By Elena Lamberti, Vita Fortunati
The members to the current quantity strategy international warfare I and international conflict II as advanced and intertwined crossroads resulting in the definition of the hot ecu (and international) truth, and deeply pervading the making of the 20th century. those students belong to varied but complementary components of analysis - heritage, literature, cinema, artwork historical past; they arrive from numerous nationwide realities and speak about questions relating to Italy, Britain, Germany, Poland, Spain, now and then introducing a comparability among eu and North American stories of the 2 global conflict studies. those students are all guided by way of an analogous precept: to inspire the institution of an interdisciplinary and trans-national discussion so as to figure out new ways in a position to integrating and acknowledging assorted or maybe opposing how one can understand and interpret an identical ancient phenomenon. whereas assessing the best way the thoughts of the 2 international Wars were readjusted at any time when when it comes to the evolving overseas old atmosphere and during a number of mediators of reminiscence (cinema, literature, paintings and monuments), some of the essays give a contribution to unveil a cultural landscape inhabited via contrasting thoughts and via divided stories to not emphasise divisions, yet to recognize the moral desire for a very shared act of reconciliation.
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Extra resources for Memories and Representations of War: The Case of World War I and World War II (Textxet Studies in Comparative Literature)
In their sheer materiality, or as an object of discourse, literary works can trigger memories. Even those who have never read Remarque’s novel tend to associate something with it: the disillusionment of the “lost generation”, a bitter critique of war, or even pacifism (which, when one actually reads the novel, is not there at all, the protagonist Paul Bäumer being only a disillusioned, yet ideologically undecided soldier). Media of collective memory generally, and with regard to their cue-function specifically, are to a large extent subject to idiosyncratic readings, to actualizations according to the knowledge and needs of particular cultures of memory.
Without such actualizations, monuments, ritual, and books are nothing but dead material, failing to have any impact in cultures of memory. Although both levels interact continually, they do not necessarily interact 11 Les lieux de mémoire, I: La République; II: La Nation; III: La France, ed. Pierre Nora (Paris: Gallimard, 1984, 1986 and 1992); Samuel Hynes, A War Imagined: The First World War and English Culture (London: The Bodley Head, 1990); Jay Winter, Sites of Memory, Sites of Mourning: The Great War in European Cultural History (Cambridge: Cambridge UP, 1995).
And intr. by Julie Dashwood, Hull Italian Texts (Market Harborough: Troubador, 2000), 117. 46 Vita Fortunati responsibility to choose, to select, to mould the unformed mass of memories. At this point you could say that there exists an equivalence between the role of the writer, and that of the anthropologist and the historian. In 1962, Lévi-Strauss had already perceived how much of the work of the historian – which consists of choosing, eliminating, labelling, ordering and sieving – is closely aligned with the methods of the anthropologist and with those of the writer, particularly when he dealing with the memory.