on the myth of those said to have 'fallen for God and for Spain'—a phrase that encapsulated and shaped the dichotomy between ‘good’ and ‘bad’ Spaniards. They also focus on the use of monuments to control political and ideological ideals and to legitimise the Francoist dictatorship. Further chapters study Spanish society’s struggle to deal with its past of mass killing, denial, and exclusion. Del Arco Blanco also pays attention to the way the Francoist authorities used monuments and memory for their political and ideological advantage and to control people, power as well as the political agenda. The book draws on extensive research to reconstruct both the specific history of monuments scattered throughout the country and their role within manipulative Francoist memory of the Spanish Civil War. In these ways, monuments helped shape the Francoist narrative and memory, but they also became part of the landscape of contemporary Spanish history. This book is an excellent resource for postgraduate students and professional researchers studying the aftermath of the Spanish Civil War, and the influence of monuments on the construction of national memory, culture, and society in Spain both at the time and through to the present day.

Latin America has been a refuge for Jews fleeing persecution from 1492, when Sepharad Jews were expelled from Spain, until well into the twentieth century, when European Jews sought sanctuary there from the horrors of the Nazi Holocaust. Vibrant Jewish communities have deep roots in countries such as Argentina, Mexico, Guatemala, and Chile—though members of these communities have at times experienced the pain of being "the other," ostracized by Christian society and even tortured by military governments. While commonalities of religion and culture link these communities across time and national boundaries, the Jewish experience in Latin America is irreducible to a single perspective. Only a multitude of voices can express it. This anthology gathers fifteen essays by historians, creative writers, artists, literary scholars, anthropologists, and social scientists who collectively tell the story of Jewish life in Latin America. Some of the pieces are personal tales of exile and survival; some explore Jewish humor and its role in amalgamating histories of past and present; and others look at serious episodes of political persecution and military dictatorship. As a whole, these challenging essays ask what Jewish identity is in Latin America and how it changes throughout history. They leave us to ponder the tantalizing question: Does being Jewish in the Americas speak to a transitory history or a more permanent one?

Artist, psychoanalyst, and feminist theorist Bracha Ettinger presents an original theoretical exploration of shared affect and emergent expression, across the thresholds of identity and memory. Ettinger works through Lacan’s late works, the anti-Oedipal perspectives of Deleuze and Guattari, as well as object-relations theory to critique the phallocentrism of mainstream Lacanian theory and to rethink the masculine-feminine opposition. She replaces the phallic structure with a dimension of emergence, where objects, images, and meanings are glimpsed in their incipiency, before they are differentiated. This is the matrixial realm, a shareable, psychic dimension that underlies the individual unconscious and experience. Concerned with collective trauma and memory, Ettinger’s own experience as an Israeli living with the memory of the Holocaust is a deep source of inspiration for her paintings, several of which are reproduced in the book. The paintings, like the essays, replay the relation between the visible and invisible, the sayable and ineffable; the gaze, the subject, and the other. Bracha Ettinger is a painter and a senior clinical psychologist. She is professor of psychoanalysis and aesthetics at the University of Leeds, England, and Bezalel Academy, Jerusalem. Judith Butler is professor of rhetoric and comparative literature at the University of California, Berkeley. Griselda Pollock is professor of fine arts at the University of Leeds. Brian Massumi is professor of communication at the University of Montreal.

This book provides novel and critical insights into the complex relationship between politics of memory and oblivion in European countries in the 20th and early 21st centuries as well as the cultural, political and institutional backgrounds against which they function. It explores the uses of the past in terms of a conscious choice to either reactivate or overlook memories as selective reference points for the promotion and legitimation of contemporary political goals. The chapters of this volume bring together theoretical discussions on the interrelationship between remembrance and purposeful oblivion as active processes that serve particular interests and ideologies in the present. By addressing the diverse meanings given to practices of memory, the contributions offer new perspectives on how institutions shape cultural memory, power relations and identity projects. Politics of Memory and Oblivion in the European Context: Critical Perspectives will be of interest to scholars and graduate students from the fields of memory studies, heritage studies, cultural studies, history, and political science who engage with the legacies of violent and traumatic pasts, post-colonial contexts, societal transition and reconciliation. The chapters in this book were originally published as a special issue of the journal, European Politics and Society.

