scholarly journals Post Trauma: Memory as a Catalyst

2021 ◽  
Author(s):  
◽  
Ben Wade
Keyword(s):  
Collective Memory ◽  
Initial Point ◽  
Transitional Space ◽  
Architectural Elements ◽  
Left Behind ◽  
The Past ◽  
Mnemonic Devices ◽  
Trauma Memory ◽  
Starting Point ◽  
Graphic Information

<p><b>In literary fictional readings, underlying allegorical ideas arise for todays architectural landscapes, both literally and figuratively. This design-led research thesis emerges from Andreas Huyssen’s allegorical theories of ruins as factual indicators that records ruins as palimpsests of historical events as an ongoing process (Huyssen, 2010, p. 17). The layering of graphic information is such that the past happenings merge with the present explorations to create a distinct narrative in itself. This represents a provocative and enigmatic allegorical response to the loss of forgotten landscapes in architecture today: Post Trauma. This investigation thus seeks to interrogate architectural ruins scattered at Perano Whaling Station as repositories for collective memory through enacting allegorical interpretations — challenging the conventions of historical fragments through [re]presentational techniques, weaving them into an experiential narrative. This narrative builds upon these forgotten scars as palimpsests — interpreting and [re]interpreting their [re]purpose — rather than removal from existence all together. Huyssen’s theories of enigmatic experiential ruins acts as an allegorical provocateur, the initial point of immersion — an evocative starting point to engage in the [re]presentation of Perano’s context. The PeranoStation, much like all ruins, possesses a liminal characteristic on its remaining spaces. An eerie threshold to a brutal past, aggressively carved into the landscape and its inhabitation.</b></p> <p>These scars act as a literal portal to evocative experiences — an act of trying to understand a traumatised landscape. The need for distinctive architectural elements that can translatethe essence and experiences of this liminal and transitional space, between both sides of a threshold; past and present, presence and absence, living and dissolving.</p> <p>Tim Edensor intrinsically positions ruins as a ‘fragile and ephemeral place’ (DeSilvey and Edensor, 2012, p. 472). Alice Mah also shows in her study ‘Industrial Ruination, Community, and Place’, ruin[ation] may be ‘a lived process’ in which memory is rooted in the experience of decline. “The present has not moved far from the past, and the future is at best uncertain” (DeSilvey and Edensor, 2012, p. 410). This can be understood as a response to the views of architectural ruins as monuments left behind by collapsed destruction and unfulfilled dreams; existing outside therealms of productive structure. The problem this thesis aims to address is not the visual problem of sight, but the visceral problem of drawing — using different mediums to read traces of past happenings. It is through this act of drawing that engagement with Virgil Abloh’s ‘Purist’ and ‘Tourist’ mentalities that this thesis began “Playing with mediums and materials to make an expression” as Abloh notes (HighMuseum, 2020).</p> <p>Including drawing as a medium of speculative inquiry to [re]interpret Perano Whaling Station’s contextual scarring; layering and juxtaposing information built upon the architectural narrative and proposition. This questions drawings role in architectural interrogation and how it can erase preconceived notions. This is motivated by a personal journey of engagement with such erasure, it took moments of critical reflection upon these scars, to try imagine them as mnemonic devices. Triggering a conversation within ourselves — reflecting on these transformations — toggling between the ‘Purist’ and ‘Tourist’ mindsets that Virgil Abloh poses for excavating and expressing modern design to an audience.</p>

scholarly journals Post Trauma: Memory as a Catalyst

2021 ◽  
Author(s):  
◽  
Ben Wade
Keyword(s):  
Collective Memory ◽  
Initial Point ◽  
Transitional Space ◽  
Architectural Elements ◽  
Left Behind ◽  
The Past ◽  
Mnemonic Devices ◽  
Trauma Memory ◽  
Starting Point ◽  
Graphic Information

