Contested History

Using Lippard’s (1997) conceptual framings of place (the physical, ideological and imaginary), we consider how the dominant White Pioneer Narrative shapes stories told about a historic Black pioneer settlement in Grey County, Ontario. The contested history of this community demonstrates the importance of place to people’s stories and it also points to new imaginings that might restore this forgotten community to its rightful place in local history. An oral history project with community elders and an engagement with children in the local school are used to explore the tensions and a hopeful way forward.

In 1974, William Rubin, then Director of Painting and Sculpture at the Museum of Modern Art, New York, declared that the museum should not be seen as 'infinitely expandable' when it came to contemporary art. It would be wrong, he argued, to automatically expect institutions to collect and exhibit 'the outer edge of the avant-garde', as he termed it. Rather, the museum should accept the fact that there are some things it cannot accommodate and should also remain within its traditional remit of canon building after the fact, waiting a few years before validating new artistic practices. As he put it: 'a museum can just as easily be too early as too late' (Alloway and Coplands cited in Sandback 1984:166). The turbo-charged nature of today's museums nonetheless demands a more rapid and instantaneous level of topicality, so that one would probably be hard-pressed to find a curator espousing such a position today. Yet the question remains as to whether museums really have taken on board a series of related contemporary art forms that are vitally connected to current developments in society at large and that have also been already fully validated by the art world many times over. As this important volume makes clear the evolving practices known variously as digital art or new media have developed a long history that has been the subject of numerous publications and exhibitions -both actual and virtual. These include such 'tipping points' in the history of mainstream recognition of the area as Documenta X (1997), the Walker Art Center's Gallery 9 (since 1997), Data Dynamics (Whitney Museum of American Art, 2001), and the Tate's online "net.art commissions" (from 2002). If we add to this the more broadly defined practices of intermedia or variable media more generally, then this history becomes longer still. In her overview of current models of new media art curatorship, for example, Sarah Cook begins with Jean François Lyotard's ground breaking Les Immatériaux, held at the Pompidou Centre in 1985, although she could just as easily have gone back further than this. So what happened along the way? Why has new media art in museums remained pigeon-holed in what is effectively a creative ghetto despite its potential for opening up new ways for engaging with art? The answer, as Christiane Paul points out, lies partly in the assumptions that the public makes about new media. Paul characterizes the barriers that art of this kind often has to overcome as including the idea that 'it's all about technology and not about art', 'it's too difficult to use', and 'I work on a computer all day so don't want to stare at a screen in my spare time'. Added to this are the still unresolved difficulties experienced by most architects and exhibition designers when faced with the task of creating effective exhibition environments for work of this kind. The white cube -noted by Paul -is generally not a sympathetic setting since the networked basis of digital art often feels awkward and constrained in the its decontextualized atmosphere. The alternative of the black box is equally problematic since most new media art is not made to be experienced in immersive, darkened environments. The third option of the dedicated media lab is also unsatisfactory since it creates a literal ghetto in the museum that begs the question as to why such a space is effective. Finally, as is underscored in Joasia Krysa's chapter on what she terms 'distributed curating', the process-oriented and collaborative nature of much media art goes against the grain of the aura of originality and uniqueness that remains central to art museums and that also, by implication, impacts on the traditional role of the museum curator as a unified producer of a fixed and singular exhibition narrative. This is one reason why digital art repositories tend to proliferate outside the museum system in such collaboratively curated open source mailing lists as Rhizome, runme.org or CRUMB.

This workshop explores the role that historians play in public debates about contested histories and current affairs. Whilst Antoon De Baets compares cases of historians as writers of open letters in three different countries, Andreas Leutzsch provides first insights in his research on the "Hohenzollern Debate", in which German historians debated the role of the last Prussian crown prince in the rise of National Socialism. In addition, we want to discuss how such debates can be put to good use in history lessons and in dealing with different perspectives on history.

K athrin Pabst is a German ethnologist, working as Head of the Scientific Department at the Vest-Agder Museum in Kristiansand, Norway. She holds a Ph.D. in Professional Ethics, and her doctoral thesis discussed the moral challenges museum employees face when working with sensitive topics involving external collaboration. Her background includes both practical and theoretical aspects. As project manager for several exhibitions, she has worked closely with participants from the local community and also trained her colleagues in doing the same. As an author and lecturer, she holds workshops regularly on professional ethics. She is also a member of the ICOM Norway board and one of the initiative takers for the establishment of a new International Committee on Ethical Dilemmas. This article is adapted from a conference paper entitled 'Moral challenges for museum professionals when working with difficult issuesa short overview' , given at the

Este artigo resume as principais conclusões de um estudo exploratório sobre as perceções dos visitantes de uma atração de turismo negro em Portugal. Partindo de uma reflexão teórica sobre o conceito de turismo negro e o seu papel na sociedade ocidental contemporânea, o estudo empírico desenvolvido teve entre os seus objetivos o de compreender o modo como os visitantes de uma atração turística relacionada com morte e sofrimento a representavam. Com recurso a entrevistas, submetidas a um processo de análise de conteúdo, foi possível identificar as características dos visitantes que podem ter influência nessa representação.

