Local Memories in a Nationalizing and Globalizing World by Brecht Deseure Marnix Beyen

By Brecht Deseure Marnix Beyen

In historic experiences, 'collective reminiscence' is in most cases seen because the fabricated from nationalizing concepts performed by means of political elites within the desire to create homogeneous realms. by contrast, this ebook asserts that collective thoughts enhance out of a endless, triangular negotiation among neighborhood, nationwide and transnational actors.

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Firstly the physical space: the geographical site, the buildings and the cityscape as they have grown throughout history and present themselves at a given moment. Secondly the urban space: the city as a planned and administered community (civitas), represented as a closed entity with a programmatic and recordable identity. And thirdly the civic space: the city as it is culturally appropriated by its inhabitants (communitas), as their own personally and collectively owned town. Civic memory discloses itself through the city’s daily practice, in the cultural repertoires shared by the native inhabitants and the immigrants, 27 28 Willem Frijhoff or incidentally in free play with the urban space and memory made available by the city.

Com/groups/63544293893/, accessed 14 May 2014. 20 Marnix Beyen 6. gid=5127081 9546&ref=nf is not accessible at the time of publication. 7. be, 31 October 2011, accessed 6 October 2014. 8. See, among others, Assmann and Czaplicka, 1995, ‘Collective memory and cultural identity’. 9. With regard to De Somer and the Leuven University, see Tollebeek and Nys, 2005, De stad op de berg. 10. com/pages/In-mijnen-tijd-heette-het-Pieter-DeSomerplein-nog-het-Fochplein/114551391953738, accessed 6 October 2014.

At a later stage, some Northern African immigrants and left-wing intellectuals started to use the word in a positive way, as an expression of Borgerhout’s multicultural microcosmos. A part of the immigrant community, on the other hand, deliberately continued to associate the term in a (self-)criminalizing way, thus turning their feelings of marginalization in Belgian society into a subversive sense of pride. Finally, Andrea Hajek’s contribution takes us back to the streets of Bologna in March 1977.

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