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The culture of insurgents in early modern Europe was primarily an oral one; memories of social conflicts in the communities affected were passed on through oral forms such as songs and legends. This popular history continued to influence political choices and actions through and after the early modern period. The chapters in this book examine numerous examples from across Europe of how memories of revolt were perpetuated in oral cultures, and they analyse how traditions were used. From the German Peasants’ War of 1525 to the counter-revolutionary guerrillas of the 1790s, oral traditions can offer radically different interpretations of familiar events. This is a ‘history from below’, and a history from song, which challenges existing historiographies of early modern revolts.
The second volume shines a light on the cultural and social changes that took place during the epoch of European Restorations, when the death of the Napoleonic empire existed as a crucial moment for contemporaries. Expanding the transnational approach of Volume I, the chapters focus on the transmutation of ordinary experiences of war into folklore and popular culture, the emergence of grassroots radical politics and conspiracies on the Left and Right, and the relationship between literacy and religion, with new cases included from Spain, Norway and Russia. A wide-ranging and impressive work, this book completes a collection on the history of the European Restorations.
Transatlantic Revolutionary Cultures, 1789-1861 argues that the revolutionary era constituted a coherent chapter in transatlantic history and that individual revolutions were connected to a broader, transatlantic and transnational frame. As a composite, the essays place instances of political upheaval during the long nineteenth century in Europe and the Americas in a common narrative and offer a new interpretation on their seeming asynchrony. In the age of revolutions the formation of political communities and cultural interactions were closely connected over time and space. Reciprocal connections arose from discussions on the nature of history, deliberations about constitutional models, as well as the reception of revolutions in popular culture. These various levels of cultural and intellectual interchange we term “transatlantic revolutionary cultures.” Contributors are: Ulrike Bock, Anne Bruch, Peter Fischer, Mischa Honeck, Raphael Hörmann, Charlotte A. Lerg, Marc H. Lerner, Michael L. Miller, Timothy Mason Roberts, and Heléna Tóth.
The term trauma refers to a wound or rupture that disorients, causing suffering and fear. Trauma theory has been heavily shaped by responses to modern catastrophes, and as such trauma is often seen as inherently linked to modernity. Yet psychological and cultural trauma as a result of distressing or disturbing experiences is a human phenomenon that has been recorded across time and cultures. The long seventeenth century (1598–1715) has been described as a period of almost continuous warfare, and the sixteenth to eighteenth centuries saw the development of modern slavery, colonialism, and nationalism, and witnessed plagues, floods, and significant sociopolitical, economic, and religious transformation. In Early Modern Trauma editors Erin Peters and Cynthia Richards present a variety of ways early modern contemporaries understood and narrated their experiences. Studying accounts left by those who experienced extreme events increases our understanding of the contexts in which traumatic experiences have been constructed and interpreted over time and broadens our understanding of trauma theory beyond the contemporary Euro-American context while giving invaluable insights into some of the most pressing issues of today.
In every country across Europe, at some point or other during the last five hundred years, cheap printed materials were the staple diet of ordinary people, providing a rich array of entertainment, education, and information. They came in various forms, but were usually variations on the theme of single sheets or simple booklets, and they were carried far and wide in pedlars’ packs and sold in the streets, at fairs and markets and wherever crowds gathered, as well as in backstreet shops. Their content was as broad as can be imagined: news and scandal, crimes and last-dying confessions of murderers, divinations, instructional works, wonder stories, miracles, folktales and legends, love stories, celebrations of national victories and lamentations for the good old days. They were often couched in the form of poetry or song, and included pictures in the form of woodcuts and engravings to add to their appeal. In every country across Europe, governments and local and religious authorities tried at times to suppress or control these cheap printed materials. Sometimes, too, the authorities would adopt the format of cheap print to spread their own moral and conformist messages. The educated elites almost always treated cheap print with disdain, but the people continued to buy these items in their tens of thousands, and the printers knew exactly what they wanted. Neglected and reviled for centuries, cheap print shines a light on the culture and lives of ordinary people. This is the first volume to take a pan-European perspective, with each chapter detailing the experience of a particular country or region, offering the reader the opportunity to progress from the particular to a continent-wide overview. This combination of the ubiquity of the materials and overarching themes with the variations wrought by local circumstances can be summed up in the phrase always the same, but everywhere different.
An in-depth study of the nineteenth-century London ballad-singer, a central figure in British cultural, social and political life.
The first detailed treatment of Switzerland in British literature and culture from Joseph Addison to John Ruskin, this book analyzes the aesthetic and political uses of what is commonly called the 'Swiss myth' in the parallel development of Romanticism and liberalism. The myth merged the country's legends going back to the Middle Ages with the Enlightenment image of a happy, free nation of alpine shepherds. Its unique combination of conservative, progressive, and radical associations enabled writers before the French Revolution to call for democratic reforms, whereas those coming after could refigure it as a conservative alternative to French liberté. Integrating intellectual history with literary studies, and addressing a wide range of Romantic-period texts and authors, among them Byron, the Shelleys, Hemans, Scott, Coleridge, and, above all, Wordsworth, the book argues that the myth contributed to the liberal idea of the people as a sublime yet sleeping sovereign.
In Ireland, few figures have generated more hatred than Oliver Cromwell, whose seventeenth-century conquest, massacres, and dispossessions would endure in the social memory for ages to come. The Devil from over the Sea explores the many ways in which Cromwell was remembered and sometimes conveniently 'forgotten' in historical, religious, political, and literary texts, according to the interests of different communities across time. Cromwell's powerful afterlife in Ireland, however, cannot be understood without also investigating his presence in folklore and the landscape, in ruins and curses. Nor can he be separated from the idea of the 'Cromwellian': a term which came to elicit an entire chain of contemptuous associations that would begin after his invasion and assume a wholly new force in the nineteenth century. What emerges from all these memorializing traces is a multitudinous Cromwell who could be represented as brutal, comic, sympathetic, or satanic. He could be discarded also, tellingly, from the accounts of the past, and especially by those which viewed him as an embarrassment or worse. In addition to exploring the many reasons why Cromwell was so vehemently remembered or forgotten in Ireland, Sarah Covington finally uncovers the larger truths conveyed by sometimes fanciful or invented accounts. Contrary to being damaging examples of myth-making, the memorializations contained in martyrologies, folk tales, or newspaper polemics were often productive in cohering communities, or in displaying agency in the form of 'counter-memories' that claimed Cromwell for their own and reshaped Irish history in the process.
An innovative new reading of the character of, and tensions in, London's radical intellectual culture at the time of the French Revolution.
The signing of the Good Friday Agreement on April 10, 1998, marked the beginning of a new era of peace and stability in Northern Ireland. As the public overwhelmingly rejected a return to the violence of the Troubles, loyalist and republican groups sought other outlets to continue their struggle. Music, which has long been used to celebrate cultural identity in the North of Ireland, became a key means of facilitating the continuation of pre-Agreement identity narratives in a “post-conflict” era. Sounding Dissent draws on three years of sustained fieldwork within Belfast's rebel music scene, in-depth interviews with republican musicians, contemporary audiences, and former paramilitaries, as well as diverse historical and archival material, including songbooks, prison records, and newspaper articles, to understand the history of political violence in Ireland.The book examines the potential of rebel songs to memorialize a pantheon of republican martyrs, and demonstrates how musical performance and political song not only articulate experiences and memories of oppression and violence, but also play a central role in the reproduction of conflict and exclusion in times of peace.