This book presents a social and cultural history of collective memory in modern Greece during the first century of state independence, contributing to the debate over the relationship between memory and identity. It discusses how modern Greek society commemorated its distant and recent pasts, both real and imagined, namely antiquity, Byzantium, the Greek Revolution and the Asia Minor Catastrophe; how cultural memory was shaped by the various war experiences (victory, defeat, mass death and mourning, refugeedom); and how memory politics became arenas of social and political strife. Historical painting, monuments, historical pageantry, tableaux vivants, national anniversaries, performances of ancient drama and revivals of ancient games are analyzed as instances where the past was visualized, represented, performed and "consumed". An explosion in public history has taken place over the last decades around the world, with a veritable flood of commemorations, anniversaries and "memory wars". As more and more social groups claim the "right to remember", public discourse and polemics have arisen at the same time that traumatic memory has become a field of international academic research. In the arena of public history, historical memory is being constructed through the sentimental, irrational reception of mythological narratives told through images.
This book presents a social and cultural history of collective memory in modern Greece during the first century of state independence, contributing to the debate over the relationship between memory and identity. It discusses how modern Greek society commemorated its distant and recent pasts, both real and imagined, namely antiquity, Byzantium, the Greek Revolution and the Asia Minor Catastrophe; how cultural memory was shaped by the various war experiences (victory, defeat, mass death and mourning, refugeedom); and how memory politics became arenas of social and political strife. Historical painting, monuments, historical pageantry, tableaux vivants, national anniversaries, performances of ancient drama and revivals of ancient games are analyzed as instances where the past was visualized, represented, performed and "consumed". An explosion in public history has taken place over the last decades around the world, with a veritable flood of commemorations, anniversaries and "memory wars". As more and more social groups claim the "right to remember", public discourse and polemics have arisen at the same time that traumatic memory has become a field of international academic research. In the arena of public history, historical memory is being constructed through the sentimental, irrational reception of mythological narratives told through images.
Across the years, four people, caught up in the maelstrom of a family secret, attempt to come to terms with its aftermath. From London to Athens, from Thessaloniki to Paris, their various trajectories form an intricate story like the many layers of a sumptuous cake. An inner journey and at the same time a kaleidoscope of perspectives, which has at its heart the never-ending search for redemption. An enthralling portrayal of complex emotional turmoil. I marvelled at the bold handling of time. Not only does it make the reader poignantly feel they are transcending time and space, it makes a kind of spellbinding music out of the juxtapositions and leitmotifs lyrically woven throughout the narrative. Dr Graham Frankland, academic translator and editor, author of Freud’s Literary Culture Christina Moutsou is a Cambridge graduate in social anthropology and a psychoanalytic psychotherapist working in private practice in London. Her collection of short stories has been published by Routledge in September 2018 with the title Fictional clinical narratives in relational psychoanalysis: Stories from adolescence to the consulting room. Layers has been translated into Greek and published by Archetypo in March 2018 with the title, Black Cake.
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