<p><b>In literary fictional readings, underlying allegorical ideas arise for todays architectural landscapes, both literally and figuratively. This design-led research thesis emerges from Andreas Huyssen’s allegorical theories of ruins as factual indicators that records ruins as palimpsests of historical events as an ongoing process (Huyssen, 2010, p. 17). The layering of graphic information is such that the past happenings merge with the present explorations to create a distinct narrative in itself. This represents a provocative and enigmatic allegorical response to the loss of forgotten landscapes in architecture today: Post Trauma. This investigation thus seeks to interrogate architectural ruins scattered at Perano Whaling Station as repositories for collective memory through enacting allegorical interpretations — challenging the conventions of historical fragments through [re]presentational techniques, weaving them into an experiential narrative. This narrative builds upon these forgotten scars as palimpsests — interpreting and [re]interpreting their [re]purpose — rather than removal from existence all together. Huyssen’s theories of enigmatic experiential ruins acts as an allegorical provocateur, the initial point of immersion — an evocative starting point to engage in the [re]presentation of Perano’s context. The PeranoStation, much like all ruins, possesses a liminal characteristic on its remaining spaces. An eerie threshold to a brutal past, aggressively carved into the landscape and its inhabitation.</b></p> <p>These scars act as a literal portal to evocative experiences — an act of trying to understand a traumatised landscape. The need for distinctive architectural elements that can translatethe essence and experiences of this liminal and transitional space, between both sides of a threshold; past and present, presence and absence, living and dissolving.</p> <p>Tim Edensor intrinsically positions ruins as a ‘fragile and ephemeral place’ (DeSilvey and Edensor, 2012, p. 472). Alice Mah also shows in her study ‘Industrial Ruination, Community, and Place’, ruin[ation] may be ‘a lived process’ in which memory is rooted in the experience of decline. “The present has not moved far from the past, and the future is at best uncertain” (DeSilvey and Edensor, 2012, p. 410). This can be understood as a response to the views of architectural ruins as monuments left behind by collapsed destruction and unfulfilled dreams; existing outside therealms of productive structure. The problem this thesis aims to address is not the visual problem of sight, but the visceral problem of drawing — using different mediums to read traces of past happenings. It is through this act of drawing that engagement with Virgil Abloh’s ‘Purist’ and ‘Tourist’ mentalities that this thesis began “Playing with mediums and materials to make an expression” as Abloh notes (HighMuseum, 2020).</p> <p>Including drawing as a medium of speculative inquiry to [re]interpret Perano Whaling Station’s contextual scarring; layering and juxtaposing information built upon the architectural narrative and proposition. This questions drawings role in architectural interrogation and how it can erase preconceived notions. This is motivated by a personal journey of engagement with such erasure, it took moments of critical reflection upon these scars, to try imagine them as mnemonic devices. Triggering a conversation within ourselves — reflecting on these transformations — toggling between the ‘Purist’ and ‘Tourist’ mindsets that Virgil Abloh poses for excavating and expressing modern design to an audience.</p>

5TH ANNIVERSARY OF THE PATRIOTIC WAR OF 1812. PRACTICES OF COMMEMORATION

2020 ◽  
pp. 76-88
Author(s):  
Philipp I. Ulanov ◽  
Keyword(s):  
Collective Memory ◽  
Focal Point ◽  
Historical Memory ◽  
Historical Analysis ◽  
Memory Formation ◽  
Point Of View ◽  
War Of 1812 ◽  
The Past ◽  
Starting Point ◽  
The Press

This article examines the commemoration practices in marking 5th anniversary of the Patriotic war of 1812. Those celebrations became actually the first commemorative event dedicated to that war. A historical analysis is based on the material of mass media and memoirs of contemporaries. The focal point of the article is the collective memory formation process: what ceremonies were carried out and what goals were pursued by the state, what were the narratives of historical memory that existed in the press. The study of historical memory and its formation means, and specifically with regard to the anniversaries of the Patriotic war of 1812, has become widely prevalent in modern Russian historiography. However, historians rarely focus their attention on the 5th jubilee of the war. The study of that event from the point of view of the memorial history problematic will reveal not only the emerging of the narratives of historical memory, but also will be the starting point in the further study of their evolution and changes. The study of that dynamics is extremely important, because using the memory of the Patriotic war of 1812 has contributed to forming the national identity and self-consciousness of the Russian population over the past two centuries.

scholarly journals Pamćenje hrvatskog društva na primjeru Vukovara – “grada heroja”

2018 ◽  
Vol 18 ◽  
Author(s):  
Angelika Zanki
Keyword(s):  
Collective Memory ◽  
Collective Identity ◽  
War Of Independence ◽  
The Past ◽  
Starting Point ◽  
The City

