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MemberSebastiaan Faber

• Iberian Trans-Atlantic Studies
• Institutional History of Hispanism
• Historical Memory in Post-Franco Spain
• Spanish Cinema; Luis Buñuel; Post-Francoist Cinema
• Literature of Spanish Civil War Exile
• Representations of the Spanish Civil War and SCW refugees
• The Crisis of the Turn of the Century in Spain and Spanish America
• Intellectuals and Political Commitment
• Intellectual Contacts Between Spain and Spanish America after 1810
• Constructions of Hispanic Identity since Latin-American Independence
• Theory of Ideology
• Contemporary Spanish Fiction
• Journalism and Fiction in Latin-American Literature

ReplyReply To: Introductions

Hello! I’m Mariana, based in London, and since last October I’ve been working at the Marx Memorial Library, cataloguing the Spanish Collection: a major archive that includes the whole archive from the International Brigade Association/International Brigade Memorial Trust. I’ve been dealing mostly with the collection of 500+ pamphlets: aprox. half of them in English, 200 […]

DepositFamily Documents, Analogy, and Reconciliation in the Works of Carme Riera

In La meitat de l’ànima and Temps d’innocència Carme Riera looks to the family album and personal history to reconcile with Spain’s turbulent past. The fictionalization of history emphasizes the unstable nature of the past and the improbability of “truth.” Through letters and photographs the past lives in the present yet remains elusive as memory works in revisionist ways on what was thought as factual and permanent.

DepositMémoire de la bande dessinée dans Au travail d’Olivier Josso Hamel

In the first volume of Au travail (2012), Olivier Josso Hamel remembers his childhood readings of classic Franco-Belgian comics by actually redrawing those fetishized panels into the texture of his own work. Rooted in an autobiographical approach, this quotational practice denotes a retrospective reflection on what Pierre Sterckx called the “case mémorable” (or “memorable panel”), that is fetishized panels stocked into the readers’s memory. Au travail invites us to revisit the memorable panel, which is no longer limited to intimate reading memories but becomes a specific manner through which comics are citable, bound to specific aspects of “graphiation,” defining an individual and collective memory of its past.

DepositReview of Tabea Linhard, Jewish Spain: A Mediterranean Memory. Palo Alto: Stanford University Press, 2014. 230pp.

Review of Tabea Linhard’s ‘Jewish Spain: A Mediterranean Memory’ (2016): “These essays are nothing short of a manifesto of new Spanish Jewish cultural studies, an area that has long been wanting a champion. In this sense, Jewish Spain is an exciting departure in the study of the Jewish experience and memory in modern Spain.”

MemberJosé M. Faraldo

I am a Profesor Contratado Doctor (assistant professor, tenured) at the Universidad Complutense de Madrid (UCM); I have been Ramón-y-Cajal researcher at the UCM (2009-2015). My Ph. Diss in history was at the same university with a work on Russian nationalism. After further studies in history and cultural studies in Moscow, Frankfurt/Oder and Poznań I worked from 1997 to 2002, at the European University Viadrina, in Frankfurt/Oder (Germany). From 2004 to 2008 I was research fellow and project coordinator at the Center of Research on Contemporary History, (Zentrum für Zeithistorische Forschung, ZZF), in Potsdam (Germany). I have published extensively in English, German, Spanish and Polish languages. Some works: about nationalism in Polish communism (Europe, Nation, Communism. Essays on Poland, New York, Frankfurt 2008), on Europeanism in Socialist countries (Europe in the Eastern Bloc. Imaginations and Discourses, Vienna/Cologne 2008 [with Paulina Gulińska-Jurgiel and Christian Domnitz (Eds.)]), about resistance against fascism and communism in comparison (La Europa Clandestina. La Resistencia contra las ocupaciones nazi y soviética (1938-1948), Madrid 2011); exiles from dictatorships (Reconsidering a Lost Intellectual Project. Exiles’ Reflections on Cultural Differences, CSP 2012 [with Carolina Rodríguez-López (eds.)]), history of Tourism (Introducción a la historia del Turismo, Madrid 2013[with Carolina Rodríguez-López]). My last book has been a critical review of the Russian revolution of 1917 and its memory (La Revolución rusa: historia y memoria, Madrid 2017).

DepositRabīʿ Jābir’s Bayrūt Trilogy: Recovering an Obscured Urban History

How does a generation without personal memory begin to grapple with its urban past in a nation that has silenced its memories? How are symbolic sites of memory recovered and represented by such a generation? Much recent scholarship on post-war Lebanon has studied the memory culture of the decades following the declared end of civil war. This scholarship deals with the implications of Lebanon’s ‘amnesiac’ political culture on the social and political landscape. In the meantime, Lebanon—and especially Beirut’s—urban landscape has been altered beyond recognition by post-war reconstruction, mostly by private real estate holding companies, the most notorious of which is Solidere. In the early 2000s, a slew of historical novels about Lebanon and especially Beirut was published in both Arabic and French. In this article, I will focus exclusively on the strategies of urban commemoration in Rabī Jābir’s trilogy. I argue that the genre of historical fiction is used in these novels to re-create the downtown life of Beirut in and around Martyrs’ Square from the 19th and early 20th century, a commemoration of a cityscape and an urban lifestyle that its author recreates using the tools of the archive (documents, bibliographies, etc.). This post-memorial fiction—here, I use Marianne Hirsch’s definition of postmemory as “second-generation memories of cultural and collective traumas and experience” (22)—attempts to recover Beirut’s repressed Ottoman urban history, and to re-write Solidere’s narrative of the city center. By intertwining downtown Beirut’s past with its present, in a clever back-and-forth palimpsestic act that superimposes the historical city upon the present city—site of capitalist consumption—Jābir’s novels map out the old upon the new, and thus refuses the erasure of the ancient city by its newest urbanists. In Jābir’s novels, a new, contestatory commemorative narrative of Beirut’s history and—more significantly, its present—emerges.