How conflicting memories of the nation's origins shaped the political culture of the early American republic

Remembering Revolution constitutes one of the first major studies of women's role and involvement in the late 1960s' radical Left Naxalbari movement of West Bengal, the birthplace of Indian Maoism. relation to women's involvement in the late 1960s' radical Naxalbari movement of West Bengal. Drawing from historiographic, popular, and personal memoirs, it provides an innovative conceptual analysis of the Naxalbari movement principally in terms of gender, violence, and subjectivity.

Remembering Early Modern Revolutions is the first study of memory in relation to the major revolutions of the early modern period. Beginning with the English revolutions of the seventeenth century (1642–60 and 1688–9), this book also explores the American, French and Haitian revolutions. Through addressing these events collectively, this volume demonstrates the interconnectedness of these revolutions in the contemporary mind and highlights the importance of invoking the memory of prior revolutions in order both to warn of the dangers of revolution and to legitimate radical political change. It also unpicks the different ways in which these events were presented and their memory utilised, uncovering the importance of geographical and temporal contexts to the processes of remembering and forgetting. Examining both personal and collective remembrance and exploring both private recollection and public commemoration, Remembering Early Modern Revolutions uncovers the rich and powerful memory of revolution in the Atlantic world and is ideal for students and teachers of memory in the early modern period.

This work chronicles the ways in which the Irish revolution was remembered in the first two decades of independence by significant nationalist intellectuals: Eimar O'Duffy, P.S. O'Hegarty, George Russell, and Desmond Ryan. It provides a lively account of their controversial critiques of the revolution, and an intimate portrait of their lives and times.

"Set in the tumultuous aftermath of the Iranian revolution in 1979, Remembering Akbar weaves together the stories of a group of characters who share a crowded death row cell in Tehran's notorious Evin prison. A teeming world is evoked vividly through the relationships, memories, and inner lives of these political prisoners, many of whom were eventually executed. Told through a series of linked memories by the narrator, Akbar, whose striking candor is infused with a mordant sense of humor, the story takes the reader beyond mere political struggles and revelations, to a vibrant alternative history, as it were, by the losers. Rather than exalting the heroic, or choosing to focus merely on despair or redemption, Remembering Akbar reveals eloquently how life unfolds when death is starkly imminent. It is a deeply moving story of great camaraderie, biting humor, and soulful remembrance."--Back cover.

Depicts the rise and fall of the militant labor movement in modern El Salvador.

A Choice Outstanding Academic Title for 2022 China's Cultural Revolution (1966-1976) produced propaganda music that still stirs unease and, at times, evokes nostalgia. Lei X. Ouyang uses selections from revolutionary songbooks to untangle the complex interactions between memory, trauma, and generational imprinting among those who survived the period of extremes. Interviews combine with ethnographic fieldwork and surveys to explore both the Cultural Revolution's effect on those who lived through it as children and contemporary remembrance of the music created to serve the Maoist regime. As Ouyang shows, the weaponization of music served an ideological revolution but also revolutionized the senses. She examines essential questions raised by this phenomenon, including: What did the revolutionization look, sound, and feel like? What does it take for individuals and groups to engage with such music? And what is the impact of such an experience over time? Perceptive and provocative, Music as Mao's Weapon is an insightful look at the exploitation and manipulation of the arts under authoritarianism.