Remembering in Croatian society as exemplified by the “hero city” Vukovar The article concerns forms of maintaining memory in Croatian society. Its starting point is the term sites of memory (lieux de mémoire), introduced by Pierre Nora, who defines them as characteristic and symbolic elements that ensure the presence of the past in the present. After the Croatian War of Independence, sites of memory became a foundation for building a new, partly modified Croatian identity. This raises the question about the role the politics of remembering has had in the Croatian collective identity and the purposes for which it has been formed.The analysis is based on the most popular place of memory – the fall of Vukovar. In Croatian consciousness, Vukovar is a “hero city,” a symbol of the valiant fight against the Great Serbian aggressor during the War. Its fall is an important element of the conflict that is still ongoing between Croats and Serbs, both regionally (in the city) and more broadly (throughout Croatia). In her analysis, the author was trying to see the influence of sites of memory not only on the group which created them but in a wider context as well.The more general aim was to study the discourse of memory and attempt to determine, with reference to specific examples, whether the Croats’ collective memory is a factor of integration or conflict. Pamięć społeczeństwa chorwackiego na przykładzie Vukovaru – „miasta-bohatera”Artykuł dotyczy form pamięci w społeczeństwie chorwackim. Punktem wyjścia stało się pojęcie miejsc pamięci, które autor, Pierre Nora, zdefiniował jako charakterystyczne i symboliczne elementy zapewniające obecność przeszłości w teraźniejszości. Po wojnie ojczyźnianej stały się one podstawą do tworzenia się nowej, zmodyfikowanej tożsamości chorwackiej. Rodzi to pytanie – jaką rolę pełni polityka pamięci w chorwackiej tożsamości zbiorowej i dla jakich celów jest formowana.Analiza opiera się na najpopularniejszym miejscu pamięci – upadku Vukovaru. Vukovar jest w świadomości Chorwatów „miastem bohaterem”, symbolem heroicznej walki z wielkoserbskim agresorem podczas wojny. Jest też ważnym elementem wciąż istniejącego konfliktu między Chorwatami i Serbami w perspektywie wąskiej (w mieście) i szerokiej (obie narodowości w Chorwacji).Autorka starała się zauważyć nie tylko wpływ miejsc pamięci na grupę, w której powstały, lecz także ich szerszy kontekst. Celem była analiza problemu pamięci i próba określenia w odniesieniu do konkretnych przykładów, czy chorwacka pamięć zbiorowa jest czynnikiem integracji czy konfliktu.

scholarly journals The case for graphic counter-memorials in the comics of Joe Sacco, Art Spiegelman, and Brian Wood and Riccardo Burchielli

2021 ◽  
Author(s):  
Brooke Winterstein
Keyword(s):  
Collective Memory ◽  
Historical Narratives ◽  
The Political ◽  
Historical Events ◽  
Art Spiegelman ◽  
The Past ◽  
Non Fiction ◽  
Trauma Memory ◽  
Memory And Trauma ◽  
Political Intervention

My dissertation considers a group of contemporary comics about war by Joe Sacco, Art Spiegelman, and Brian Wood and Riccardo Burchielli, as examples of a larger genre I call the graphic counter-memorial. Graphic counter-memorial comics address history, memory, and trauma as they depict the political, violent, and collective aspects of war and social conflict. I argue that the particular comics I study in this dissertation, which mingle fiction and non-fiction and autobiography as well as journalism, follow the tradition of the counter-monuments described by James E. Young. Studying commemorative practices and counter-monuments in the 1980s, Young notes a generation of German artists who resist traditional forms of memorialization by upending the traditional monument structure in monument form. Young looks at the methods, aims, and aesthetics these artists use to investigate and problematize practices that establish singular historical narratives. Like these works of public art, the graphic counter-memorial asks the reader to question ‘official history,’ authenticity, and the objectivity typically associated with non-fiction and reporting. I argue that what these comics offer is an opportunity to re-examine comics that incorporate real and familiar social and historical events and wars. Comics allow creators to visually and textually overlap perspectives and time. Graphic counter-memorials harness the comic medium’s potential to refuse fixed narratives of history by emphasizing a sense of incompleteness in their representation of trauma, memory, and war. This makes possible a more complex and rich way to engage with Western society’s relationship to the past, and in particular, a more complex way of engaging with collective memory and war. Their modes of mediating history produce political intervention through both form and content.

scholarly journals The case for graphic counter-memorials in the comics of Joe Sacco, Art Spiegelman, and Brian Wood and Riccardo Burchielli