Abstract: After the initiatives to implement tourist activity in places related to the Portuguese colonial and post-colonial periods, this article emphasizes the need to serve multiple narratives of the events and circumstances that led to these places being tourist attractions. So, the article describes the process of going from a single narrative of Portugal as colonizer Lusotropicalism to the multiplicity of narratives that exist today, originating from Portugal and its former colonies. Afterwards, the article demonstrates the potential of dark tourism, particularly of its attractions, as privileged means for the transmission of multiple messages, as each attraction is open to several interpretations. Finally, it concludes with the need for the CPLP countries to make joint decisions about the narratives conveyed by the attractions and to undertake case studies focused on specific aspects of the attractions.

Este artigo reflete sobre os usos, especialmente os turísticos, da herança patrimonial da ditadura em território português. Recorre à teoria do património dissonante e questiona o contributo que o enquadramento do turismo negro pode dar para a interpretação deste património.

Resumo: No seguimento das iniciativas de aproveitamento turístico de atrações relacionadas com o período colonial e póscolonial português, este artigo salienta a necessidade de veicular narrativas múltiplas sobre os acontecimentos e as circunstâncias que estiveram na origem dessas atrações. Assim, descrevese o processo de passagem de uma narrativa única de Portugal como colonizador – onde se destaca o Lusotropicalismo – para a multiplicidade de narrativas que existem na atualidade, vindas de Portugal e dos países que foram colónias suas. De seguida, demonstra-se o potencial do turismo negro, em particular, das suas atrações, como meios privilegiados para a transmissão de mensagens múltiplas, já que cada atração é passível de várias interpretações. Por fim, conclui-se com a necessidade de tomar decisões consertadas entre os países da CPLP sobre as narrativas a veicular nas atrações e de realizar estudos de caso que aprofundem aspetos específicos de cada uma delas.

The aim of the article is to study the Ukrainian and international legal framework with respect to the exercise of the right of prisoners of war to medical care and, likewise, to determine the measures to ensure it. The following methods were used: analysis and synthesis, statistical analysis, graphical methods and logical-abstract method. The distinction of this study is the systematization of the legislative framework and non-legal measures concerning the exercise of the right of prisoners of war to medical care. In the course of the research, it was established that a number of Ukrainian and international legislative acts regulate the rules of treatment of prisoners of war, including the Geneva Convention relative to the treatment of prisoners of war. The findings of the investigation established that Russian occupiers regularly violate these provisions in relation to captured Ukrainians. However, the mechanisms for bringing war criminals to justice and the methods for assisting ...

UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Illustrations 1. Tani stands against the backdrop of the Government-General Building in The Genealogy 2 2. Hanjung and Korean leaders discuss political struggle in Hurrah! For Freedom 20 3. Rhee delivers his speech to an audience in Independence Association 31 4. Poster for Daughter of the Governor General 47 5. Han carries the body of Chisŏk in Continent on Fire 64 6. Three protagonists in Break the Chain 74 7. The female protagonist, Kang, rescued by Chang on a street at night in Kang Myŏnghwa 85 8. The Japanese gangsters' surprise attack on Na's funeral in A True Story of Kim Tuhan 104 9. Nanhŭi exacts her vengeance against Park in Yeraishang 115 10. Chŏngnam's perverse fantasy of interethnic romance is fulfilled in Epitaph 120 11. Showdown of wizards and the artificial movie set in The Taoist Wizard 126 12. The advent of spectator sport in YMCA Baseball Team 130 vii Acknowled gments I have been very fortunate and blessed to receive tremendous help and support from many people and institutions throughout my writing of this book. I express my deepest gratitude to my mentors Nick Browne, John Duncan, Marilyn Fabe, Elaine Kim, Soyoung Kim, and John Lie for their inspiration, intellectual encouragement, and professional advice over the years. I am also profoundly indebted to the inspiring teachings of the late professors Teshome Gabriel and Nancy Abelmann. I extend equal gratitude to my colleagues at the Department of East Asian Languages and Cultures of the University of California, Berkeley, who have welcomed me and offered me thorough support and guidance. I am deeply indebted to the generosity of

