Abstract
The twentieth century has witnessed genocides, ethnic cleansing, forced population expulsions, shifting national borders, and other massive disruptions on an unprecedented scale. Cities and landscapes still bear the visible or hidden scars of past massacres and destruction, as do groups and populations that have been victims of repression. How do societies confront a past marked by violence and exclusion? What happens to people so steeped in oppression that personal and social traumas pervade their community relations even after the violence has ended? Are there models of reconciliation that can overcome the asymmetry of perpetrators and victims? How can such experiences be conveyed and represented by those who suffered the consequences to those who come after? This volume explores the work of memory and the ethics of healing in societies that have experienced sociopolitical rupture and histories of state violence. Combining a global and transnational approach with case-oriented analysis, it seeks to highlight the political, ethical, and aesthetic challenges posed by the commemoration of traumatic violence. The models and transformations of memory work analyzed in this book illustrate how the past is remembered or forgotten, confronted or repressed, and how it keeps haunting the present in the aftermath of violent historical events: the Second World War, the Holocaust and the fall of the Berlin Wall, Stalinism in post-Soviet Russia and Eastern Europe, the Civil War and Francoism in Spain, the Vichy collaboration in France, and the apartheid regime in South Africa.
These cracked grounds, shattered by history, these grounds that make you want to scream.
—Georges Didi-Huberman1
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Notes
“Ces sols fêlés, fracassés par l’histoire, ces sols à crier,” Georges Didi-Huberman, Écorces (Paris: Minuit, 2011), 27.
On the notion of “cosmopolitization” as a process of “internal globalization” in which “global concerns provide a political and moral frame of reference for local experiences,” see Daniel Levy and Natan Sznaider, The Holocaust and Memory in the Global Age, trans. Assenka Oksiloff (Philadelphia: Temple University Press, 2006), 2–3.
Michael Rothberg, Multidirectional Memory. Remembering the Holocaust in theAge of Decolonization (Stanford: Stanford University Press, 2009).
In the context of the Holocaust David Bathrick notices that visual representations “have proved to be an absolutely integral but also highly contested means by which to understand and remember the Nazi atrocities of the Second World War,” in Visualizing the Holocaust: Documents, Aesthetics, Memory, ed. David Bathrick, Brad Prager, and Michael D. Richardson (Rochester, NY: Camden House, 2008), 1.
Robert Musil, “Monuments,” in Selected Writings, ed. and trans. Burton Pike (New York: Continuum, 1985), 323.
See James E. Young, “The Counter-Monument: Memory against Itself in Germany Today,” Critical Inquiry 18 (Winter 1992): 272; and idem, The Texture of Memory: Holocaust Memorials and Meaning (New Haven: Yale University Press, 1993).
Andreas Huyssen, “Monument and Memory in a Postmodern Age,” in The Art of Memory: Holocaust Memorials in History, ed. James E. Young (New York: Prestel, 1994), 12.
Richard Terdiman, Present Past: Modernity and the Memory Crisis (Ithaca: Cornell University Press, 1993), 7.
Ariella Azoulay, The Civil Contract of Photography, trans. Rela Mazali and Ruvik Danieli (New York: Zone Books, 2008).
Didi-Huberman, Écorces, 64. English translation from Walter Benjamin, Selected Writings 2: 1927–1934, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, trans. Rodney Livingstone (Cambridge, MA: Harvard University Press, 1999), 576.
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© 2013 Marc Silberman and Florence Vatan
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Vatan, F., Silberman, M. (2013). Introduction. In: Silberman, M., Vatan, F. (eds) Memory and Postwar Memorials. Studies in European Culture and History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137343529_1
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DOI: https://doi.org/10.1057/9781137343529_1
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