2021 ◽  
Author(s):  
Brooke Winterstein
Keyword(s):  
Collective Memory ◽  
Historical Narratives ◽  
The Political ◽  
Historical Events ◽  
Art Spiegelman ◽  
The Past ◽  
Non Fiction ◽  
Trauma Memory ◽  
Memory And Trauma ◽  
Political Intervention

My dissertation considers a group of contemporary comics about war by Joe Sacco, Art Spiegelman, and Brian Wood and Riccardo Burchielli, as examples of a larger genre I call the graphic counter-memorial. Graphic counter-memorial comics address history, memory, and trauma as they depict the political, violent, and collective aspects of war and social conflict. I argue that the particular comics I study in this dissertation, which mingle fiction and non-fiction and autobiography as well as journalism, follow the tradition of the counter-monuments described by James E. Young. Studying commemorative practices and counter-monuments in the 1980s, Young notes a generation of German artists who resist traditional forms of memorialization by upending the traditional monument structure in monument form. Young looks at the methods, aims, and aesthetics these artists use to investigate and problematize practices that establish singular historical narratives. Like these works of public art, the graphic counter-memorial asks the reader to question ‘official history,’ authenticity, and the objectivity typically associated with non-fiction and reporting. I argue that what these comics offer is an opportunity to re-examine comics that incorporate real and familiar social and historical events and wars. Comics allow creators to visually and textually overlap perspectives and time. Graphic counter-memorials harness the comic medium’s potential to refuse fixed narratives of history by emphasizing a sense of incompleteness in their representation of trauma, memory, and war. This makes possible a more complex and rich way to engage with Western society’s relationship to the past, and in particular, a more complex way of engaging with collective memory and war. Their modes of mediating history produce political intervention through both form and content.

scholarly journals Imagine Home: Making a Place in Binghamton

2019 ◽  
Vol 6 (2) ◽  
pp. 23
Author(s):  
Aynur De Rouen
Keyword(s):  
New York ◽  
Collective Memory ◽  
Collective Identity ◽  
Social Economic ◽  
New York State ◽  
York State ◽  
Left Behind ◽  
The Past ◽  
Everyday Practices ◽  
Kinship Structure

Since the early 1990s, Iraqi Kurds have been relocating to the greater Binghamton area in New York State.  This study focuses on the growing diasporic Kurdish community in and around Binghamton and their quest to imagine the homeland they left behind as a result of social, economic, and political hardships.  The production of this diasporic space has emerged as an attempt to reconstruct their culture and collective identity in the absence of physical and territorially specific aspects of their homeland.  Kurdish refugee narratives articulate how collective memory gives voice to the shared Kurdish past, how Kurdish refugees appropriated the space according to their traditional example and kinship structure, and how memories and narratives of the past shape the migrants’ identities, kinship, and everyday practices.  The production of diasporic space within the imaginations of these refugees is portrayed here to show their attempt to reconstruct Kurdish culture while lacking the physical characteristics of their homeland.  Their successfully reinvented images of homeland and reconstructed culture in diaspora are evidence of the resilience and fluidity of Kurdish culture.

scholarly journals Cartografii Ale Memoriei În Proza Ruxandrei Cesereanu Și A Tatianei Țîbuleac

2019 ◽  
Vol 20 (2) ◽  
pp. 72-82
Author(s):  
Gabriela-Emilia Merce
Keyword(s):  
Social Identity ◽  
Narrative Discourse ◽  
The Past ◽  
Trauma Memory ◽  
Starting Point

AbstractThe starting point of my study is represented by two works, Grădina de sticlă(Tatiana Țîbuleac) and Un singur cer deasupra tuturor (Ruxandra Cesereanu). These are two novels that organize their narrative discourse following the relation trauma-memory-identity. In fact, Tatiana Țîbuleac and Ruxandra Cesereanu emphasize in their proses how can a social identity be recreated, when everybody feels the terror enforced by the authority. In this case, when you lose everything, you become vulnerable and this feeling causes the alienation, the break. Therefore, in this paper, we will show how the memory reopens the dialogue with the past, more exactly with a traumatic past. We will illustrate also the fact that in the process of remembering the space changes the identitary their attributes.