When private grief is brought into the memorial museum, this transfer is a deliberate act that is seeking public acknowledgement and action. By considering the life history of a collection of objects now in the Museum of Free Derry (Northern Ireland), the use of objects in private mourning and as agents in the collective processes of public remembering is demonstrated. The story is one of loss and mourning that is intensified by the political context of the deaths. As cherished possessions, these objects are active in the private processes of grieving and recovery. In the memorial museum, they are agents in an evolving justice campaign, embedded in the political negotiations of the region.

Twenty years since the signing of the Belfast Agreement in 1998, the question of how to acknowledge the violence that dominated the region in the preceding decades is as pertinent as ever. The memory industry that has arisen since is sometimes a means to quietly explore and come to terms with the past. In other instances, the act of memorializing has a far more active role and is concerned with fulfilling a new ambition. This article considers how the performative is harnessed in two grassroots memory projects in Northern Ireland that both use previously unheard voices to invite the visitor to engage with the victim’s story. By exploring the projects, this article is an examination of the purposefulness of a past remade through contemporary reinterpretation.

Resumo Neste artigo apresenta-se o projeto de dissertação de doutoramento em Estudos Culturais intitulado Turismo e Morte: representação, mediação e tecnologias de linguagem, dando-se particular ênfase ao seu enquadramento dentro dos Estudos Culturais e à abordagem metodológica planeada. São introduzidas as principais áreas teóricas que dão a base à investigação e descreve-se o estudo empírico planificado, discutindo-se de forma mais detalhada a estratégia metodológica proposta.

Liberdade exibe a exposição The Portuguese Prison Photo Project. Trata-se de um conjunto de fotografias sobre prisões portuguesas captadas por dois fotógrafos, um português, Luís Barbosa, especialista em documentação fotográfica de cariz social e cultural (Prémio Sociedade Portuguesa de Autores, 2017 na sequência do trabalho desenvolvido para a exposição), e um suíço, Peter M. Schulthess, que trabalha fotografia de arquitetura, preferencialmente espaços prisionais.

UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Illustrations 1. Tani stands against the backdrop of the Government-General Building in The Genealogy 2 2. Hanjung and Korean leaders discuss political struggle in Hurrah! For Freedom 20 3. Rhee delivers his speech to an audience in Independence Association 31 4. Poster for Daughter of the Governor General 47 5. Han carries the body of Chisŏk in Continent on Fire 64 6. Three protagonists in Break the Chain 74 7. The female protagonist, Kang, rescued by Chang on a street at night in Kang Myŏnghwa 85 8. The Japanese gangsters' surprise attack on Na's funeral in A True Story of Kim Tuhan 104 9. Nanhŭi exacts her vengeance against Park in Yeraishang 115 10. Chŏngnam's perverse fantasy of interethnic romance is fulfilled in Epitaph 120 11. Showdown of wizards and the artificial movie set in The Taoist Wizard 126 12. The advent of spectator sport in YMCA Baseball Team 130 vii Acknowled gments I have been very fortunate and blessed to receive tremendous help and support from many people and institutions throughout my writing of this book. I express my deepest gratitude to my mentors Nick Browne, John Duncan, Marilyn Fabe, Elaine Kim, Soyoung Kim, and John Lie for their inspiration, intellectual encouragement, and professional advice over the years. I am also profoundly indebted to the inspiring teachings of the late professors Teshome Gabriel and Nancy Abelmann. I extend equal gratitude to my colleagues at the Department of East Asian Languages and Cultures of the University of California, Berkeley, who have welcomed me and offered me thorough support and guidance. I am deeply indebted to the generosity of

UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Illustrations 1. Tani stands against the backdrop of the Government-General Building in The Genealogy 2 2. Hanjung and Korean leaders discuss political struggle in Hurrah! For Freedom 20 3. Rhee delivers his speech to an audience in Independence Association 31 4. Poster for Daughter of the Governor General 47 5. Han carries the body of Chisŏk in Continent on Fire 64 6. Three protagonists in Break the Chain 74 7. The female protagonist, Kang, rescued by Chang on a street at night in Kang Myŏnghwa 85 8. The Japanese gangsters' surprise attack on Na's funeral in A True Story of Kim Tuhan 104 9. Nanhŭi exacts her vengeance against Park in Yeraishang 115 10. Chŏngnam's perverse fantasy of interethnic romance is fulfilled in Epitaph 120 11. Showdown of wizards and the artificial movie set in The Taoist Wizard 126 12. The advent of spectator sport in YMCA Baseball Team 130 vii Acknowled gments I have been very fortunate and blessed to receive tremendous help and support from many people and institutions throughout my writing of this book. I express my deepest gratitude to my mentors Nick Browne, John Duncan, Marilyn Fabe, Elaine Kim, Soyoung Kim, and John Lie for their inspiration, intellectual encouragement, and professional advice over the years. I am also profoundly indebted to the inspiring teachings of the late professors Teshome Gabriel and Nancy Abelmann. I extend equal gratitude to my colleagues at the Department of East Asian Languages and Cultures of the University of California, Berkeley, who have welcomed me and offered me thorough support and guidance. I am deeply indebted to the generosity of

In 1974, William Rubin, then Director of Painting and Sculpture at the Museum of Modern Art, New York, declared that the museum should not be seen as 'infinitely expandable' when it came to contemporary art. It would be wrong, he argued, to automatically expect institutions to collect and exhibit 'the outer edge of the avant-garde', as he termed it. Rather, the museum should accept the fact that there are some things it cannot accommodate and should also remain within its traditional remit of canon building after the fact, waiting a few years before validating new artistic practices. As he put it: 'a museum can just as easily be too early as too late' (Alloway and Coplands cited in Sandback 1984:166). The turbo-charged nature of today's museums nonetheless demands a more rapid and instantaneous level of topicality, so that one would probably be hard-pressed to find a curator espousing such a position today. Yet the question remains as to whether museums really have taken on board a series of related contemporary art forms that are vitally connected to current developments in society at large and that have also been already fully validated by the art world many times over. As this important volume makes clear the evolving practices known variously as digital art or new media have developed a long history that has been the subject of numerous publications and exhibitions-both actual and virtual. These include such 'tipping points' in the history of mainstream recognition of the area as Documenta X (1997), the Walker Art Center's Gallery 9 (since 1997), Data Dynamics (Whitney Museum of American Art, 2001), and the Tate's online "net.art commissions" (from 2002). If we add to this the more broadly defined practices of intermedia or variable media more generally, then this history becomes longer still. In her overview of current models of new media art curatorship, for example, Sarah Cook begins with Jean François Lyotard's ground breaking Les Immatériaux, held at the Pompidou Centre in 1985, although she could just as easily have gone back further than this. So what happened along the way? Why has new media art in museums remained pigeon-holed in what is effectively a creative ghetto despite its potential for opening up new ways for engaging with art? The answer, as Christiane Paul points out, lies partly in the assumptions that the public makes about new media. Paul characterizes the barriers that art of this kind often has to overcome as including the idea that 'it's all about technology and not about art', 'it's too difficult to use', and 'I work on a computer all day so don't want to stare at a screen in my spare time'. Added to this are the still unresolved difficulties experienced by most architects and exhibition designers when faced with the task of creating effective exhibition environments for work of this kind. The white cube-noted by Paul-is generally not a sympathetic setting since the networked basis of digital art often feels awkward and constrained in the its decontextualized atmosphere. The alternative of the black box is equally problematic since most new media art is not made to be experienced in immersive, darkened environments. The third option of the dedicated media lab is also unsatisfactory since it creates a literal ghetto in the museum that begs the question as to why such a space is effective. Finally, as is underscored in Joasia Krysa's chapter on what she terms 'distributed curating', the process-oriented and collaborative nature of much media art goes against the grain of the aura of originality and uniqueness that remains central to art museums and that also, by implication, impacts on the traditional role of the museum curator as a unified producer of a fixed and singular exhibition narrative. This is one reason why digital art repositories tend to proliferate outside the museum system in such collaboratively curated open source mailing lists as Rhizome, runme.org or CRUMB.

