This book explores how photography and recorded music act as vehicles or catalysts in processes of remembering, and how they are regarded, treated, valued and drawn upon as resources connecting past and present in everyday life. It does so via two key concepts: vernacular memory and the mnemonic imagination.
This book shows how the mnemonic imagination creatively uses the resources of photography and music in the registering and management of change. Looking in particular at major transitions and turning points, it covers key issues of identity for the remembering subject and key scales of remembering in vernacular milieus. The book explores the connections of memory and remembering with transformations in intimate relationships, migration and spatial mobilities, loss and bereavement involving loved ones or those with whom close affinities are felt, resulting in a volume that helps fill the gap in memory studies caused by lack of sustained ethnographic work. Drawing on extensive fieldwork on the processes and practices of remembering in everyday life, it demonstrates how the mnemonic imagination is central to the management of change and transition, and how its cross-temporal interanimations of past, present and future are fostered and facilitated by the visual and sonic resources of photography and recorded music.
An exploration of some of the key theoretical challenges and conceptual issues facing the emergent field of memory studies, from the relationship between experience and memory to the commercial exploitation of nostalgia, using the key concept of the mnemonic imagination.
This book shows how the mnemonic imagination creatively uses the resources of photography and music in the registering and management of change. Looking in particular at major transitions and turning points, it covers key issues of identity for the remembering subject and key scales of remembering in vernacular milieus. The book explores the connections of memory and remembering with transformations in intimate relationships, migration and spatial mobilities, loss and bereavement involving loved ones or those with whom close affinities are felt, resulting in a volume that helps fill the gap in memory studies caused by lack of sustained ethnographic work. Drawing on extensive fieldwork on the processes and practices of remembering in everyday life, it demonstrates how the mnemonic imagination is central to the management of change and transition, and how its cross-temporal interanimations of past, present and future are fostered and facilitated by the visual and sonic resources of photography and recorded music.
The first practical guide to research methods in memory studies. This book provides expert appraisals of a range of techniques and approaches in memory studies, and focuses on methods and methodology as a way to help bring unity and coherence to this new
This book explores how photography and recorded music act as vehicles or catalysts in processes of remembering, and how they are regarded, treated, valued and drawn upon as resources connecting past and present in everyday life. It does so via two key concepts: vernacular memory and the mnemonic imagination.
Omens, Alchemy, and Occult Wisdom in the Works of the Great Bard Shakespeare's plays and sonnets are steeped in magic and esoteric lore. So Potent Art explores fascinating examples of astrology, alchemy, and Hermeticism in addition to herbalism, witchcraft, fairies, ghosts, and divine intervention. This book also reveals the deeper archetypal structures of the plays and shows how the sacred architecture of the historical theater space enhances Shakespeare's magical themes. Author Emily Carding, a Wiccan initiate and theater professional who specializes in staging Shakespeare, discusses the influence of esoteric writers such as Ovid, Agrippa, and John Dee on The Winter's Tale, The Tempest, Macbeth, and other Shakespearean works. Each chapter is accompanied by practical suggestions, rituals, and exercises for you to try, enhancing your understanding not only of the great bard’s writings but also of yourself.
Traversing visible and invisible realms, A Time of Lost Gods attends to profound rereadings of politics, religion, and madness in the cosmic accounts of spirit mediumship. Drawing on research across a temple, a psychiatric unit, and the home altars of spirit mediums in a rural county of China’s Central Plain, it asks: What ghostly forms emerge after the death of Mao and the so-called end of history? The story of religion in China since the market reforms of the late 1970s is often told through its destruction under Mao and relative flourishing thereafter. Here, those who engage in mediumship offer a different history of the present. They approach Mao’s reign not simply as an earthly secular rule, but an exceptional interval of divine sovereignty, after which the cosmos collapsed into chaos. Caught between a fading era and an ever-receding horizon, those “left behind” by labor outmigration refigure the evacuated hometown as an ethical-spiritual center to come, amidst a proliferation of madness-inducing spirits. Following pronouncements of China’s rise, and in the wake of what Chinese intellectuals termed semicolonialism, the stories here tell of spirit mediums, patients, and psychiatrists caught in a shared dilemma, in a time when gods have lost their way.
The definitive edition of Emily Dickinson’s correspondence, expanded and revised for the first time in over sixty years. Emily Dickinson was a letter writer before she was a poet. And it was through letters that she shared prose reflections—alternately humorous, provocative, affectionate, and philosophical—with her extensive community. While her letters often contain poems, and some letters consist entirely of a single poem, they also constitute a rich genre all their own. Through her correspondence, Dickinson appears in her many facets as a reader, writer, and thinker; social commentator and comedian; friend, neighbor, sister, and daughter. The Letters of Emily Dickinson is the first collected edition of the poet’s correspondence since 1958. It presents all 1,304 of her extant letters, along with the small number available from her correspondents. Almost 300 are previously uncollected, including letters published after 1958, letters more recently discovered in manuscript, and more than 200 “letter-poems” that Dickinson sent to correspondents without accompanying prose. This edition also redates much of her correspondence, relying on records of Amherst weather patterns, historical events, and details about flora and fauna to locate the letters more precisely in time. Finally, updated annotations place Dickinson’s writing more firmly in relation to national and international events, as well as the rhythms of daily life in her hometown. What emerges is not the reclusive Dickinson of legend but a poet firmly embedded in the political and literary currents of her time. Dickinson’s letters shed light on the soaring and capacious mind of a great American poet and her vast world of relationships. This edition presents her correspondence anew, in all its complexity and brilliance.
In The Meaning of Soul, Emily J. Lordi proposes a new understanding of this famously elusive concept. In the 1960s, Lordi argues, soul came to signify a cultural belief in black resilience, which was enacted through musical practices—inventive cover versions, falsetto vocals, ad-libs, and false endings. Through these soul techniques, artists such as Aretha Franklin, Donny Hathaway, Nina Simone, Marvin Gaye, Isaac Hayes, and Minnie Riperton performed virtuosic survivorship and thus helped to galvanize black communities in an era of peril and promise. Their soul legacies were later reanimated by such stars as Prince, Solange Knowles, and Flying Lotus. Breaking with prior understandings of soul as a vague masculinist political formation tethered to the Black Power movement, Lordi offers a vision of soul that foregrounds the intricacies of musical craft, the complex personal and social meanings of the music, the dynamic movement of soul across time, and the leading role played by black women in this musical-intellectual tradition.
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