Titlebook: Cultural Memory, Memorials, and Reparative Writing; Erica L. Johnson Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 affect

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synovial-joint

Dominical Diversions: Laforgue on Sundays,s of the memorialization of slavery in the United States versus the Caribbean, and a historical look at monuments and race in the United States, the chapter concludes with a close reading of Kara Walker’s 2014 monumental sugar sculpture, “.” A site-specific, temporary installation that no longer exi

柏树

incubus

Erica L. JohnsonExplores the topic of affective memory as it relates to slavery and racism in the Americas.Contributes to scholarship in trauma studies and cultural memory studies.Makes connections to current debates

Cholesterol

Palgrave Studies in Affect Theory and Literary Criticismhttp://image.papertrans.cn/d/image/240852.jpg

LEERY

A Brief Introduction,with the racial history of the United States, and acknowledges the urgency of this topic in the wake of the Confederate monument removals and clashes in 2017 and ongoing debates about them. It ties these public debates about cultural memory to forms of writing that draw on personal forms of memory to do critical and cultural memory work.

Infuriate

In Theory: Memory as an Affective Archive,ase studies that exemplify what I call “reparative writing” include Jean Halley’s ., Anne Cvetkovich’s ., and Elspeth Probyn’s .. Each author draws on personal memories as crucial sources of material in much the same way that they draw on more standard archival materials, thereby demonstrating their use of an “affective archive.”

acclimate

Coda: On Memory and Memorial,d in the larger project of commemorating the lives of the enslaved. I use the timely and continuing conversation around memorialization to reconnect to the ways in which writers have theorized and practiced public feelings in various forms of memoir-work.

LAIR

Dominical Diversions: Laforgue on Sundays,sts, the piece spoke to the dearth of monuments to the enslaved in the United States. By examining the sculpture’s status as a countermonument, I present a full account of its reception and the violently varied feelings of viewers—feelings that live on as an affective archive of the topics it introduced into public space.

cylinder

Book 2018 of critical theory, memoir, and memorial art. The book first shows how affect theorists have increasingly complemented more traditional archival research through the use of “academic memoir.”  This theoretical piece is then applied to memoir works by Caribbean writers Dionne Brand and Patrick Chamo