The concept for this special topic came from a conversation Patrick Noonan and Earl Jackson began at National Chiao Tung University in Taiwan. Patrick gave one lecture on anime at NCTU and one on the films of Yoshida Kiju at National Tsing Hua University. He was also scheduled to give a lecture at NCTU on two Japanese genres: the jidai-geki and the pink film. He did give the lecture, but the evening before, he and Earl had had a long discussion about genres, and they decided that Patrick's lecture would segue into a conversation between the two of them on the genres they chose. Patrick continued his discussion of jidai-geki, and combined it with the subgenre of yakuza films that also involve swordplay. Earl discussed melodrama, particularly the shift in the political agenda of early postwar melodrama. When the idea of a special issue for Concentric came up, Earl immediately thought of these conversations and suggested "Genre in Asian Cinema" and contacted Patrick. An invitation was sent out and now there are four essays here dealing with different aspects of genre. While we have very specific ideas regarding genre, we did not want to limit the contributions to essays that aligned with our views. In fact, there are essays included that are completely opposed to how we conceive of the categories and perhaps even the stakes involved. Such inclusions are not intended to create strife, but to encourage debate and dialogue. US audiences in the late 1960s found themselves startled that three low-budget Italian films shot in the deserts of Spain could revive the dormant Western, unaware that Europe had been producing their own "Cowboy" films since the early 1900s. The 2011 Busan International Film Festival showcased Westerns from Japan, the

In the past few years, the South Korean film industry has released a growing number of Korean movies set in the colonial period. This essay focuses on how these films deal with the painful memory of occupation. More specifically, the analysis will be centered on two biopics with narratives that differ from what could be argued to be the mainstream portrayals of the colonial period, which tend to depict the struggle of Korean freedom-fighters under Japanese rule. Moreover, this essay reflects on the meaning of reinterpreting the past through cinema.

This dissertation, "South Korean Golden-Age Comedy Film: Industry, Genre, and Popular Culture (1953-1970)," examines the socio-cultural and political aspects of comedy films made in South Korea in the 1950s and 1960s, the era in which the South Korean nation mobilized in the name of "development" and "progress." Comedy film enjoyed particular growth and popularity during the postwar reconstruction movement (late 1950s) when the film industry began to take shape; the democratic social atmosphere in the aftermath of the April Revolution (1960) enveloped the whole society; and the government-centered film industry waned with the dawn of Yushin, President Park Chung Hee's drastic measures to control the society (1971). While operating at a far remove from the depressing images of postWar devastation and the propaganda images of the South Korean totalitarian regime, comedy film was both incredibly popular, and can be appreciated as a politically maneuvered genre. I trace the socio-political and industry origins of the production of the comedy film genre, and examine its cultural contexts and effects through the Syngman Rhee regime (1948-1960) to the April Revolution, and into the pre-Yushin Park Chung Hee era (1961-1970). I argue that structural changes in the South Korean film industry, especially its highly gendered and state-orchestrated consolidation, were critical to the image production, film language, and frame and narrative structures of comedy films. On the other hand, the style of comedy film-distinguished by its remarkable generic hybridity and considerable transnational circulation-appealed to the Korean audience. The comedies combine colonial popular performance (e.g., akkŭk, a Japanese-influenced, Korean style vaudeville), the visual techniques and mise-en-scène of Classical Hollywood film, and the star-power of comedians. Transnational iii and cross-cultural fantasy, I argue that, is disjunctively combined with didactic/state-centered descriptions of family and gender, and thus, comedy films both satisfied and disciplined the industrial, national, and popular needs of immediate post-colonial South Korean society as it struggled to cultivate a modern developed nation. iv To Woo-jeung, Ju-hyup, Sa-rang and Suah v ACKNOWLEDGEMENTS This dissertation could not have been completed without the support of countless people. My advisor, Prof. Nancy Abelmann, was an incredible teacher and role-model as both a scholar and a mother of three kids. I feel the limits of language in expressing my gratitude to her. Thinking back to my early days of graduate school, when I was not particularly passionate about anything in life, I remember how my love of Korean film started in her film course and has grown under her warm love and support. Her enduring guidance, patience, and generosity are the main reasons why I have this dissertation in hand. My special thanks also goes to Prof. Ramona Curry who let me embark on film studies, nurtured me to become a film specialist, and shared the joys of comedy films from the beginning stages of my graduate studies to their end. I was also lucky to work closely with Prof. Theodore Hughes before he left for Columbia University. I am greatly indebted to his generosity and keen comments on my project. Professor Jinsoo An is another generous scholar who guided my long journey through Korean film studies. I also learned a lot from Prof. Ronald Toby's teaching of visual theory. Prof. Jahyun Kim Haboush was a warm ground to rest on for the first two years of my graduate study at Illinois, before she also left for Columbia University. Finally, I want to express my gratitude to the Japanese Studies professors, David Goodman, Azuko Ueda, and Kevin Doak, who all helped me to expand the horizons of my study. Through Prof. Nancy Abelmann's advisee group and the Korea Workshop, I could meet many Koreanists who nurtured me in many ways. There are also friends in Illinois who have nurtured and sustained me for many years. Hyunhee An, Hyongju Hur, Eugene Chung, Chungjoo vi Lee, Sejong Moon, Sangsook Lee-Chung, Jin-kyong Park-I thank all of them for their friendship and love when I was in need. I am especially indebted to Chris Posadny and his reading of numerous manuscripts of this dissertation. My new colleagues and friends at the University of Colorado, Boulder encouraged me greatly as I put the final touches to this dissertation. I also thank John Cho for his excellent final editorial assistance. I also want to express my gratitude to the people in Korea. Most of all, Prof. Kie-chung Pang's unconditional love for me from my freshmen year at Yonsei University to his untimely death in 2008, a month before my dissertation defense, has been the enormous spiritual ground of my study in the United States. I am also indebted to the Korean Popular Culture Study Group during my three-year research period in Korea. I want to express my special thanks to the leading members of this group, Yi Young-mi, Yi Sun-jin, Yi Ho-gǒl, and Kang Ok-hǔi. Watching films and reading and writing books together was the greatest joy of my research years. I also thank the film director, Yi Hyǒng-p'yo, for showing such warm interest in my research ever since I interviewed him in 2006. I also thank many people at the Korean Film Archive. Finally and foremost, my family and extended family were my greatest source of strength. My mother, Young-sook Sung, and my mother-in-law, Sook-ja Lee, often babysat for me. Without their help, I might have not continued to write this dissertation. I would like to extend my heartfelt thanks to my husband, Woo-jeung Dang, and my kids, Ju-hyup, Sa-rang and Suah, who have had to endure many days when I was not with them, and who have waited for the completion of this dissertation with the greatest patience. I dedicate this work to them. vii TABLE OF CONTENTS INTRODUCTION……………………………………………………………………………….1

