scholarly journals What Remains? The Post-Holocaust Archive in German Memory Culture by Dora Osborne, and: Holocaust Representations in History: An Introduction by Daniel H. Magilow and Lisa Silverman, and: Renegotiating Postmemory: The Holocaust in Contemporary German-Language Jewish Literature by Maria Roca Lizarazu

2021 ◽  
Vol 44 (1) ◽  
pp. 211-217
Author(s):  
Charlotte Schallié
2021 ◽  
Vol 1 ◽  
pp. 55-61
Author(s):  
Maria Kobielska

Abstract: The author discusses uncommemorated and under-remembered sites of past violence in terms of the conditions of their transformation into memory sites. Commemorative ceremonies, which may be staged at non-sites of memory, are presented as affective media of memory and identity, demonstrating social responses to the sites, as well as placing the local past in the context of supra-local memory forms. The argument is grounded in the material gathered from fieldwork during the research project on uncommemorated sites of genocide in Poland and, predominantly, in a detailed case study of a ceremony witnessed by the author in 2016 in Radecznica (Lublin Voivodship) at a burial site of victims of the “Holocaust by bullets”. In the article the discourse of speeches delivered during the ceremony is analyzed, on the assumption that they can reveal rules of national Polish memory culture dictating what may be commemorated and how cultural mechanisms have a power to hinder commemoration. As a result, seven distinctive framings of past events that kept returning in subsequent speeches were identified and interpreted as “memory devices” that enable and facilitate recollection, but also mark out the limits of what can be remembered and passed on.


Worldview ◽  
1976 ◽  
Vol 19 (12) ◽  
pp. 24-36 ◽  
Author(s):  
Luitgard N. Wundheiler

The Jewish poet, Paul Celan, was born in Czernovitz, Rumania, in 1920 and committed suicide in Paris in 1970. His native tongue was German. He wrote eight volumes of poetry, all in German, although he spent almost half his life in France and was fluent in several languages. In a public address delivered in Bremen in 1958, on the occasion of being awarded a literary prize, he spoke of the German language as the one possession that had remained "reachable, close, and unlost in the midst of losses…although it had to pass through a thousand darknesses of deathdealing speech." German is the language of Holderlin, Biichner, and Rilke, all of whom Celan admired, but also the language in which the words Endlösung (final solution), Sonderbehandlung (special treatment), and judenrein (cleansed of Jews) were coined.


