This Handbook explores the latest cross-disciplinary research on the inter-relationship between memory studies, place, and identity. In the works of dynamic memory, there is room for multiple stories, versions of the past and place understandings, and often resistance to mainstream narratives. Places may live on long after their physical destruction. This collection provides insights into the significant and diverse role memory plays in our understanding of the world around us, in a variety of spaces and temporalities, and through a variety of disciplinary and professional lenses. Many of the chapters in this Handbook explore place-making, its significance in everyday lives, and its loss. Processes of displacement, where people's place attachments are violently torn asunder, are also considered. Ranging from oral history to forensic anthropology, from folklore studies to cultural geographies and beyond, the chapters in this Handbook reveal multiple and often unexpected facets of the fascinating relationship between place and memory, from the individual to the collective. This is a multi- and intra-disciplinary collection of the latest, most influential approaches to the interwoven and dynamic issues of place and memory. It will be of great use to researchers and academics working across Geography, Tourism, Heritage, Anthropology, Memory Studies, and Archaeology.

This Handbook explores the latest cross-disciplinary research on the inter-relationship between memory studies, place, and identity. In the works of dynamic memory, there is room for multiple stories, versions of the past and place understandings, and often resistance to mainstream narratives. Places may live on long after their physical destruction. This collection provides insights into the significant and diverse role memory plays in our understanding of the world around us, in a variety of spaces and temporalities, and through a variety of disciplinary and professional lenses. Many of the chapters in this Handbook explore place-making, its significance in everyday lives, and its loss. Processes of displacement, where people's place attachments are violently torn asunder, are also considered. Ranging from oral history to forensic anthropology, from folklore studies to cultural geographies and beyond, the chapters in this Handbook reveal multiple and often unexpected facets of the fascinating relationship between place and memory, from the individual to the collective. This is a multi- and intra-disciplinary collection of the latest, most influential approaches to the interwoven and dynamic issues of place and memory. It will be of great use to researchers and academics working across Geography, Tourism, Heritage, Anthropology, Memory Studies, and Archaeology.

Going Public responds to the urgent need to expand current thinking on what it means to co-create and to actively involve the public in research activities. Drawing on conversations with over thirty practitioners across multiple cultures and disciplines, this book examines the ways in which oral historians, media producers, and theatre artists use art, stories, and participatory practices to engage creatively with their publics. It offers insights into concerns related to voice, appropriation, privilege, and the ethics of participation, and it reveals that the shift towards participatory research and creative practices requires a commitment to asking tough questions about oneself and the ways that people’s stories are used.

Remembering Mass Violence breaks new ground in oral history, new media, and performance studies by exploring what is at stake when we attempt to represent war, genocide, and other violations of human rights in a variety of creative works. A model of community-university collaboration, it includes contributions from scholars in a wide range of disciplines, survivors of mass violence, and performers and artists who have created works based on these events. This anthology is global in focus, with essays on Africa, Asia, Europe, Latin America, and North America. At its core is a productive tension between public and private memory, a dialogue between autobiography and biography, and between individual experience and societal transformation. Remembering Mass Violence will appeal to oral historians, digital practitioners and performance-based artists around the world, as well researchers and activists involved in human rights research, migration studies, and genocide studies.

Presenting stunning reproductions of oil paintings by landscape artist Philip Juras, this exhibition catalogue offers a glimpse of the pre-settlement southern wilderness as late eighteenth-century naturalist William Bartram would have experienced it during his famed travels through the region. Juras's work combines direct observation with historical, scientific, and natural history research to depict, and in some cases reimagine, landscapes as they appeared in the 1770s. Juras spent years researching Bartram and revisiting important sites the naturalist wrote about in his celebrated Travels. Juras's paintings recreate the lost southern frontier for contemporary viewers in much the same way that nineteenth century American landscape painters like Albert Bierstadt and Thomas Moran brought the western frontier to the consciousness of the rapidly industrializing East. Juras's work explores many of the important and imperilled ecosystems that remain in the South today. These little-known, remnant natural communities, depicted in well-researched and meticulous paintings, are further illuminated by essays placing them in the context of Bartram's legacy and the American landscape movement. The catalogue features more than sixty reproductions of Juras's paintings. Presented with essays by the artist as well as Dorinda Dallmeyer, director of the Environmental Ethics Certificate Program at the University of Georgia; Holly Koons McCullough, director of collections and exhibitions at the Telfair; and Janisse Ray, lauded poet and environmental advocate, the catalogue provides readers with a rare glimpse of the Southern frontier before its essence was irrevocably altered by European settlement.

VLAD -- A Love Story is a musical based on the Bram Stoker classic Dracula. The twist is "He didn't do it." A meteor shower just prior to his arrival, infects all the townspeople with radioactivity and he gets blamed. Renfield is the first to fall but he still likes bugs. It's epic... it's harder than hell to produce... and it's a special effects nightmare... but gosh is it an incredible show to see/produce and direct.

