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The conclusion to this book looks at the public afterlives of lynching objects as they move from personal collections into archives and museums. Through a study of several visual and material collections from lynchings, the chapter makes a claim for the persistence of lynching's material culture as part of an evolving historical conciousness. Further, this conclusion serves as a blueprint for a rethinking of the public historical interpretation of racial violence and of the rethinking of the entanglements between cultural heritage and racial violence.
The introduction lays out the methodology employed in the study, explaining how insights gleaned from studies of material culture, phenomenology, and performance studies can produce a powerful hermeneutic for understanding early modern pedagogical performance.
Edith Wharton’s archive consists of material held by over thirty institutions across North America and Europe. This essay demonstrates that the process of integrating the contents of Wharton’s archive into the study of her writing has been hindered not only by its immensity, generic diversity, and geographic distribution, but by its history. Sections of the essay address the uses of Wharton’s archive by her biographers; the significance of recently published archival documents which alter substantially our understanding of Wharton’s early career and work as a dramatist; material related to Wharton’s wartime experiences, a subject of renewed interest; and Wharton’s professional correspondence, especially her negotiations with her editors and publishers, which impacted the formal properties of Wharton’s fiction. The essay argues that Wharton’s archive remains a source of new information about the scope and variety of her achievements, and her creative processes.
Despite the extraordinary presence of rap and bounce in New Orleans and of New Orleans practitioners of these forms in the wider world, this expressive tradition has had little institutional support in a city that devotes great resources to other forms. For this reason, an archive was set up in the aftermath of Hurricane Katrina to preserve this cultural history in ways that would give those closest to this world as much control over the archive as possible and preserve the cultural geography of pre-Katrina.
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