Decolonizing the Memory of the First World War contributes to the imperial turn in First World War studies. This book provides an exploration of the ways in which war memory can be appropriated, neglected and disabled, but also “unlearned” and “decolonized”. The book offers an analysis of the experience of soldiers of colour in five novels published at the centenary of the First World War by David Diop, Raphaël Confiant, Fred Khumalo, Kamila Shamsie and Abdulrazak Gurnah, examining the poetics and the politics of the conflict’s commemoration. It explores continuities between WWI and earlier and later eruptions of violence, thus highlighting the long-lasting sequels of the first global conflict in the former French, British and German empires. It thereby asks important questions about the decolonization of the memory of the First World War, its tools, critical potential and limitations. The book will appeal to academics and postgraduate students working in postcolonial literatures, postcolonial and decolonial studies, First World War studies, colonial history, human and political geography, as well as readers interested in cultural memory and overlapping legacies of violence.

"Decolonizing the Memory of the First World War contributes to the imperial turn in First World War studies. This book provides an exploration of the ways in which war memory can be appropriated, neglected and disabled, but also "unlearned" and "decolonized". The book offers an analysis of the experience of soldiers of colour in five novels published at the centenary of the First World War by David Diop, Raphaël Confiant, Fred Khumalo, Kamila Shamsie and Abdulrazak Gurnah, examining the poetics and the politics of the conflict's commemoration. It explores continuities between WWI and earlier and later eruptions of violence, thus highlighting the long-lasting sequels of the first global conflict in the former French, British and German empires. It thereby asks important questions about the decolonization of the memory of the First World War, its tools, critical potential and limitations. The book will appeal to academics and postgraduate students working in postcolonial literatures, postcolonial and decolonial studies, First World War studies, colonial history, human and political geography, as well as readers interested in cultural memory and overlapping legacies of violence"--

The book provides valuable insights on decolonising the digital media landscape and the indigenisation of participatory epistemologies to continue the legacies of indigenous languages in the global South. It is one of its kind as it climaxes that the construction phase of self-determining and redefining among the global South societies is an essential step towards decolonising the digital landscape and ensuring that indigenous voices and worldviews are equally infused, represented, and privileged in the process of higher-level communication, exchanging epistemic philosophies, and knowledge expressions. The book employs an interdisciplinary approach to engage in the use of digital media as a sphere for resistance and knowledge transformation against the persistent colonialism of power through dominant non-indigenous languages and scientific epistemic systems. It further advocates that decolonising digital media spaces through appreciating participatory epistemologies and their languages can help promote the inclusion and empowerment of indigenous communities. It indicates that the decolonial process can also help to redress the historical and ongoing injustices that have disadvantaged many indigenous communities in the global South and contributed to their marginalisation. This book will appeal to undergraduate and graduate students, scholars, and academics in communication, media studies, languages, linguistics, cultural studies, and indigenous knowledge systems in higher education institutions. It will be a valuable resource for those interested in epistemologies of the South, decoloniality, postcoloniality, indigenisation, participatory knowledge, indigenous language legacies, indigenous artificial intelligence, and digital media in the Fourth Industrial Revolution.

The magnitude of the legal violence exercised by the French to colonize and occupy Algeria (1830–1962) is such that only aesthetic works have been able to register its enduring effects. In Decolonizing Memory Jill Jarvis examines the power of literature to provide what demographic data, historical facts, and legal trials have not in terms of attesting to and accounting for this destruction. Taking up the unfinished work of decolonization since 1962, Algerian writers have played a crucial role in forging historical memory and nurturing political resistance—their work helps to make possible what state violence has rendered almost unthinkable. Drawing together readings of multilingual texts by Yamina Mechakra, Waciny Laredj, Zahia Rahmani, Fadhma Aïth Mansour Amrouche, Assia Djebar, and Samira Negrouche alongside theoretical, juridical, visual, and activist texts from both Algeria’s national liberation war (1954–1962) and war on civilians (1988–1999), this book challenges temporal and geographical frameworks that have implicitly organized studies of cultural memory around Euro-American reference points. Jarvis shows how this literature rewrites history, disputes state authority to arbitrate justice, and cultivates a multilingual archive for imagining decolonized futures.

What exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the 'War on Terror'. Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews. It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to 'culture' wars. With interviews from official war artists working in the UK, the US, and Australia, such as eX de Medici (Australia) and David Cotterrell (UK), as well as those working in post-colonial contexts, such as Baptist Coelho (India), the editors reflect on contemporary processes of memorialisation and the impact of British colonisation in Australia, India and its relation to historical conflicts. It focuses on three overlapping themes: firstly, the role of memory and amnesia in colonial contexts; secondly, the complex role of 'official' war art; and thirdly, questions of testimony and knowing in relation to alleged war crimes, torture and genocide. Richly illustrated, and featuring three substantial interview chapters, The Politics of Artists in War Zones is a hands-on exploration of the complexities and challenges faced by war artists that contextualises the tensions between the contemporary art world and the portrayal of war. It is essential reading for researchers of fine art, curatorial studies, museum studies, conflict studies and photojournalism.