This is the 16-century collection of spiritual, mystical works regarding the search for unity with the divine. The author wrote part of the works during his imprisonment. In those times, the author experienced bad health and spiritual condition, which inspired him for an inner spiritual search. The result of this search was the poem The Dark Night of the Soul, telling about the soul's journey to unity with God, which goes through three stages: purgation, illumination, and unity. Ascent of Mount Carmel is a treatise to the poem mentioned above, which gives practical advice on the ascetic life. Finally, the Spiritual Canticle is a metaphoric poem about the soul searching the unity with Christ, presented as a story of a wife seeking her beloved husband.

Collected here in this omnibus edition are all three of St. John of the Cross' major works as well as twenty of his magnificent poems. The Ascent of Mount Carmel is the third major work of St. John of the Cross and is considered to be the introductory work on mystical theology. Dark Night of the Soul is one of the greatest religious poems ever written. This masterpiece of Mystic Christianity examines faith and how to keep faith when all seems lost. Think of it as guide to making it through the dark night of the soul to the brighter, happier, faith filled tomorrow that awaits. In A Spiritual Canticle of the Soul and the Bridegroom Christ, St. John states: "I do not purpose here to set forth all that greatness and fullness the spirit of love, which is fruitful, embodies in it. Yes, rather it would be foolishness to think that the language of love and the mystical intelligence - and that is what these stanzas are - can be at all explained in words of any kind, for the Spirit of our Lord who helps our weakness."

Memory is a subject that recently has attracted many scholars and readers not only in the general historical sciences, but also in the special field of art history. However, in this book, in which more than 130 papers given at the XXIXth International Congress of the History of Art (Amsterdam) 1996 have been compiled, Memory is also juxtaposed to its counterpart, Oblivion, thus generating extra excitement in the exchange of ideas. The papers are presented in eleven sections, each of which is devoted to a different aspect of memory and oblivion, ranging from purely material aspects of preservation, to social phenomena with regard to art collecting, from the memory of the art historian to workshop practices, from art in antiquity, to the newest media, from Buddhist iconography to the Berlin Wall. The book addresses readers in the field of history, history of art and psychology.

In this collection, leading scholars in both film studies and Israeli studies show that beyond representing familiar historical accounts or striving to offer a more complete and accurate depiction of the past, Israeli cinema has innovatively used trauma and memory to offer insights about Israeli society and to engage with cinematic experimentation and invention. Tracing a long line of films from the 1940s up to the 2000s, the contributors use close readings of these films not only to reconstruct the past, but also to actively engage with it. Addressing both high-profile and lesser known fiction and non-fiction Israeli films, Deeper than Oblivion underlines the unique aesthetic choices many of these films make in their attempt to confront the difficulties, perhaps even impossibility, of representing trauma. By looking at recent and classic examples of Israeli films that turn to memory and trauma, this book addresses the pressing issues and disputes in the field today.

One of the first twenty-first century Russian novels to probe the legacy of the Soviet prison camp system by one of Russia's finest young writers. A young man travels to the vast wastelands of the Far North to uncover the truth about a shadowy neighbour who saved his life, and whom he knows only as Grandfather II. What he finds, among the forgotten mines and decrepit barracks of former gulags, is a world relegated to oblivion, where it is easier to ignore both the victims and the executioners than to come to terms with a terrible past. This disturbing tale evokes the great and ruined beauty of a land where man and machine worked in tandem with nature to destroy millions of lives during the Soviet century. Emerging from today's Russia, where the ills of the past are being forcefully erased from public memory, this masterful novel represents an epic literary attempt to rescue history from the brink of oblivion.

What is ‘cultural oblivion’ and ‘psychological colonialism’, and how are they affecting the capacity of Indigenous Peoples in Canada to actively resist systematic and territorial oppression by the state? Following a decade-long research project, this new book by Pierrot Ross-Tremblay examines the production of oblivion among his own community, the Essipiunnuat [or, ‘People of the Brook Shells River’] and the relationship between a colonial imperative to forget. The book illustrates how the ‘cultural oblivion’ of vulnerable minority communities is a critical human rights issue but also asks us to reflect upon both the role of the state and the local elite in creating and warping our perception and understanding of history.