Clashing perceptions of history can be the source of serious divisions in society. The Memory Studies Association (MSA) and EuroClio work to turn these challenges into learning opportunities. When done well, education can be the best way towards conveying the complex perceptions of the past. We have noted the potential of contested historical sites as spaces for teaching, learning, and working towards social and historical justice. The project Contested Histories Onsite aspires to offer toolkits to educators and other stakeholders to better understand and address complex legacies of Europe's totalitarian past. By doing so, the aim is to highlight that historical complexity and contestation are universal themes across European societies and to motivate conversation surrounding histories. A Project for Citizens With support from the EU's Europe for Citizens programme, Onsite offers insights into different memory case-studies in Europe through lectures, tours and podcasts on four contested sites across Europe. Additionally, a documentary-style video will be produced. History, and how history is represented in the present, concerns us all. Memory construction is part of the very fabric of society, and the growing questions of history and identity on the left and right is increasingly placing memory to the fore of the political arena.

This article explores the challenges and opportunities presented for the teaching and practice of public history in a post-conflict society that remains deeply divided over its past. It examines some of the negative ways in which history is used in the public arena, but also the potential of public history initiatives for building a more cohesive and forward-looking society. It examines how students can use the rich cultural landscape of Northern Ireland and engage with a wide range of experienced practitioners to learn more about the ways in which history divides; how we can negotiate these divisions over interpretations; how different communities understand, represent, and engage with their past; and why this matters.

Chapter 2 20 Historiographical reflections and trends in university establishment 2.1 Introduction 2.2 A review of institutional historiography 21 2.2.1 Changing universities in changing societies 23 2.2.2 The diverse roles of the university in society 24 (iv) 2.2.3 Corporate administration of modern universities 2.2.4 Motivations for the establishment of universities worldwide 2.2.4.1 Political, economic, and educational motives 29 2.2.4.2 Ideological and imperial driven motivations 2.2.4.3 National development and economic rationales 32 2.2.4.4 Cultural motivations and other economic considerations 34 2.2.4.5 Religious orientation and socio-political movements as motivations 35 2.3 Motivation for the founding of universities in South Africa 2.3.1 The influences of agendas and imperial motivations in the advancement of higher education 41 2.3.2 Universities in the former Boer republics: the role of regionalism, religion based education and Afrikaner nationalism in the founding of institutions 2.3.3 Economic, technological and skills development as motivational factors 2.3.4 Higher educational development as guided by Apartheid ideology and practice 48 2.4 Conclusion Chapter 3 Key role players in the creation of RAU 3.1 Introduction 52 3.2 The broader Afrikaner nationalist movement 55 3.2.1 Initiatives within the nationalist movement 55 3.2.2 NP sentiment and the party's gradual involvement in the establishment RAU 57 3.2.3 The role and impact of the Afrikaner Broederbond (AB) and the Federasie vir Afrikaanse Kultuurverenigings (FAK) 3.2.3.1 The AB 60 (v) 3.2.3.2 The FAK 62 3.2.4 Meyer's role 3.2.5 Government and the UNISA debate 3.3 RAU's character and role as a white-inspired Afrikaans university 3.4 Conclusion 74 Chapter 4 76 Political and cultural obstacles in the establishment of RAU 7.5.2.3 Research development 176 7.6 Conclusion 0 (viii) Chapter 8 179 Contestation and debate in the wider Afrikaner nationalist community over RAU's role and function as an Afrikaans university 8.1 Introduction 179 8.2 Another university on the Witwatersrand 182 8.2.1Contestation and debate on various issues 183 8.2.1.1 Need for another university? 183 8.2.1.2 Academically and culturally "winning over" the Rand to provide affordable tertiary education 185 8.2.1.3 From objection to establishment to naming the university 186 8.2.1.4 A "readymade institution"-Relocating UNISA? 188 8.3 Debate and contestation regarding the role and function of RAU 192 8.3.1 Addressing community needs through a particularistic approach 193 8.3.2 A future-oriented, functional urban university 195 8.4 Conclusion 197 Chapter 9 200 The realisation of a dream: Assessing RAU as a centrepiece in education for a modernising Afrikaner livelihood Bibliography 214

