Of Heroes, Victims and Enemies: A Comparison of Memorials for the Dead of the Second World War in Yugoslavia/Slovenia and Austria/Styria (1945–1961)

2019 ◽  
pp. 73-104
2021 ◽  
pp. 135918352110164
Author(s):  
Antonius CGM Robben

The German and Allied bombing of Rotterdam in the Second World War caused thousands of dead and hundreds of missing, and severely damaged the Dutch port city. The joint destruction of people and their built environment made the ruins and rubble stand metonymically for the dead when they could not be mentioned in the censored press. The contiguity of ruins, rubble, corpses and human remains was not only semantic but also material because of the intermingling and even amalgamation of organic and inorganic remains into anthropomineral debris. The hybrid matter was dumped in rivers and canals to create broad avenues and a modern city centre. This article argues that Rotterdam’s semantic and material metonyms of destruction were generated by the contiguity, entanglement, and post-mortem and post-ruination agencies of the dead and the destroyed city centre. This analysis provides insight into the interaction and co-constitution of human and material remains in war.


Author(s):  
Masao Yokota

In the field of Japanese independent animation, the late Kawamoto Kihachiro (1925-2010) made tremendous contributions. This chapter discusses in particular his puppet animations which are steeped with Japanese native beliefs and elements of Buddhist thought. From a clinical psychologist’s perspective, the author analyzes the spiritual dimensions of his work, particularly highlighting the native traditions and assimilated foreign thought systems that are encased within his creations. Specifically, The Book of The Dead (2005) is examined in the essay as it was created when Kawamoto was eighty years old. Issues like mid-life crisis, death, and other related matters are explored as the author surveys the creative and personal life of the master-animator. The author’s interpretation posits that Kawamoto’s puppet animation essentially tried to express the concepts of suffering and enlightenment, and that his work is related to his profound connections to the Japanese people and the historical evolution of a new Japan after the Second World War.


2003 ◽  
Vol 11 (4) ◽  
pp. 573-593 ◽  
Author(s):  
HARUKO TAYA COOK ◽  
THEODORE F. COOK

We examine the strata of memory in Japan’s recollections of the wartime experience and explore the shaping and releasing of memory in Japan, seeking to penetrate and recover individual Japanese experience. Individual memories that seemed tightly contained, when released were told with great emotional intensity and authenticity. That there has been little public discourse does not mean that individual Japanese have forgotten that war, but that the conflict – a war with no generally accepted name or firmly fixed start or end – seems disconnected from the private memories of the wartime generation. Japan was defeated thoroughly and completely, and in the history of memory we see no well-established narrative form for telling the tale of the defeated. In Japan's public memory of the war, War itself is often the enemy, and the Japanese its victims. Such a view is ahistorical and unsatisfactory to nations and peoples throughout Asia and the Pacific. The prevailing myths during Japan's war, developed and fostered over 15 years of conflict, and the overwhelming weight of more than three million war dead on the memories of the living forged a link between a desire to honour and cherish those lost and the ways the war is recalled in the public sphere. Enforced and encouraged by government policies and private associations, protecting the dead has become a means of avoiding a full discussion of the war. The memorials and monuments to the Dead that have been created throughout Japan, Asia, and the Pacific stand silent sentry to a Legend of the war. This must be challenged by the release into the public sphere of living memories of the War in all their ambiguity, complexity, and contradiction without which Japan’s Memory can have no historical veracity. Moreover, the memories of the Second World War of other peoples can never be complete without Japan’s story.


Author(s):  
Jon Lewis

Transition-era Hollywood began with the dead body of Elizabeth Short and ended with two more discarded young women, Barbara Payton and Marilyn Monroe, two more casualties found at the crossroads between a dreamed-of life in the sunny city of angels and the reality lived by so many naïve arrivals after the Second World War. Payton and Monroe were glamorous movie stars who began their careers at the very moment Short ended hers. The Black Dahlia murder maybe did not register much with them. Or maybe it did and they figured a shot at movie celebrity was worth the risk. Payton and Monroe believed they were going to be different. They believed in what men had for years been whispering in their ears: “you’re so pretty you should be in pictures.” They were (pretty that is)… and they did (appear in pictures). But movie-land success was for them a mixed blessing at best, their dreamed-of Hollywood celebrity hopelessly complicated by a new breed of industry middlemen, gangsters, and gossip, their lives cut short before their fortieth birthdays.


Author(s):  
Oleksandr Tsvietkov ◽  

The author raises the issue on relevance of international search for the names of killed persons during the Second World War, as well as provides information on the archives of Norway. The article deals with the presence of Soviet prisoners of war in Norway during 1941–1945 and the problem of searching for the names of the dead and buried prisoners in this territory. The author analyzes access to the electronic database on the names and places of burial of Soviet prisoners through the archival centers in Norway. This paper stresses the humanitarian role of Norwegian researchers in finding names and burial places of the thousands of Soviet prisoners of war.


2017 ◽  
Vol 66 (2) ◽  
pp. 293-310
Author(s):  
Brigitte N. McCray

Many of W. H. Auden’s poems written between 1939 and 1944 explored the Second World War, but only at a distance. After his experience in the Morale Division of the United States Strategic Bombing Survey, however, his poems started to more fully examine the effects of the War. Auden’s grief over the War’s destruction would find voice in poems that are haunted by ghostly figures he encountered. Ruined places contain experience and memory. Auden’s postwar placed-based poems develop his theory of haunted places. There, Auden lived with the dead, and those figures showed him that both sin and love reside in the same space, thus offering hope for the future.


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