In historical studies, 'collective memory' is most often viewed as the product of nationalizing strategies carried out by political élites in the hope to create homogeneous nation-states. In contrast, this book asserts that collective memories develop out of a never-ending, triangular negotiation between local, national and transnational actors.

In historical studies, 'collective memory' is most often viewed as the product of nationalizing strategies carried out by political élites in the hope to create homogeneous nation-states. In contrast, this book asserts that collective memories develop out of a never-ending, triangular negotiation between local, national and transnational actors.

This collection brings together local case studies of Britain’s history and memory of transatlantic slavery and abolition, including the role of individuals and families, regional identity narratives, sites of memory and forgetting, and the financial, architectural and social legacies of slave-ownership.

Classical Memories is an intervention into the field of adaptation studies, taking the example of classical reception to show that adaptation is a process that can be driven by and produce intertextual memories. I see ‘classical memories’ as a memory-driven type of adaptation that draws on and reproduces schematic and otherwise de-contextualised conceptions of antiquity and its cultural ‘exports’ in, broadly speaking, the twentieth and twenty-first centuries. These memory-driven adaptations differ, often in significant ways, from more traditional adaptations that seek to either continue or deconstruct a long-running tradition that can be traced back to antiquity as well as its canonical points of reception in later ages. When investigating such a popular and widespread set of narratives, characters, and images like those that remain of Graeco-Roman antiquity, terms like ‘adaptation’ and ‘reception’ could and should be nuanced further to allow us to understand the complex interactions between modern works and classical antiquity in more detail, particularly when it pertains to postcolonial or post-digital classical reception. In Classical Memories, I propose that understanding certain types of adaptations as intertextual memories allows us to do just that.

Due to its unprecedented violence and unexpected duration, the First World War generated many complex and tragic experiences, which over time have been reinterpreted. Connecting past experiences with current memories of the war - in order to revisit in an interdisciplinary way Belgium's archival and literary, as well as material and monumental war heritage - is the goal of this book which presents the outcomes of the research project Experiences and Memories of the Great War in Belgium (MEMEX WW1). The following topics as part of the historical, psychological and memory studies are addressed: emotions and writing strategies in a war context and attitudes towards the Germans based on the diaries of Belgian soldiers and scholars; the memory of the war in the two fort cities of Antwerp and Liege during the Interbellum; the literary reception of Tom Lanoye's No Man's Land and the impact of the reading of some poems to current Flemish students. Another issue concerning the social representations of the war investigates the representations of soldiers as heroes or as victims among young Europeans. As for the impact of war centenary commemoration events, they are analyzed firstly through the iconology of the First World War illustrated on stamps and secondly through the effects of exhibitions and documentaries on young Belgians.

The book covers the topic of the role of public sector in the economic and territorial development across several dimensions of spatial planning, e.g. theoretical-methodological (planning cultures, leadership), executive (regional policies, services of general interest), sectoral (energy, tourism, air-quality) or social (social innovation, preservation of cultural heritage). The book delivers up-to date knowledge build on interactions between representatives of different stakeholders of economic and territorial development with the research represented by renowned experts and academicians. This is mirrored in the content of the book, delivering in a consistent form the conceptual explanations combined with the examples of the role of the public sector in fostering the local economies within the frame of spatial planning. The book reflects and transfers the expert knowledge which has been generated during more than a decade of scientific and research activities of Spa-ce.net. Presents a comprehensive view on different aspects of the involvement of public sector in the local and regional spatial development; Includes a combination of macro-regionally specific perspectives with the generalized knowledge; Provides knowledge from various researchers from prestigious European scientific and research teams.

This book looks at the role of popular music in constructing the myth of the First World War. Since the late 1950s over 1,500 popular songs from more than forty countries have been recorded that draw inspiration from the War. National Myth and the First World War in Modern Popular Music takes an inter-disciplinary approach that locates popular music within the framework of ‘memory studies’ and analyses how songwriters are influenced by their country’s ‘national myths’. How does popular music help form memory and remembrance of such an event? Why do some songwriters stick rigidly to culturally dominant forms of memory whereas others seek an oppositional or transnational perspective? The huge range of musical examples include the great chansonniers Jacques Brel and Georges Brassens; folk maestros including Al Stewart and Eric Bogle; the socially aware rock of The Kinks and Pink Floyd; metal legends Iron Maiden and Bolt Thrower and female iconoclasts Diamanda Galás and PJ Harvey.