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.

Over the course of the Great War, a quarter of million settlers and subjects from Algeria served in French forces. Thousands more crossed the Mediterranean to work in the war industries of metropolitan France. On the Algerian Home Front, men, women, and children of all ethnic, religious, social, and political backgrounds contributed to the imperial war effort. Mobilising Memory is the first study to explore how the mass mobilisation of Algerian society during the First World War transformed politics in the colony. It asks how actors across the colony's racial, ideological, and class divides sought to legitimise their competing visions for Algeria's future by evoking their wartime service. Without diminishing the coercive power of the colonial state, it stresses the agency of the citizens and subjects of Algeria who sought to leverage their contribution to the war to enhance their positions within colonial society. In doing so, Mobilising Memory explores the consequences, often unintended, of framing political, social, and economic demands in a language rooted in the experience of the Great War. It argues that the predominance of this shared political language - grounded in notions of loyalty to and sacrifice for France - meant that most actors in interwar Algeria sought not to break with the Empire but rather to renegotiate their place within it. While these efforts rarely proved successful, the volume demonstrates how they radically reshaped the practice of politics in the colony.

How do ordinary people navigate the intense uncertainty of the onset of war? Different individuals mobilize in different ways—some flee, some pick up arms, and some support armed actors as civil war begins. Drawing on nearly two hundred in-depth interviews with participants and nonparticipants in the Georgian-Abkhaz war of 1992–1993, Anastasia Shesterinina explores Abkhaz mobilization decisions during that conflict. Her fresh approach underscores the uncertain nature of the first days of the war when Georgian forces had a preponderance of manpower and arms. Mobilizing in Uncertainty demonstrates, in contrast to explanations that assume individuals know the risk involved in mobilization and make decisions based on that knowledge, that the Abkhaz anticipated risk in ways that were affected by their earlier experiences and by social networks at the time of mobilization. What Shesterinina uncovers is that to make sense of the violence, Abkhaz leaders, local authority figures, and others relied on shared understandings of the conflict and their roles in it—collective conflict identities—that they had developed before the war. As appeals traveled across society, people consolidated mobilization decisions within small groups of family and friends and based their actions on whom they understood to be threatened. Their decisions shaped how the Georgian-Abkhaz conflict unfolded and how people continued to mobilize during and after the war. Through this detailed analysis of Abkhaz mobilization from prewar to postwar, Mobilizing in Uncertainty sheds light on broader processes of violence, which have lasting effects on societies marked by intergroup conflict.

This collected volume is the first to study the interface between contemporary social movements, cultural memory and digital media. Establishing the digital memory work practices of social movements as an important area of research, it reveals how activists use digital media to lay claim to, circulate and curate cultural memories. Interdisciplinary in scope, its contributors address mobilizations of mediated remembrance in the USA, Germany, Sweden, Italy, India, Argentina, the UK and Russia.

This book tackles cultural mobilization in the First World War as a plural process of identity formation and de-formation. It explores eight different settings in which individuals, communities and conceptual paradigms were mobilized. Taking an interdisciplinary approach, it interrogates one of the most challenging facets of the history of the Great War, one that keeps raising key questions on the way cultures respond to times of crisis. Mobilization during the First World War was a major process of material and imaginative engagement unfolding on a military, economic, political and cultural level, and existing identities were dramatically challenged and questioned by the whirl of discourses and representations involved.

Can we remember other people's memories? The Generation of Postmemory argues we can: that memories of traumatic events live on to mark the lives of those who were not there to experience them. Children of survivors and their contemporaries inherit catastrophic histories not through direct recollection but through haunting postmemories--multiply mediated images, objects, stories, behaviors, and affects passed down within the family and the culture at large. In these new and revised critical readings of the literary and visual legacies of the Holocaust and other, related sites of memory, Marianne Hirsch builds on her influential concept of postmemory. The book's chapters, two of which were written collaboratively with the historian Leo Spitzer, engage the work of postgeneration artists and writers such as Art Spiegelman, W.G. Sebald, Eva Hoffman, Tatana Kellner, Muriel Hasbun, Anne Karpff, Lily Brett, Lorie Novak, David Levinthal, Nancy Spero and Susan Meiselas. Grappling with the ethics of empathy and identification, these artists attempt to forge a creative postmemorial aesthetic that reanimates the past without appropriating it. In her analyses of their fractured texts, Hirsch locates the roots of the familial and affiliative practices of postmemory in feminism and other movements for social change. Using feminist critical strategies to connect past and present, words and images, and memory and gender, she brings the entangled strands of disparate traumatic histories into more intimate contact. With more than fifty illustrations, her text enables a multifaceted encounter with foundational and cutting edge theories in memory, trauma, gender, and visual culture, eliciting a new understanding of history and our place in it.

SAGE Memory Studies Journal & Memory Studies Association Outstanding First Book Award, Honorable Mention, 2019 Set in Israel in the first decade of the twenty-first century and based on long-term fieldwork, this rich ethnographic study offers an innovative analysis of the Israeli-Palestinian conflict. It explores practices of "memory activism" by three groups of Jewish-Israeli and Arab-Palestinian citizens--Zochrot, Autobiography of a City, and Baladna--showing how they appropriated the global model of truth and reconciliation while utilizing local cultural practices such as tours and testimonies. These activist efforts gave visibility to a silenced Palestinian history in order to come to terms with the conflict's origins and envision a new resolution for the future. This unique focus on memory as a weapon of the weak reveals a surprising shift in awareness of Palestinian suffering among the Jewish majority of Israeli society in a decade of escalating violence and polarization--albeit not without a backlash. Contested memories saturate this society. The 1948 war is remembered as both Independence Day by Israelis and al-Nakba ("the catastrophe") by Palestinians. The walking tour and survivor testimonies originally deployed by the state for national Zionist education that marginalized Palestinian citizens are now being appropriated by activists for tours of pre-state Palestinian villages and testimonies by refugees.