This is the fifth in the series of Nostalgias volumes by Giovanni Bonello in which he lays before the reader handsome sets of photographs taken by artists, mainly Maltese but also some foreigners as is the case of this volume, who recorded the appearance of the landscapes and seascapes of the Maltese Islands and, to a smaller extent, that of the people who inhabited them in the late 19th century and in the first half of the last century. Handsomely bound and elegantly designed like its predecessors, Nostalgias of Malta - Images by Modiano from the 1900s , should serve as a useful work of reference or one of those books through which it is pleasant simply to leaf idly. Early in 1902, four years after the introduction of picture postcards in Malta, local booksellers, stationers and souvenir shops started offering the public a new series of cards produced by an Italian publishing house - G. Modiano e Co, Milano. The first known Maltese Modiano card went through the post on April 2, 1902. Business must have been quite encouraging as in no time, various Maltese outlets began marketing these postcards with their own imprint alongside, or instead of, the Modiano one. The present Nostalgias volume includes a complete record of every Maltese Modiano picture recorded so far.
Gozo is more meagerly represented than Malta in pre-war photography. This is due most prominently to the fact that British troops had far less of a presence in Gozo. The bulk of early photography survives in the form of postcards which, before the tourist boom of the sixties, appealed almost exclusively to servicemen. This does not mean that old photographs of Gozo cannot be found today, as this book seeks to demonstrate. It does, mean, however, that photographs of pre-war Gozo are difficult to come by. Gozo postcard publishing took place in a sort of 'closed-shop' environment, with only Gozitans placing their wares on the Gozo market. The few and sporadic Gozo cards marketed by non-Gozitans (Maltese or foreigners) formed part of larger print runs of Maltese views, the majority of those featuring Gozo depicted the fishing boats, tal-latini, and little else. This book, the second in the 'Nostalgias' series, includes over two hundred photos of Gozo taken between the 1880s and the 1930s, divided into four chapters: The Islands, People, Events and Gozo Boats.
"[I]ntersects with very active areas of research in history and anthropology, and links these domains of inquiry spanning Europe and North Africa in a creative and innovative fashion." --Douglas Holmes, Binghamton University Maltese settlers in colonial Algeria had never lived in France, but as French citizens were abruptly "repatriated" there after Algerian independence in 1962. In France today, these pieds-noirs are often associated with "Mediterranean" qualities, the persisting tensions surrounding the French-Algerian War, and far-right, anti-immigrant politics. Through their social clubs, they have forged an identity in which Malta, not Algeria, is the unifying ancestral homeland. Andrea L. Smith uses history and ethnography to argue that scholars have failed to account for the effect of colonialism on Europe itself. She explores nostalgia and collective memory; the settlers' liminal position in the colony as subalterns and colonists; and selective forgetting, in which Malta replaces Algeria, the "true" homeland, which is now inaccessible, fraught with guilt and contradiction. The study provides insight into race, ethnicity, and nationalism in Europe as well as cultural context for understanding political trends in contemporary France.
"This book examines the social and political origins of beleaguered and wistful expressions of nostalgia about the Ottoman Empire for various groups in the region. Rather than focus on how Ottomanism evolved, the book examines how social and political memories of the Ottoman past have been transformed in Turkish society along with reactions from the outside world. This Ottoman past, as remembered now, is grounded in contemporary conservative Islamic values. Thus, the connection between memories of the Ottoman past and these values defines Turkey's new identity. This new expression of memory portrays Turkey as a victim of the major powers, justifying its position against its imagined internal and external enemies. This book explores why Turkish society has selectively brought the Ottoman Empire back into the public mindset and for what purpose. The book traces how memory of the Ottoman period has changed in Turkish literature, mainstream history books and other cultural products from the 1940s to the 21st century. A key aspect of Turkish literature is its criticism of the Jacobin modernization of Turkey matched by its return to the Ottoman past to articulate an alternative political language. This book responds to several interrelated questions: What is neo-Ottomanism, in general, and what is the significance of various terms using Ottoman as a variant and for what purpose do they serve? Who constructed the term and for what purpose? What are the social and political origins of the current nostalgia for the Ottoman past?"--
Ambivalent Europeans examines the implications of living on the fringes of Europe. In Malta, public debate is dominated by the question of Europe, both at a policy level - whether or not to join the EU - and at the level of national identity - whether or not the Maltese are 'European'. Jon Mitchell identifies a profound ambivalence towards Europe, and also more broadly to the key processes of 'modernisation'. He traces this tendency through a number of key areas of social life - gender, the family, community, politics, religion and ritual.
Performing Nostalgia Migration Culture and Creativity in South Albania
Migration studies is an area of increasing significance in musicology as in other disciplines. How do migrants express and imagine themselves through musical practice? How does music help them to construct social imaginaries and to cope with longings and belongings? In this study of migration music in postsocialist Albania, Eckehard Pistrick identifies links between sound, space, emotionality and mobility in performance, provides new insights into the controversial relationship between sound and migration, and sheds light on the cultural effects of migration processes. Central to Pistricks approach is the essential role of emotionality for musical creativity which is highlighted throughout the volume: pain and longing are discussed not as a traumatising end point, but as a driving force for human action and as a source for cultural creativity. In addition, the study provides a fascinating overview about the current state of a rarely documented vocal tradition in Europe that is a part of the mosaic of Mediterranean singing traditions. It refers to the challenges imposed onto this practice by heritage politics, the dynamics of retraditionalisation and musical globalisation. In this sense the book constitutes an important study to the dynamics of postsocialism as seen from a musicological perspective.