Titlebook: Cultures of Memory in the Nineteenth Century; Consuming Commemorat Katherine Haldane Grenier,Amanda R. Mushal Book 2020 The Editor(s) (if a

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Supervised Corpus-Based Methods for WSD,emorative maritime imagery of the French North Atlantic in greater global ocean ecologies. Comparisons are made to paintings and material culture from Brittany that either remember the lost at sea or serve as votive offerings to chapels. Votive boats such as the one held by the boy are posited as pa

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https://doi.org/10.1007/978-1-4020-5754-0uffering. Their captivity narratives and their growing commemorative efforts coincided with other attempts to tell the true history of the Civil War and its prison camps. One of the public spaces of commemoration that appeared as part of this larger effort was the Libby Prison War Museum. Within jus

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Whiteness and Class in Educations, short stories, novels, political cartoons, histories, survival stories, newspaper articles, letters to the editor, souvenirs, and travelogues. British success during the Uprising was also celebrated during the durbars when spectators watched Indian men who had remained loyal to Britain march duri

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Whiteness and Class in Education demise Federalists remained active in American memory and treated as a living danger. The chapter looks at the Federalist Party’s legacy, beginning in its lifetime and culminating in the aftermath of the American Civil War. The chapter shows that the usage of the Federalist Party as an “other” reve

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Whiteness and Class in Educationor the middle class during a period of political division, inner-German military conflict, and defeat and occupation by a foreign power, resulting from the long-term effects of the French Revolution. In this context, it provided a communal vehicle toward discovering, consuming, and reenacting a dist

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Mirrors with a Memory: Postmortem Photography and Spirit Photography in Transitional British Fiction888), Amy Levy’s . (1888), and E. W. Hornung’s . (1911)—this chapter addresses the ways both postmortem and spirit photographs represent memorialization as an ongoing, dynamic interaction with the past—a temporal challenge, in some respects, to the pastness of death.