The gold epaulettes that George Washington wore into battle. A Union soldier’s bloody shirt in the wake of the Civil War. A crushed wristwatch after the 9/11 attacks. The bullet-riddled door of the Pulse nightclub. Volatile and shape-shifting, relics have long played a role in memorializing the American past, acting as physical reminders of hard-won battles, mass tragedies, and political triumphs.
Surveying the expanse of U.S. history, American Relics and the Politics of Public Memory shows how these objects have articulated glory, courage, and national greatness as well as horror, defeat, and oppression. While relics mostly signified heroism in the nation’s early years, increasingly, they have acquired a new purpose—commemorating victimhood. The atrocious artifacts of lynching and the looted remains of Native American graves were later transformed into shameful things, exposing ongoing racial violence and advancing calls for equality and civil rights. Matthew Dennis pursues this history of fraught public objects and assesses the emergence of new venues of memorialization, such as virtual and digital spaces. Through it all, relics continue to fundamentally ground and shape U.S. public memory in its uncertain present and future.Prisoners at Mittelbau-Dora built the V-1 and V-2 missiles, some of them coming into direct contact with Wernher von Braun and Arthur Rudolph, who later became leading engineers in the U.S. space program. Through the continuing story of Mittelbau-Dora, from its operation as a labor camp to its social construction as a monument, Schafft and Zeidler reflect an abiding interest in the memory and commemoration of notorious national events. In extending the analysis of Mittelbau-Dora into post-war and present-day Germany, Commemorating Hell uncovers the intricate relationship between the politics of memory and broader state and global politics, revealing insights about the camp's relationship to the American space pioneers and the fate of the nearby city of Nordhausen.
If George Washington and Abraham Lincoln are the saints in America’s civil religion, then the twenty-ninth president, Warren G. Harding, is our sinner. Prior to the Nixon administration, the Harding scandals were the most infamous of the twentieth century. Harding is consistently judged a failure, ranking dead last among his peers.
By examining the public memory of Harding, Phillip G. Payne offers the first significant reinterpretation of his presidency in a generation. Rather than repeating the old stories, Payne examines the contexts and continued meaning of the Harding scandals for various constituencies. Payne explores such topics as Harding’s importance as a midwestern small-town booster, his rumored black ancestry, the role of various biographers in shaping his early image, the tension between public memory and academic history, and, finally, his status as an icon of presidential failure in contemporary political debates. Harding was a popular president and was widely mourned when he died in office in 1923; but with his death began the construction of his public memory and his fall from political grace.
In Dead Last, Payne explores how Harding’s name became synonymous with corruption, cronyism, and incompetence and how it is used to this day as an example of what a president should not be.
History after Apartheid explores the dilemmas posed by a wide range of visual and material culture including key South African heritage sites. How prominent should Nelson Mandela and the African National Congress be in the museum at the infamous political prison on Robben Island? How should the postapartheid government deal with the Voortrekker Monument mythologizing the Boer Trek of 1838? Coombes highlights the contradictory investment in these sites among competing constituencies and the tensions involved in the rush to produce new histories for the “new” South Africa.
She reveals how artists and museum officials struggled to adequately represent painful and difficult histories ignored or disavowed under apartheid, including slavery, homelessness, and the attempted destruction of KhoiSan hunter-gatherers. Describing how contemporary South African artists address historical memory and the ambiguities uncovered by the Truth and Reconciliation Commission, Coombes illuminates a body of work dedicated to the struggle to simultaneously remember the past and move forward into the future.
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