This reply examines Erin Hinson's '"Our Journey, Our Narrative": Narratives of para(militarism) and conflict transformation in the ACT exhibition'. It argues that a study of heritage construction, such as Hinson's is especially fruitful in societies like Northern Ireland where peace is a project of the recent past, because memories of conflict become the subsequent arena of struggle. Moreover, it asserts that Hinson's work is at its strongest when she ties artefacts from the Action for Community Transformation (ACT) exhibition to a legitimising mission on the part of former loyalist paramilitaries as well as when she examines the motivations of ACT's creators and artefact donors. In answer, this reply enunciates the strands of collective memory to which the ACT exhibition speaks. These include the official memories of scholars, the dismissive memory of non-combatants likely to view former paramilitaries as mindless thugs, and the competing memory of Irish republicans. The reply continues by bringing up questions engendered by Hinson's research while suggesting possible ramifications of the answers to those questions. It concludes by reminding the reader of the importance of studies of this nature based on the fact that scholars have only recently begun to engage with the history of loyalism in Northern Ireland in a dispassionate way.

An independent briefing document researched and written by Cumberland Lodge research associate Dr James Wallis, for the Cumberland Lodge conference 'Difficult Histories & Positive Identities', held in February 2019.

We live in an era of significant engagement with the past. Amidst ongoing globalisation, digitalisation and postmodern anxieties about a seemingly uncertain future, there has been a collective turn to former times, in a bid to help shape our world.  The very act of remembering the past remains central to our sense of identity – at the individual, community and national level.

With the internet providing unprecedented access to historical resources, and technology advancing the ways in which mass data can be utilised, the past is, in effect, a ‘commodity’ of the Information Age.

New cultures of memory have been ushered in, as ways of combating a perceived sense of rootlessness in contemporary society. This has been achieved through initiatives such as oral history movements, new museum and memorial projects, and political movements to right past wrongs. These forms of commemoration can reveal who or what is forgotten, as much as they seek to promote remembrance.

For Britain, this is a pertinent issue. Though many Britons tend to shy away from engaging with their country’s complex legacies of conflict and imperialism, a contemporary postcolonial and (more) multicultural setting has delivered the contextual backdrop for initiating such conversations amongst those working in schools, public life or museums.

Contents:

1. Rethinking identity and difficult histories
2. Does history matter?
3. History and identity formation in schools
4. Contesting history in public spaces
5. Managing the past
6. Museums and ‘difficult histories’
7. Peace, reconciliation and positive identity

There has been an increasing scholarly interest in the role of history
commissions and historians in the processes of truth-seeking, reconciliation, and mitigation of conflicts between groups divided by the past. Since the early 1990s, several official commissions and a working group of historians have been created in Ukraine to mediate memory-based conflict between supporters and opponents of the recognition at the national level of the Organization of Ukrainian Nationalists (OUN) and the Ukrainian Insurgent Army (UPA). The article studies the efforts of the working group of historians on the OUN-UPA activity drawing on the academic literature on truth and historical reconciliation commissions.