Via Latgalica ◽  
2010 ◽  
pp. 102
Author(s):  
Olga Senkāne

<p>Linguistic execution and narrative structure of the memorial plaques demonstrates not only ideology, axiology etc. of certain ages, culture of memory as such, but also trends in linguistic applications, with respect/without respect to the state language policy representing the respective historical stage (period of the first Latvian independent state, Soviet times, years of the third awakening and independence). The language/languages used in narratives of memorial plaques in the Rēzekne City, structure and content of the narratives depends on 1) location of the memorial plaque (cemetery, city sights, downtown or outskirts, etc.) 2) time period for installation of the memorial plaque (periods of independence/Soviet times), 3) national/religious affiliation of the dead/killed, 4) the pathos to be achieved (patriotic, heroic, philosophical, ritual, etc.).</p><p>Monolingual memorial plaques in Latvian or bilingual memorial plaques (in Latvian and Russian) constitute the largest quantity in Rēzekne. During the independence periods these are mostly devoted to: 1) politicians, public and culture figures, clergy (8), 2) Latvian/Latgalian freedom fighters, warriors (3), 3) victims of the Holocaust and the communist terror (3). During the Soviet period a special focus is on the World War II fighters against fascism and the victims of fascism, as well as some prominent cultural figures of socialist era – directors, specialists in literature, artists (11).</p><p>Memorial plaques installed before June 1940 are monolingual; plaques installed from WW II to 1989 are bilingual; plaques installed or renovated during the period when Latvia regained national independence are monolingual (in Latvian or Latgalian) or multilingual (in Russian, Latvian, English and German).</p><p>Inscriptions of the Soviet-era memorial plaques (predominantly in Russian and Latvian) are dominated by heroic pathos, which is based in the respective ideology; in inscriptions of the independence time a tone of patriotism and religious rituals is topical, as well as there is also considerable use of the language diversity (utilization of Latgalian and English). Jewish memorial plaques installed during recent years of independence to the Holocaust victims, usually are in 3-4 languages (in Latvian, Yiddish, Russian and English). Text of memorial plaques in multiple languages may be slightly different (choice of lexemes) while maintaining the overall low-key pathos.</p><p>The Jewish Holocaust memorial plaques are one of the few multilingual signs in Rēzekne. Order of inscriptions in 3 or 4 languages enables to reason about the hierarchy of languages during the Soviet era and the years of independence, at the beginning of 21st century. In trilingual signs of the Soviet-era plaques Latvian language is featured as the last one – after Yiddish and Russian, while the plaque installed in 2006 already represents different layout hierarchy indicating the prevailing role of Latvian as the official language where the victims’ mother tongue moves to the second position, but Russian in memorial plaques is still more important than English. Layout and stylistics of the narrative in this memorial plaque inscription is seemingly neutrally informative (where, when, who, did what), but contains moderate dramatic qualities, modest reminder of active participation of the locals in extermination of Jews. The inscription can represent the direction of narration in the memory culture of the Holocaust victims: inscriptions have a reminiscent, recapturing function (so the recipient needs preliminary knowledge), therefore they lack emotionality and the dramatic qualities, evaluative style resources, unlike the Jewish tombstone inscriptions.</p><p>Latgalian memorial plaques in Rēzekne are still rare, total number of them are five and they are falling mainly within the religious (Catholic identity) discourse, largely devoted to prominent Latgalian clergy, the clergy patrons, the victims of communist terror. These memorial plaques in terms of narrative expansion of the inscriptions are not focused on reminder or reconstruction as it is, for example, in the inscriptions on plaques of the Holocaust victims, and are performing another important function of narrative – creating memory (knowledge) for those who lack it, providing a ready-made, educational, observational, emotional assessment – this is a very important feature of the Latgalian memorial plaques. Inscription narratives show respect to an addressee without knowledge, therefore subtexts are not intended there.</p><p>National and territorial identity of Latgale in the historical and contemporary perspective is featured by the syncretism of cultures. Use of languages on the inscriptions of Rēzekne memorial plaques is indicative of the existence of multilingual environment the least respect for which is shown during the first Latvian independence (1818–1940) and also during the restoration of independence period, as most of the Soviet-era plaques renovated in 90ies of the 20th century and early 21st century now are monolingual (in Latvian), but at the time of installation (50–70ies of the 20th century) they have been mostly bilingual (in Latvian, in Russian) or made only in Russian. Today, after regaining independence, the Latvian prevails in the multilingual urban landscape, the Russian still is quite enduring (especially in the outskirts of town), Latgalian is gradually moving away from formal constraints, and revived, but the Jewish is irretrievably withering away. Unfortunately, culture of memories in format of Hebrew memorial plaques and tombstone inscriptions will soon be the only lingual evidence of the existence of this historically so important element of the regional identity.</p>


Author(s):  
Carol Gluck

AbstractThe women who served in Japan’s military brothels across Asia during the Second World War are a focus of the politics of memory in East Asia as well as a touchstone for international human rights and sexual violence against women. By the 1990s, the “comfort women” had become a “traveling trope,” which like the Holocaust, both recognized and transcended its original time and place. Gluck traces their “coming into memory” through changes in five areas of the evolving postwar “global memory culture”: law, testimony, rights, politics, and notions of responsibility. She shows how the ideas and practices of public memory changed over time, in the course of which the comfort women became “global victims” in a transnational memoryscape.


1970 ◽  
Vol 42 (117) ◽  
pp. 81-94
Author(s):  
Sara Tanderup

CLOSE-UPS AND COUNTER STORIES | Recently, several literary works have appeared which use formal experiments and intermedial strategies to thematize memory and history. Authors such as Alexander Kluge, W.G. Sebald, Daniel Mendelsohn, Monica Maron, Jonathan Safran Foer, Don DeLillo and Aleksandar Hemon include other, primarily visual, media such as film, photographs and drawings, in their works while dealing with historical events like the Holocaust or the 9/11 terror attack. My article discusses this tendency, analyzing works by Kluge, Sebald and Foer. They all work with photographs in their texts. I trace the differences between them, following how ’foto-fiction’ as a genre has developed during the last three decades while arguing that Kluge, Sebald and Foer can all be read as part of the same tendency: Inspired by Andreas Huyssen’s idea of a modern memory culture, I suggest that the modern intermedial works can be read as an expression of a current cultural situation brought about by changes in the mediascape. Of course, books with pictures have always existed, however, the modern works are different from the typical illustrated novel as well as traditional history books, since they do not use the visual material to illustrate or document the story. Rather, images and text are brought together to introduce some tensions; to navigate between fiction and documentary, between an intimate remembering gaze and the ’objective’ writing of history. Intermediality thus becomes a tool to reflect upon modern conditions of writing history.


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