The recording of Indigenous voices is one of the most well-known methods of colonial ethnography. In A Decolonizing Ear, Olivia Landry offers a sceptical account of listening as a highly mediated and extractive act, influenced by technology and ideology. Returning to early ethnographic practices of voice recording and archiving at the turn of the twentieth century, with a particular focus on the German paradigm, she reveals the entanglement of listening in the logic of Euro-American empire and the ways in which contemporary films can destabilize the history of colonial sound reproduction. Landry provides close readings of several disparate documentary films from the late 1990s and the early 2000s. The book pays attention to technology and knowledge production to examine how these films employ recordings plucked from different colonial sound archives and disrupt their purposes. Drawing on film and documentary studies, sound studies, German studies, archival studies, postcolonial studies, and media history, A Decolonizing Ear develops a method of decolonizing listening from the insights provided by the films themselves.

Countering dominant narratives of conflict through attention to memory and trauma This volume presents approaches to the archaeology of war that move beyond the forensic analysis of battlefields, fortifications, and other sites of conflict to consider the historical memory, commemoration, and social experience of war. Leading scholars offer critical insights that challenge the dominant narratives about landscapes of war from throughout the history of North American settler colonialism. Grounded in the empirical study of fields of conflict, these essays extend their scope to include a commitment to engaging local Indigenous and other descendant communities and to illustrating how public memories of war are actively and politically constructed. Contributors examine conflicts including the battle of Chikasha, King Philip’s War, the 1694 battle at Guadalupe Mesa, the Rogue River War, the Dakota-U.S. War of 1862, and a World War II battle on the island of Saipan. Studies also investigate the site of the Schenectady Massacre of 1690 and colonial posts staffed by Black soldiers. Chapters discuss how prevailing narratives often minimized the complexity of these conflicts, smoothed over the contradictions and genocidal violence of colonialism, and erased the diversity of the participants. This volume demonstrates that the collaborative practice of conflict archaeology has the potential to reveal the larger meanings, erased voices, and lingering traumas of war. A volume in the series Cultural Heritage Studies, edited by Paul A. Shackel

Whether out of historical interest, romantic identification with the colonized or as models for contemporary counter-insurgency experts, the mass violence of insurgency and counter-insurgency in the post-war decolonization of the European empires has long exerted an intense fascination. In the main, the dramas in French Algeria and British Kenya in the 1950s have dominated the scene, overshadowing the equally violent events that unfolded in the Dutch, Belgian and Portuguese empires. Colonial counterinsurgency and mass violence is the first book in English to treat the intense conflict that occurred during the ‘Indonesian revolution’—the decolonization struggle of the Dutch East Indies between 1945 and 1949. This case is particularly significant as the first episode of post-war colonial violence, indeed one with global reverberations. International opinion was ranged against the Dutch, and the nascent United Nations condemned its euphemistically termed ‘police actions’ to reclaim the archipelago from Indonesian nationalists after defeat by the Japanese in 1942. As this book makes clear, however, intra-Indonesian violence was no less prevalent, as rival independence visions vied for control and villagers were caught between the fronts. Taking a multi-perspectival approach, eighteen authors examine the origins of the conflict as well as its representational and memory dimensions. Colonial counterinsurgency and mass violence will appeal to scholars of imperial history, mass violence and memory studies alike. This book is based on a special issue of the Journal of Genocide Research.

This volume is first consistent effort to systematically analyze the features and consequences of colonial repatriation in comparative terms, examining the trajectories of returnees in six former colonial countries (Belgium, France, Italy, Japan, the Netherlands, and Portugal). Each contributor examines these cases through a shared cultural sociology frame, unifying the historical and sociological analyses carried out in the collection. More particularly, the book strengthens and improves one of the most important and popular current streams of cultural sociology, that of collective trauma. Using a comparative perspective to study the trajectories of similarly traumatized groups in different countries allows for not only a thick description of the return processes, but also a thick explanation of the mechanisms and factors shaping them. Learning from these various cases of colonial returnees, the authors have been able to develop a new theoretical framework that may help cultural sociologists to explain why seemingly similar claims of collective trauma and victimhood garner respect and recognition in certain contexts, but fail in others.

This book is a printed edition of the Special Issue "Decolonizing Trauma Studies: Trauma and Postcolonialism" that was published in Humanities