Twenty years since the signing of the Belfast Agreement in 1998, the question of how to acknowledge the violence that dominated the region in the preceding decades is as pertinent as ever. The memory industry that has arisen since is sometimes a means to quietly explore and come to terms with the past. In other instances, the act of memorializing has a far more active role and is concerned with fulfilling a new ambition. This article considers how the performative is harnessed in two grassroots memory projects in Northern Ireland that both use previously unheard voices to invite the visitor to engage with the victim’s story. By exploring the projects, this article is an examination of the purposefulness of a past remade through contemporary reinterpretation.

Neste trabalho procuramos fazer uma aproximação entre dois conceitos aparentemente muito distantes: o Turismo Negro e a experiência de ócio humanista. O Turismo Negro diz respeito à atividade turística em locais de alguma forma relacionados com a morte e o sofrimento. O ócio humanista, entendido aqui na perspetiva do autor Manuel Cuenca (2000, 2010), constitui-se como uma vivência humana, uma ocupação voluntária e prazerosa sem qualquer outro fim que esse mesmo. Através de uma revisão de literatura, mostramos como, na realidade, uma experiência de Turismo Negro pode ser uma verdadeira experiência de ócio humanista que propicia a recriação do sentido que o indivíduo faz de si mesmo e dos outros.

After the initiatives to implement tourist activity in places related to the Portuguese colonial and post-colonial periods, this article emphasizes the need to serve multiple narratives of the events and circumstances that led to these places being tourist attractions. So, the article describes the process of going from a single narrative of Portugal as colonizer-Lusotropicalism-to the multiplicity of narratives that exist today, originating from Portugal and its former colonies. Afterwards, the article demonstrates the potential of dark tourism, particularly of its attractions, as privileged means for the transmission of multiple messages, as each attraction is open to several interpretations. Finally, it concludes with the need for the CPLP countries to make joint decisions about the narratives conveyed by the attractions and to undertake case studies focused on specific aspects of the attractions.

No seguimento das iniciativas de aproveitamento
turístico de atrações relacionadas com o período colonial e póscolonial
português, este artigo salienta a necessidade de veicular
narrativas múltiplas sobre os acontecimentos e as circunstâncias
que estiveram na origem dessas atrações. Assim, descrevese
o processo de passagem de uma narrativa única de Portugal
como colonizador – onde se destaca o Lusotropicalismo – para
a multiplicidade de narrativas que existem na atualidade, vindas
de Portugal e dos países que foram colónias suas. De seguida,
demonstra-se o potencial do turismo negro, em particular, das
suas atrações, como meios privilegiados para a transmissão de
mensagens múltiplas, já que cada atração é passível de várias
interpretações. Por fim, conclui-se com a necessidade de tomar
decisões consertadas entre os países da CPLP sobre as narrativas a
veicular nas atrações e de realizar estudos de caso que aprofundem
aspetos específicos de cada uma delas.

Co-author: Sheila Miyoshi Jager
The Sigur Center Asia Papers: The Military and South Korean Society.
Young-Key Kim Renaud, Richard Grinker and Kirk Larsen, eds.
Hahn Moo-Sook Colloquium in the Korean Humanities, Sigur Center for Asian Studies, The Elliott School of International Affairs, George Washington University

... Citation: Gomes, C 2008, 'The era of lustrous screen sirens lives on, thousands of miles from Hollywood: The cross-cultural reception of Chinese martial arts cinema's sword-wielding actresses ... Cheung is Orientalised by Zoe (Nathalie Richard), Vidal's gay costume designer. ...

The global success of the Harry Potter and The Lord of the Rings franchises has become an entry point for the flow of Western fantasy texts into Taiwan, a society that, over many decades, has been a stronghold for traditional Chinese wuxia texts. While Western concepts, themes and ‘worlds’, are coming to Taiwan, wuxia, defined as fantasy in this essay, in return is making an inroad into Western popular culture. By considering local traditions, reception and consumption habits, this essay analyses the market potential for international fantasy on the island, and provides a theoretical background for understanding the dynamics of this genre in one particular cultural location.

This study investigates the growing volume of online discussion of Goguryeo history in both China and South Korea. While first analysing how nationalism and national identity underpin this historical dispute, this article then critiques common arguments that emerge within online Chinese and South Korean commentary on Goguryeo. The findings of this study show that while the Internet has facilitated a broadening of participation in the discussion of Goguryeo, this has not led to a more objective or rigorous treatment of this history, nor a more critical evaluation of its relationship to national identity. This study's findings also indicate that national identity is neither static nor monolithic, and that online discussion of Goguryeo history is part of a dynamic process contributing to the gradual change and evolution of national identity in both countries.