Remembering The Cultural Geographies Of A Childhood Home

Using an innovative auto-ethnographic approach to investigate the otherness of the places that make up the childhood home and its neighbourhood in relation to memory-derived and memory-imbued cultural geographies, Remembering the Cultural Geographies of a Childhood Home is concerned with childhood spaces and children's perspectives of those spaces and, consequentially, with the personalised locations that make up the childhood family home and its immediate surroundings (such as the garden, the street, etc.). Whilst this book is primarily structured by the author's memories of living in his own Welsh childhood home during the 1970s - that is, the auto-ethnographic framework - it is as much about living anywhere amid the remembered cultural remnants of the past as it is immersing oneself in cultural geographies of the here-and-now. As a result, Remembering the Cultural Geographies of a Childhood Home is part of the ongoing pursuit by cultural geographers to provide a personal exploration of the pluralities of shared landscapes, whereby such an engagement with space and place aid our construction of cognitive maps of meaning that, in turn, manifest themselves as both individual and collective cultural experiences. Furthermore, touching upon our co-habiting of ghost topologies, Remembering the Cultural Geographies of a Childhood Home also encourages a critical exploration of children’s spirituality amid the haunted cultural and geographical spaces and places of a house and its neighbourhood: the cellar, hallway, parlour, stairs, bedroom, attic, shops, cemeteries, and so on.

Using an innovative auto-ethnographic approach to investigate the otherness of the places that make up the childhood home and its neighbourhood in relation to memory-derived and memory-imbued cultural geographies, Remembering the Cultural Geographies of a Childhood Home is concerned with childhood spaces and children's perspectives of those spaces and, consequentially, with the personalised locations that make up the childhood family home and its immediate surroundings (such as the garden, the street, etc.). Whilst this book is primarily structured by the author's memories of living in his own Welsh childhood home during the 1970s - that is, the auto-ethnographic framework - it is as much about living anywhere amid the remembered cultural remnants of the past as it is immersing oneself in cultural geographies of the here-and-now. As a result, Remembering the Cultural Geographies of a Childhood Home is part of the ongoing pursuit by cultural geographers to provide a personal exploration of the pluralities of shared landscapes, whereby such an engagement with space and place aid our construction of cognitive maps of meaning that, in turn, manifest themselves as both individual and collective cultural experiences. Furthermore, touching upon our co-habiting of ghost topologies, Remembering the Cultural Geographies of a Childhood Home also encourages a critical exploration of children’s spirituality amid the haunted cultural and geographical spaces and places of a house and its neighbourhood: the cellar, hallway, parlour, stairs, bedroom, attic, shops, cemeteries, and so on.

Winner of the 2019 Broken Frontier Award for Best Book on Comics Today fans still remember and love the British girls’ comic Misty for its bold visuals and narrative complexities. Yet its unique history has drawn little critical attention. Bridging this scholarly gap, Julia Round presents a comprehensive cultural history and detailed discussion of the comic, preserving both the inception and development of this important publication as well as its stories. Misty ran for 101 issues as a stand-alone publication between 1978 and 1980 and then four more years as part of Tammy. It was a hugely successful anthology comic containing one-shot and serialized stories of supernatural horror and fantasy aimed at girls and young women and featuring work by writers and artists who dominated British comics such as Pat Mills, Malcolm Shaw, and John Armstrong, as well as celebrated European artists. To this day, Misty remains notable for its daring and sophisticated stories, strong female characters, innovative page layouts, and big visuals. In the first book on this topic, Round closely analyzes Misty’s content, including its creation and production, its cultural and historical context, key influences, and the comic itself. Largely based on Round’s own archival research, the study also draws on interviews with many of the key creators involved in this comic, including Pat Mills, Wilf Prigmore, and its art editorial team Jack Cunningham and Ted Andrews, who have never previously spoken about their work. Richly illustrated with previously unpublished photos, scripts, and letters, this book uses Misty as a lens to explore the use of Gothic themes and symbols in girls’ comics and other media. It surveys existing work on childhood and Gothic and offers a working definition of Gothic for Girls, a subgenre which challenges and instructs readers in a number of ways.

The Cultural Geography Reader draws together fifty-two classic and contemporary abridged readings that represent the scope of the discipline and its key concepts. Readings have been selected based on their originality, accessibility and empirical focus, allowing students to grasp the conceptual and theoretical tools of cultural geography through the grounded research of leading scholars in the field. Each of the eight sections begins with an introduction that discusses the key concepts, its history and relation to cultural geography and connections to other disciplines and practices. Six to seven abridged book chapters and journal articles, each with their own focused introductions, are also included in each section. The readability, broad scope, and coverage of both classic and contemporary pieces from the US and UK makes The Cultural Geography Reader relevant and accessible for a broad audience of undergraduate students and graduate students alike. It bridges the different national traditions in the US and UK, as well as introducing the span of classic and contemporary cultural geography. In doing so, it provides the instructor and student with a versatile yet enduring benchmark text.

This book offers an empirically informed understanding of how cultural, autobiographical and absent memories of orphanhood interact and interconnect or come into being in the re-telling of a life story and construction of an identity. The volume investigates how care experienced identities are embedded within personal, social and cultural practices of remembering. The book stems from research carried out into the life (hi)stories of twelve undervalued ‘historical witnesses’ (Roberts, 2002) of orphanhood: women who grew up in Nazareth House children’s home in Belfast, Northern Ireland, during the 1940s, 50s and 60s. Several themes are covered, including histories of care in Northern Ireland, narratives and memories, sociologies of home, and self and identity. The result is an impressive text that works to introduce readers to the complexity of memory for care experienced people and what this means for their life story and identity.

What the plantation has been to the history and literature of the American South, the hacienda has been to Mexico and the American Southwest. In Remembering the Hacienda, Vincent Perez makes the case that the hacienda offers the emblem of an antebellum, agrarian social order that predates the United States. It is the site in which the Mexican American community's heroic, genteel forebears lived in dignity and pride, and it is the heritage from which they were cast out as orphans, both in mother Mexico by the Revolution and in the American Southwest when the wars of 1836 and 1846-48 and capitalist land grabs dispossessed the Mexican hacendados. The hacienda, Perez argues, had its own orphans, too: Indians, mestizos, women, and peons. American culture, Perez examines five novels and autobiographies: Jovita Gonzalez and Eve Raleigh's Caballero: A Historical Novel (written in the 1930s and 1940s and later published by Texas A&M University Press), Maria Maparo Ruiz de Burton's The Squatter and the Don (1885), Mariano Guadalupe Vallejo's Historical and Personal Memoirs Relating to Alta, California (1874), Leo Carrillo's The California I Love (1961), and Francisco Robles Perez's immigrant autobiography Memorias. The last work is Perez's own grandfather's life narrative.