Point Saint-Charles, a historically white working-class neighbourhood with a strong Irish and French presence, and Little Burgundy, a multiracial neighbourhood that is home to the city's English-speaking Black community, face each other across Montreal's Lachine Canal, once an artery around which work and industry in Montreal were clustered and by which these two communities were formed and divided. Deindustrializing Montreal challenges the deepening divergence of class and race analysis by recognizing the intimate relationship between capitalism, class struggles, and racial inequality. Fundamentally, deindustrialization is a process of physical and social ruination as well as part of a wider political project that leaves working-class communities impoverished and demoralized. The structural violence of capitalism occurs gradually and out of sight, but it doesn't play out the same for everyone. Point Saint-Charles was left to rot until it was revalorized by gentrification, whereas Little Burgundy was torn apart by urban renewal and highway construction. This historical divergence had profound consequences in how urban change has been experienced, understood, and remembered. Drawing extensive interviews, a massive and varied archive of imagery, and original photography by David Lewis into a complex chorus, Steven High brings these communities to life, tracing their history from their earliest years to their decline and their current reality. He extends the analysis of deindustrialization, often focused on single-industry towns, to cities that have seemingly made the post-industrial transition. The urban neighbourhood has never been a settled concept, and its apparent innocence masks considerable contestation, divergence, and change over time. Deindustrializing Montreal thinks critically about locality, revealing how heritage becomes an agent of gentrification, investigating how places like Little Burgundy and the Point acquire race and class identities, and questioning what is preserved and for whom.

There's a pervasive sense of betrayal in areas scarred by mine, mill and factory closures. Steven High's One Job Town delves into the long history of deindustrialization in the paper-making town of Sturgeon Falls, Ontario, located on Canada's resource periphery. Much like hundreds of other towns and cities across North America and Europe, Sturgeon Falls has lost their primary source of industry, resulting in the displacement of workers and their families. One Job Town takes us into the making of a culture of industrialism and the significance of industrial work for mill-working families. One Job Town approaches deindustrialization as a long term, economic, political, and cultural process, which did not begin and simply end with the closure of the local mill in 2002. High examines the work-life histories of fifty paper mill workers and managers, as well as city officials, to gain an in-depth understanding of the impact of the formation and dissolution of a culture of industrialism. Oral history and memory are at the heart of One Job Town, challenging us to rethink the relationship between the past and the present in what was formerly known as the industrialized world.

Deindustrialization is not simply an economic process, but a social and cultural one as well. The rusting detritus of our industrial past the wrecked hulks of factories, abandoned machinery too large to remove, and now-useless infrastructures has for decades been a part of the North American landscape. In recent years, however, these modern ruins have become cultural attractions, drawing increasing numbers of adventurers, artists, and those curious about a forgotten heritage.

Through a unique blend of oral history, photographs, and interpretive essays, Corporate Wasteland investigates this fascinating terrain and the phenomenon of its loss and rediscovery. Steven High and David W. Lewis begin by exploring an emerging aesthetic they term the deindustrial sublime, explaining how the ritualized demolition of landmark industrial structures served as dramatic punctuations between changing eras. They then follow the narrative path blazed by urban spelunkers, explorers who infiltrate former industrial sites and then share accounts and images of their exploits in a vibrant online community. And to understand the ways in which geographic and emotional proximity affects how deindustrialization is remembered and represented, High and Lewis focus on Youngstown, Ohio, where residents and former steelworkers still live amid the reminders of more prosperous times.

Corporate Wasteland concludes with photo essays of sites in Michigan, Ontario, West Virginia, and Pennsylvania that pair haunting images with the poignant testimonies of those who remember industrial sites as workplaces rather than monuments. Forcing readers to look beyond nostalgia, High and Lewis reinterpret our deindustrialized landscape as a historical and imaginative challenge to the ways in which we comprehend and respond to the profound disruptions wrought by globalization."

Going Public responds to the urgent need to expand current thinking on what it means to co-create and to actively involve the public in research activities. Drawing on conversations with over thirty practitioners across multiple cultures and disciplines, this book examines the ways in which oral historians, media producers, and theatre artists use art, stories, and participatory practices to engage creatively with their publics. It offers insights into concerns related to voice, appropriation, privilege, and the ethics of participation, and it reveals that the shift towards participatory research and creative practices requires a commitment to asking tough questions about oneself and the ways that people's stories are used.

Since the 1970s, the closure of mines, mills, and factories has marked a rupture in working-class lives. The Deindustrialized World interrogates the process of industrial ruination, from the first impact of layoffs in metropolitan cities, suburban areas, and single-industry towns to the shock waves that rippled outward, affecting entire regions, countries, and beyond. Scholars from five nations share personal stories of ruin and ruination and ask others what it means to be working class in a postindustrial world. Together, they open a window on the lived experiences of people living at ground zero of deindustrialization, revealing its layered impacts and examining how workers, environmentalists, activists, and the state have responded to its challenges.

Survivors of terrible events are often portrayed as unsung heroes or tragic victims but rarely as complex human beings whose lives extend beyond the stories they have told. The contributors to Beyond Testimony and Trauma consider other ways to engage with survivors and their accounts based on valuable insights gained from their work on long-term oral history projects. While the contexts vary widely, they demonstrate that through deep listening, long-term relationship building, and collaborative research design, it is possible to move beyond the problematic aspects of “testimony� to shine a light on the more nuanced lives of survivors of mass violence.

Over the span of seven years, hundreds of people displaced by mass violence told their stories to the Montreal Life Stories project. From the outset, the project's organizers sought to develop an alternative model to traditional oral history practice, one where community members "shared authority" as equal partners. Together, they challenged long-held beliefs about how oral stories should be collected and shared. As a sustained reflection on this large-scale experiment in collaborative research, Oral History at the Crossroads has methodological and ethical implications for scholars. It also provides a contemporary model for curating public history, pushing the field in new directions.