For nearly a century, members of the Dildilian family practiced the art of photography in Ottoman Turkey, Greece and the United States. This book contains over 300 photographs, most taken during the Ottoman era. The photos record a crucial half century of Armenian culture, with the earliest dating from 1888, when Tsolag Dildilian opened and operated the family business in central Anatolia, first in Sivas and later in Marsovan and Samsun, and the last taken in late 1930s Greece after the family's forced exile from their homeland in 1922. The photographs and the stories that unfold around them capture a defining period in the nearly 3,000-year history of the Armenians in Anatolia and the Armenian Highlands. The early- twentieth century witnessed the violent erasure of the Armenians from their historic homeland, with catastrophic effects for the Dildilian family and their community. Yet this was also a period of unprecedented educational, cultural and commercial development for the Armenians. The Dildilian family was intimately involved in the triumphs and tragedies of these years and this book, through its rich pictorial history, sheds unprecedented light on the real-life experiences of Armenians in the devastating years of the Armenian Genocide and beyond. It is an unusual and original contribution to the social history of the Near East.

"Denial of Genocides in the Twenty-First Century discusses genocide denial in the twenty-first century by concentrating on communication, social networks, and public spheres of daily life"--

This volume explores the shifting tides of how political violence is memorialized in today's decentralized, digital era. The book enhances our understanding of how the digital turn is changing the ways that we remember, interpret, and memorialize the past. It also raises practical and ethical questions of how we should utilize these tools and study their impacts. Cases covered include memorialization efforts related to the genocides in Rwanda, Cambodia, Europe (the Holocaust), and Armenia; to non-genocidal violence in Haiti, and the Portuguese Colonial War on the African Continent; and of the September 11 attacks on the United States.

The organization 'Genocide Watch' estimates that 100 million civilians around the globe have lost their lives as a result of genocide in only the past sixty years. Over the same period, the visual arts in the form of documentary footage has aided international efforts to document genocide and prosecute those responsible, but this book argues that fictional representation occupies an equally important and problematic place in the process of shaping minds on the subject. Edited by two of the leading experts in the field, The History of Genocide in Cinema analyzes fictional and semi-fictional portrayals of genocide, focusing on, amongst others, the repression of indigenous populations in Australia, the genocide of Native Americans in the 19th century, the Herero genocide, Armenia, the Holodomor (Stalin's policy of starvation in Ukraine), the Nazi Holocaust, Nanking and Darfur. Comprehensive and unique in its focus on fiction films, as opposed to documentaries, The History of Genocide in Cinema is an essential resource for students and researchers in the fields of cultural history, holocaust studies and the history of film.

The displaced are often rendered silent and invisible as they journey in search of refuge. Drawing on historical and contemporary examples from Turkey, the Ottoman Empire, Iraq, Syria, UK, Germany, France, the Balkan Peninsula, US, Canada, Australia, and Kenya, the contributions to this volume draw attention to refugees, asylum seekers, exiles, and forced migrants as individual subjects with memories, hopes, needs, rights, and a prospective place in collective memory. The book's wide-ranging theoretical, literary, artistic, and autobiographical contributions appeal to scholarly and lay readers who share concerns about the fate of the displaced in relation to the emplaced in this age of mass mobility.

Featuring over 100 colour images, this book explores the photographic self-representations of the urban middle classes in Turkey in the 1920s and the 1930s. Examining the relationship between photography and gender, body, space as well as materiality and language, its six chapters explore how the production and circulation of vernacular photographs contributed to the making of the modern Turkish citizen in the formative years of the Turkish Republic, when nation-building, secularization and modernization reforms took centre stage. Based on an extensive photographic archive, the book shows that individuals actively reproduced, circulated and negotiated the ideal citizen-image imposed by the Kemalist regime, reflecting not only state-imposed directives but also their class aspirations and other, wider social and cultural developments of the period, from Western fashion trends and movies to the increasing availability of modern consumer items. Calafato also reveals that the freedom from state control afforded by personal cameras allowed the desired image to be sometimes tweaked by incorporating elements from Ottoman and Turkic traditions, by pushing the boundaries of gender norms or by introducing playfulness. Making the Modern Turkish Citizen offers a valuable portrait of the ongoing political and social changes on the lives of the Turkish middle class, and of how they saw and wanted to present themselves, privately and publicly.

Bringing together a diverse array of new and established scholars and creative writers in the rapidly expanding field of memory studies, this collection creatively delves into the multiple aspects of this wide-ranging field. Contributors explore race-ing memory; environmental studies and memory; digital memory; monuments, memorials, and museums; and memory and trauma. Organised around 7 sections, this book examines memory in a global context, from Kashmir and Chile to the US and UK. Featuring contributions on topics such as the Black Lives Matter movement; the AIDS crisis; and memory and the anthropocene, this book traces and consolidates the field while analysing and charting some of the most current and cutting-edge work, as well as new directions that could be taken.

This book addresses the conflicts, myths, and memories that grew out of the Great War in Ottoman Turkey, and their legacies in society and politics. It is the third volume in a series dedicated to the combined analysis of the Ottoman Great War and the Armenian Genocide. In Australia and New Zealand, and even more in the post-Ottoman Middle East, the memory of the First World War still has an immediacy that it has long lost in Europe. For the post-Ottoman regions, the first of the two World Wars, which ended Ottoman rule, was the formative experience. This volume analyses this complex configuration: why these entanglements became possible; how shared or even contradictory memories have been constructed over the past hundred years, and how differing historiographies have developed. Remembering the Great War in the Middle East reaches towards a new conceptualization of the “long last Ottoman decade” (1912-22), one that places this era and its actors more firmly at the center, instead of on the periphery, of a history of a Greater Europe, a history comprising – as contemporary maps did – Europe, Russia, and the Ottoman world.

For nearly a century, members of the Dildilian family practiced the art of photography in Ottoman Turkey, Greece and the United States. This book contains over 300 photographs, most taken during the Ottoman era. The photos record a crucial half century of Armenian culture, with the earliest dating from 1888, when Tsolag Dildilian opened and operated the family business in central Anatolia, first in Sivas and later in Marsovan and Samsun, and the last taken in late 1930s Greece after the family's forced exile from their homeland in 1922. The photographs and the stories that unfold around them capture a defining period in the nearly 3,000-year history of the Armenians in Anatolia and the Armenian Highlands. The early- twentieth century witnessed the violent erasure of the Armenians from their historic homeland, with catastrophic effects for the Dildilian family and their community. Yet this was also a period of unprecedented educational, cultural and commercial development for the Armenians. The Dildilian family was intimately involved in the triumphs and tragedies of these years and this book, through its rich pictorial history, sheds unprecedented light on the real-life experiences of Armenians in the devastating years of the Armenian Genocide and beyond. It is an unusual and original contribution to the social history of the Near East.

Survivors of the Armenian genocide of 1915 and their descendants have used music to adjust to a life in exile and counter fears of obscurity. In this nuanced and richly detailed study, Sylvia Angelique Alajaji shows how the boundaries of Armenian music and identity have been continually redrawn: from the identification of folk music with an emergent Armenian nationalism under Ottoman rule to the early postgenocide diaspora community of Armenian musicians in New York, a more self-consciously nationalist musical tradition that emerged in Armenian communities in Lebanon, and more recent clashes over music and politics in California. Alajaji offers a critical look at the complex and multilayered forces that shape identity within communities in exile, demonstrating that music is deeply enmeshed in these processes. Multimedia components available online include video and audio recordings to accompany each case study.