This book is about the production and consumption of history, themes that have gained in importance since the discipline's attempts to disavow its own authority with the ascendancy of postmodern and postcolonial perspectives. Several parallel themes crosscut the book’s central focus on the discipline of history: its intellectual history, its historiography, and its connection to memory, particularly in relation to the need to establish the collective identity of ‘nation’, ‘community’ or state through a memorialisation process that has much to do with history, or at least with claiming a historicity for collective memory. None of this can be undertaken without an understanding of the roles that history-writing and history-reading have been made to perform in public debates, or perhaps more accurately in public disputes. The book addresses a discomfort with postcolonial theories in and as history. Following are essays that examine the state of the discipline, the art of reading and using archives, practices of tracking the history of ideas, and the themes of history, memory and identity.
This book assesses the Ethiopian ethnic federal system from the perspective of the principles of socialist federations and other Marxist oriented policies pursued by the ruling Ethiopian Peoples' Revolutionary Democratic Front (EPRDF). Exploring how the application of these ideological principles has impacted on the structure and function of the Ethiopian federal system, the research examines the ways in which these ideological policies of the ruling party affect national consensus, protection of human rights, the rights of minority groups, separation of power principles and the relationship between the federal and regional governments.
In this evocative and poignant novel from the USA TODAY bestselling author of Blind Kiss and Wish You Were Here, a young widow in the midst of grieving her late husband through Facebook posts learns to heal and fall in love again. “See you on the other side.” Laya Marston’s husband, Cameron, a daredevil enthusiast, always said this before heading off on his next adventure. He was the complete opposite of her, ready and willing to dive off a cliff-face, or parachute across a canyon—and Laya loved him for it. But she was different: pragmatic, regimented, devoted to her career and to supporting Cameron from the sidelines of his death-defying feats. Opposites attract, right? But when Cameron dies suddenly and tragically, all the stages of grief go out the window. Laya becomes lost in denial, living in the delusion that Cameron will come back to her. She begins posting on his Facebook page, reminiscing about their life together, and imagining new adventures for the two of them. Micah Evans, a young and handsome architect at Laya’s father’s firm, is also stuck––paralyzed by the banal details of his career, his friendships, and his love life. He doesn’t know what he’s looking for, only that there is someone out there who can bring energy and spirit to the humdrum of his life. When Micah discovers Laya’s tragic and bizarre Facebook posts, he’s determined to show Laya her life is still worth living. Leaving her anonymous gifts and notes, trying to recreate the sense of adventure she once shared with her late husband, Micah finds a new passion watching Laya come out of the darkness. And Laya finds a new joy in the experiences Micah has created for her. But for Laya, letting another man in still feels like a betrayal to her late husband. Even though Micah may be everything she could wish for, she wonders if she deserves to find happiness again. Written with Renée Carlino’s signature “tender and satisfying” (Taylor Jenkins Reid, author of Maybe in Another Life) prose, this warm and compassionate novel shows us how powerful the courage to love and live again truly is.
At two minutes past eleven, on the morning of 11 November 1919, a lone bugle call sounded across the British Empire. It signalled the end of the first two-minute silence held to remember the fallen of the Great War, and marked the moment when the Last Post became the default refrain for grief and remembrance in British public life. Published in the centenary year of the First World War’s outbreak, and written by one of the UK’s leading cultural historians, this fascinating monograph will investigate the impact of the conflict on Britain’s attitudes to its war dead, and demonstrate how so simple and seemingly unremarkable a piece of music has attained such a powerful, near sacred status.
The 'Forgotten Voices' of the First World War speak for the final time. LAST POST is very consciously the last word from the handful of First World War survivors who were left alive in 2004. Now they have passed away, our final human connection with the First World War has been broken. Max Arthur, a skilled interviewer, took the very last chance we had to ask questions of those who were there. Now updated to include a new introduction by the author for the centenary of the First World War.
Two years (1964 - 66) on the Training Ship Arethusa, during which the author went from 'nozzer' to 'Nelson Crown, ' 'Painting The Last Post' is a humorous account of life on a most unusual boarding-school.