Shades of complicity: archives of the ‘implicated subject’

Knowledge of the Arandora Star is no longer limited to members of the UK's historic Italian community but is shared by a much larger constituency thanks to the greater accessibility of historical documents relating to the sinking of the ship, and to the substantial volume of new creative work i...

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Veröffentlicht in:Modern Italy : journal of the Association for the Study of Modern Italy Jg. 29; H. 3; S. 329 - 344
1. Verfasser: Duncan, Derek
Format: Journal Article
Sprache:Englisch
Veröffentlicht: Cambridge, UK Cambridge University Press 01.08.2024
Schlagworte:
Archives & records
Autobiographies
Collective memory
Ethics
Families & family life
Historical text analysis
History
Knowledge
Novels
Research Article
United Kingdom > UK
Italy
Scotland
Francine Stock
Arandora Star
archive
Cultural Memory
Caterina Soffici
Second World War
ISSN:1353-2944, 1469-9877
Online-Zugang:Volltext
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Abstract Knowledge of the Arandora Star is no longer limited to members of the UK's historic Italian community but is shared by a much larger constituency thanks to the greater accessibility of historical documents relating to the sinking of the ship, and to the substantial volume of new creative work inspired by it. This article examines this expansion of historical memory by following two discrete but entangled strands. The first follows the construction of the Arandora Star archive, starting from the author's chance personal encounter with a photograph. The second involves a close reading of Francine Stock's A Foreign Country (1999) and Caterina Soffici's Nessuno può fermarmi (2017), two novels that explore how people outside the historic Italian community recognise their implication in the sinking and its aftermath. Both foreground the intergenerational and transnational transmission of difficult memory and the ways in which the Arandora Star functions as an unstable point of historical knowledge and ethical judgement.
AbstractList Knowledge of the Arandora Star is no longer limited to members of the UK's historic Italian community but is shared by a much larger constituency thanks to the greater accessibility of historical documents relating to the sinking of the ship, and to the substantial volume of new creative work inspired by it. This article examines this expansion of historical memory by following two discrete but entangled strands. The first follows the construction of the Arandora Star archive, starting from the author's chance personal encounter with a photograph. The second involves a close reading of Francine Stock's A Foreign Country (1999) and Caterina Soffici's Nessuno può fermarmi (2017), two novels that explore how people outside the historic Italian community recognise their implication in the sinking and its aftermath. Both foreground the intergenerational and transnational transmission of difficult memory and the ways in which the Arandora Star functions as an unstable point of historical knowledge and ethical judgement.
Knowledge of the Arandora Star is no longer limited to members of the UK's historic Italian community but is shared by a much larger constituency thanks to the greater accessibility of historical documents relating to the sinking of the ship, and to the substantial volume of new creative work inspired by it. This article examines this expansion of historical memory by following two discrete but entangled strands. The first follows the construction of the Arandora Star archive, starting from the author's chance personal encounter with a photograph. The second involves a close reading of Francine Stock's A Foreign Country (1999) and Caterina Soffici's Nessuno può fermarmi (2017), two novels that explore how people outside the historic Italian community recognise their implication in the sinking and its aftermath. Both foreground the intergenerational and transnational transmission of difficult memory and the ways in which the Arandora Star functions as an unstable point of historical knowledge and ethical judgement. Una conoscenza dell'affondamento dell’ Arandora Star non si limita più a membri della comunità italiana storica del Regno Unito ma è condivisa da un gruppo molto più consistente grazie alla maggior accessibilità di documenti storici pertinenti al tragico evento e alla quantità importante di lavoro creativo che ne ha preso ispirazione. Questo articolo si interroga su questa diffusione di memoria storica seguendo due filoni discreti ma aggrovigliati. Il primo indaga la costruzione dell'archivio dell’ AS a partire da una fotografia scoperta casualmente dal ricercatore. Il secondo comprende una disamina di due romanzi recenti che si soffermano su chi, fuori della comunità’ storica italiana, si trova implicato nel naufragio e nelle sue consequenze. A Foreign Country di Francine Stock, (2000) e Nessuno può fermarmi di Caterina Soffici (2017) mettono in primo piano la trasmissione intergenerazionale e transnazionale di una memoria difficile e il modo in cui la AS funge da punto instabile di conoscenza storica e di giudizio etico.
Author Duncan, Derek
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Copyright Copyright © The Author(s), 2024. Published by Cambridge University Press on behalf of Association for the Study of Modern Italy
Copyright © The Author(s), 2024. Published by Cambridge University Press on behalf of Association for the Study of Modern Italy. This work is licensed under the Creative Commons Attribution License This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution and reproduction, provided the original article is properly cited. (the “License”). Notwithstanding the ProQuest Terms and Conditions, you may use this content in accordance with the terms of the License.
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Issue 3
Keywords Francine Stock
Arandora Star
archive
Cultural Memory
Caterina Soffici
Second World War
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SubjectTerms Archives & records
Autobiographies
Collective memory
Ethics
Families & family life
Historical text analysis
History
Knowledge
Novels
Research Article
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Title Shades of complicity: archives of the ‘implicated subject’
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