Holism, Chinese Medicine and Systems Ideologies: Rewriting the Past to Imagine the Future

2018 ◽  
Author(s):  
Volker Scheid
Keyword(s):  
Eighteenth Century ◽  
Chinese Medicine ◽  
Medical Humanities ◽  
Science And Technology Studies ◽  
Human Beings ◽  
The Past ◽  
Starting Point ◽  
The Us ◽  
Shared Objective ◽  
Definition Of

This chapter explores the articulations that have emerged over the last half century between various types of holism, Chinese medicine and systems biology. Given the discipline’s historical attachments to a definition of ‘medicine’ that rather narrowly refers to biomedicine as developed in Europe and the US from the eighteenth century onwards, the medical humanities are not the most obvious starting point for such an inquiry. At the same time, they do offer one advantage over neighbouring disciplines like medical history, anthropology or science and technology studies for someone like myself, a clinician as well as a historian and anthropologist: their strong commitment to the objective of facilitating better medical practice. This promise furthermore links to the wider project of critique, which, in Max Horkheimer’s definition of the term, aims at change and emancipation in order ‘to liberate human beings from the circumstances that enslave them’. If we take the critical medical humanities as explicitly affirming this shared objective and responsibility, extending the discipline’s traditional gaze is not a burden but becomes, in fact, an obligation.

The Palestinian Refugee Camps In Jordan: Between National Identity and Socio-economic Integration

2004 ◽  
Vol 2 (2) ◽  
pp. 198-221 ◽  
Author(s):  
Ala Al-Hamarneh
Keyword(s):  
United Nations ◽  
Collective Memory ◽  
Economic Integration ◽  
Refugee Camps ◽  
Spatial Integration ◽  
Political Activities ◽  
Cultural Traditions ◽  
The Past ◽  
Distinct Character ◽  
Palestinian Refugee

At least 50 per cent of the population of Jordan is of Palestinian origin. Some 20 per cent of the registered refugees live in ten internationally organized camps, and another 20 per cent in four locally organized camps and numerous informal camps. The camps organized by the United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA) play a major role in keeping Palestinian identity alive. That identity reflects the refugees' rich cultural traditions, political activities, as well as their collective memory, and the distinct character of each camp. Over the past two decades integration of the refugees within Jordanian society has increased. This paper analyses the transformation of the identity of the camp dwellers, as well as their spatial integration in Jordan, and other historical and contemporary factors contributing to this transformation.

Collective Memory: Between Values and Historical Knowledge

2020 ◽  
pp. 124-142
Author(s):  
VICTOR BURLACHUK
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Collective Memory ◽  
Rapid Change ◽  
Modern Society ◽  
The State ◽  
Main Element ◽  
Rapid Decline ◽  
The Past ◽  
The Future

At the end of the twentieth century, questions of a secondary nature suddenly became topical: what do we remember and who owns the memory? Memory as one of the mental characteristics of an individual’s activity is complemented by the concept of collective memory, which requires a different method of analysis than the activity of a separate individual. In the 1970s, a situation arose that gave rise to the so-called "historical politics" or "memory politics." If philosophical studies of memory problems of the 30’s and 40’s of the twentieth century were focused mainly on the peculiarities of perception of the past in the individual and collective consciousness and did not go beyond scientific discussions, then half a century later the situation has changed dramatically. The problem of memory has found its political sound: historians and sociologists, politicians and representatives of the media have entered the discourse on memory. Modern society, including all social, ethnic and family groups, has undergone a profound change in the traditional attitude towards the past, which has been associated with changes in the structure of government. In connection with the discrediting of the Soviet Union, the rapid decline of the Communist Party and its ideology, there was a collapse of Marxism, which provided for a certain model of time and history. The end of the revolutionary idea, a powerful vector that indicated the direction of historical time into the future, inevitably led to a rapid change in perception of the past. Three models of the future, which, according to Pierre Nora, defined the face of the past (the future as a restoration of the past, the future as progress and the future as a revolution) that existed until recently, have now lost their relevance. Today, absolute uncertainty hangs over the future. The inability to predict the future poses certain challenges to the present. The end of any teleology of history imposes on the present a debt of memory. Features of the life of memory, the specifics of its state and functioning directly affect the state of identity, both personal and collective. Distortion of memory, its incorrect work, and its ideological manipulation can give rise to an identity crisis. The memorial phenomenon is a certain political resource in a situation of severe socio-political breaks and changes. In the conditions of the economic crisis and in the absence of a real and clear program for future development, the state often seeks to turn memory into the main element of national consolidation.

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