The island of Cyprus has been bitterly divided for more than four decades. One of the most divisive elements of the Cyprus conflict is the writing of its history, a history called on by both communities to justify and explain their own notions of justice. While for Greek Cypriots the history of Cyprus begins with ancient Greece, for the Turkish Cypriot community the history of the island begins with the Ottoman conquest of 1571. The singular narratives both sides often employ to tell the story of the island are, as this volume argues, a means of continuing the battle which has torn the island apart, and an obstacle to resolution. Cyprus and the Politics of Memory re-orientates history-writing on Cyprus from a tool of division to a form of dialogue, and explores a way forward for the future of conflict resolution in the region.
The island of Cyprus has been bitterly divided for more than four decades. One of the most divisive elements of the Cyprus conflict is the writing of its history, a history called on by both communities to justify and explain their own notions of justice. While for Greek Cypriots the history of Cyprus begins with ancient Greece, for the Turkish Cypriot community the history of the island begins with the Ottoman conquest of 1571. The singular narratives both sides often employ to tell the story of the island are, as this volume argues, a means of continuing the battle which has torn the island apart, and an obstacle to resolution. Cyprus and the Politics of Memory re-orientates history-writing on Cyprus from a tool of division to a form of dialogue, and explores a way forward for the future of conflict resolution in the region.
Over 2,000 people went missing in Cyprus between 1963 & 1974. This work examines how both communities face the need to mourn without a body, nor even any certain knowledge of what has happened to their loved ones.
Wang follows the Chinese Communist Party's ideological re-education of the public through the exploitation of China's humiliating modern history, tracking the CCP's use of history education to glorify the party, re-establish its legitimacy, consolidate national identity, and justify one-party rule in the post-Tiananmen and post-Cold War era.
Performing a political identity usually involves more than just casting a vote. For Left-wingers in Turkey, Greece and Cyprus – countries that emerged as the only non-socialist constituents of South-eastern Europe after WWII – political preference meant immersion to distinct ways of life, to ‘cultures’: in times of dictatorship or persecution, the desire to find alternative ways to express themselves gave content to these cultures. In times of political normality, it was the echoes of such memories of precarity and loss that took the lead. This book explores the intersection between the politics and cultures of the Left since the sixties in Turkey, Greece and Cyprus. With the use of 12 case studies, the contributors expose the moments in which the Left has been claimed and performed, not only through political manifestos and traditional political boundaries, but also through corporeal acts, discursive practices and affective encounters. These are all transformed into distinct modalities of everyday life and conduct, which are commemorated, narrated or sung, versed, painted, or captured in photographic images and on reels of tape. By focusing on culture and performance, this book highlights the complex link between nationalism and internationalism in left-wing cultures, and illuminates the entanglements between the ways in which left-wingers experienced transitions from dictatorship to democracy and vice versa. As the first book to analyse cultures and performances of the Left in the three countries, The Politics of Culture in Turkey, Greece and Cyprus causes a rethinking of the boundaries of political practice and fosters new understandings of the formation of diverse expressions of the Left. As such, it will be a valuable resource for students and scholars of cultural and social anthropology, modern European history and political science.
Cyprus, the idyllic “island of Aphrodite,” is better known as a site of conflict and division between Greek Cypriots and Turkish Cypriots, rather than for its film production. Constandinides and Papadakis work to rectify this dearth of information by discussing the ouevre of filmmakers engaging with the island's traumatic legacies: anti-colonial struggles, post-colonial instability, interethnic conflict, external interventions and war. Starting with the cinema of the 1960s, when the island became a republic, the collection focuses on the recent decades of filmmakers exploring issues of conflict, memory, identity, nationalism, migration and gender, as well as the work of filmmakers who chose to cooperate across the ethnic divide. Cypriot Cinemas utilizes a methodology that engages all necessary perspectives for an illuminating critical discussion: historical, theoretical and comparative (Greek Cypriot and Turkish Cypriot films in relation to regional film cultures/practices). While the volume develops a discussion based on the reading of the political in Cypriot films, it also looks at other film cultures and debates such as (s)exploitation films and transnational cinema.
To what extent does locality influence contemporary art? Can any particular artistic practices be defined as uniquely Cypriot? And does art from Cyprus transcend Western boundaries once it enters the global art scene? This volume uses Cyprus as a case study for the exploration of notions of identity, regionalism, and the global and local in contemporary art practice; it is not, therefore, a complete historiography of contemporary Cypriot art. Rather, this critical text provides a theoretical and historical framework that frames and contextualizes art practices from Cyprus, while always relating these back to the international art world. Numerous current and pressing issues-all relevant beyond Cyprus-are investigated in this book including, but not limited to, art as capital, the emergence of the “periphery”, the importance of thriving localities, issues of memory and memorialization, archaeology, artists' identities, conflict and politics, social engagement, gender politics, and such curatorial alternatives as artist-run spaces. In doing all of this, Contemporary Art from Cyprus not only bears on current and future art practices in this region but highlights the importance of Cypriot art in a global context too.
Prosthetic Memory argues that mass cultural forms such as cinema and television in fact contain the still-unrealized potential for a progressive politics based on empathy for the historical experiences of others. The technologies of mass culture make it possible for anyone, regardless of race, ethnicity, or gender, to share collective memories--to assimilate as deeply felt personal experiences historical events through which they themselves did not live.
In this collection, an eminent authority on the history of political thought and on the intellectual history of modern Hellenism employs his twin academic specializations in political science and in intellectual history to understand the intricacies of the historical experience of his native island. Writing in a perspective inspired by the work of Fernand Braudel, he attempts in a series of studies in cultural and social history to recover lost and overlooked aspects of the collective destinies of Cyprus and the Cypriot diaspora in the centuries of Ottoman rule, a period of critical significance for the survival of the people of the island. He then turns to a penetrating analysis of the politics of the Cyprus Question. The pertinent studies collected in this volume bear the imprint of the deep soul-searching by the younger generation of Cypriot scholars at the time of the tragedy of 1974 over what went so wrong that their country was exposed to foreign invasion, occupation and division. The hints at answers to these questions offered by the author’s interdisciplinary and critical treatment of the subject make this work an indispensable aid to anyone wishing to grasp the deeper antinomies and dilemmas immanent in the Cyprus Question.
Women Mobilizing Memory, a transnational exploration of the intersection of feminism, history, and memory, shows how the recollection of violent histories can generate possibilities for progressive futures. Questioning the politics of memory-making in relation to experiences of vulnerability and violence, this wide-ranging collection asks: How can memories of violence and its afterlives be mobilized for change? What strategies can disrupt and counter public forgetting? What role do the arts play in addressing the erasure of past violence from current memory and in creating new visions for future generations? Women Mobilizing Memory emerges from a multiyear feminist collaboration bringing together an interdisciplinary group of scholars, artists, and activists from Chile, Turkey, and the United States. The essays in this book assemble and discuss a deep archive of works that activate memory across a variety of protest cultures, ranging from seemingly minor acts of defiance to broader resistance movements. The memory practices it highlights constitute acts of repair that demand justice but do not aim at restitution. They invite the creation of alternative histories that can reconfigure painful pasts and presents. Giving voice to silenced memories and reclaiming collective memories that have been misrepresented in official narratives, Women Mobilizing Memory offers an alternative to more monumental commemorative practices. It models a new direction for memory studies and testifies to a continuing hope for an alternative future.
