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Dissertations / Theses on the topic 'Postmemory'
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Pini, Sara <1991>. "Holocaust postmemory in contemporary anglophone children's literature." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10406/1/Pini%20tesi%20dottorale%20.pdf.
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This dissertation discusses contemporary Anglophone children’s literature representing the Holocaust and it claims that, through the reading of historical novels, children can acquire a specific kind of postmemory, which I call ‘attitudinal postmemory’. The works analyzed have been written by ‘non-related’ authors, meaning writers who are not witnesses nor their descendants. Attitudinal postmemory is based on the readers’ establishment of a personal-emotional link with the Holocaust by means of narrative empathy towards the characters; it is an ‘active’ kind of memory because it will hopefully convert into an informed, respectful attitude towards peers that opposes the Nazi ideology.
The dissertation is structured into two main parts. Part One provides an overview of the origins and development of Holocaust memory in Western countries. Chapter 1 introduces two major historiographical-literary debates and the following chapter discusses three main issues concerning the representation of the Holocaust (naming, the need to represent, and the ‘right to’ represent) while considering the forms and genres traditionally used and considered ‘appropriate’. Focusing on the scope of literary narratives, Chapter 3 explains how the presence of a personal-emotional link is essential to acquire Holocaust postmemory and, in particular, attitudinal postmemory. The criteria adopted with regard to the case studies are described in Chapter 4.
Part Two discusses the process of interweaving historical truth with fiction and how historical fiction helps child readers acquire attitudinal postmemory. After a brief overview of the genre in Chapter 5, Chapter 6 probes how it is possible to meet the two main expectations of historical fiction while avoiding a disrespectful stance towards the Holocaust. Chapter 7 discusses the idea of empathy and some issues in the representation of Nazi evil, while Chapter 8 offers a comparative analysis of the case studies proposed, including authors from the UK, Ireland, Australia, and the USA.
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Altomonte, Jenna A. "The Postmemory Paradigm: Christian Boltanski's Second-Generation Archive." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244047774.
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Dilly, Melanie Simone. "Expatriate writing : post-trauma, postmemory and the postcolonial." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/60507/.
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This thesis describes the relationship between post-Second World War discourses and postcolonialism as observed in a selection of works by expatriate 'postmemory' authors after the Second World War and the Indian Partition. With global consequences which are still felt today, the Holocaust can no longer be understood as a singled-out event. Through their various works, Anita Desai, Amitav Ghosh, Salman Rushdie, and W.G. Sebald offer a range of comparable strategies for further personal engagement with the past - not just in Europe or in South Asia, but in both places together. The thesis shows that the expatriate writer - defined by his or her temporal and spatial distance from the subject matter - can be understood not only as someone who mediates between there and here, but also between past and present. Thinking of the expatriate writer as someone between two worlds is technically reminiscent of the traumatised person who is unable to negotiate between the two worlds of victims and outsiders. The expatriate writer can make use of rupture, distance, and partial identity, and is therefore in a privileged position when it comes to highlighting incomplete (hi)stories. The fictional texts examined in this thesis are examples of multidirectional memory in several ways: firstly through the connection to other nations' histories and secondly through reaching out to the reader. The reader's active engagement with the text is fundamental in the process of establishing meaning, which at the same time challenges the status of master narratives. Even if hardly anyone speaks of a traumatic style, this is where I would ultimately situate this research, as to varying degrees these works use narrative strategies that already include and point to another trauma, be that the Second World War or colonialism.
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Gumiela, Josh. "Distance Generation: Postmemory and the Creation of New Family Histories." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/592.
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This paper explores the `creative' process of postmemory in relation to family photographs, story telling, the absence of memory, and the subsequent construction of new and elastic family histories in my MFA thesis artwork. I define postmemory and how it relates to the limited number of existing photographs that document my family's experience as displaced persons and immigrants. I also discuss how literalist art has influenced the works in my thesis exhibition and outline the reasons for the absence of actual photographs in my work. Then, drawing from Freud's ideas of the condensation of dreams and the formation of screen memories, I discuss the relationship between historical family photographs, the memories elicited by them, and the act of forgetting to reveal the elasticity of truth in postmemory and how my work represents the beginnings of a personal understanding of a fragmented family history riddled with holes and unknowns. I also describe and discuss the two installation works found in my thesis exhibition, which are titled Descendant and Lineage. Finally, I outline the influence of other artists and describe how these ideas are tied together in my artwork.
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Chea, Chany. "Postmemory work in the Cambodian diaspora : using the past to access the present." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51663.
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This thesis calls for a change in the way we think about articulating suffering and its meanings. It is an analysis of 1.5 and second generation Cambodian postmemory work in North America. I describe the music, film, visual art, poetry and performance art that have been produced by these generations as “postmemory” work because the creators invoke memory that they have not lived themselves or have forgotten. The work of these generations that relate to the Cambodian genocide relies on intergenerational communication with their parents to retell family stories. In their countries of resettlement, Cambodians have faced a lack of social capital, economic hardships, underrepresentation and generational dissonance. In these contexts, reconciling past and present has not been a priority, particularly in a culture which has been found to attribute weakness to discussing violent pasts (Kidron, 2010). Silence on a past of genocide has been a consequence of these factors. While silence on violent pasts is a dominant trait in the diaspora, there are those who choose to speak out about their family’s experience. Using their family stories of genocide, 1.5 and second generation Cambodians explore multivalent issues that impact their present lives. I use the works of Socheata Poeuv, Prach Ly and Anida Yoeu Ali as well as my own to exemplify how the past is engaged in the present. When we bear witness to the postmemory work of Poeuv, Ly and Ali we see a bridging of generations and beliefs and the continual development of a Cambodian diaspora identity. Silence is linked to the maintenance of cultural ideas. By examining instances of 1.5 and second generation public expression, I show the diaspora as a community that also has shifting ideologies. I recognize that silence and speaking out can both exist within the North American Cambodian diaspora. Bringing together the literature on silence while analysing postmemory work allows for an understanding of the variation in ways that individuals and families within a community engage and make meaning of the past.Arts, Faculty of
Gender, Race, Sexuality and Social Justice, Institute for
Graduate
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Maguire, Geoffrey William. "Political postmemory : childhood, memory and politics in Argentina's post-dictatorship generation (2003-2013)." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709107.
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Howell, Jennifer Therese. "Popularizing historical taboos, transmitting postmemory: the French-Algerian War in the bande dessinée." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/683.
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In addition to proposing a survey and subsequent analysis of the French-Algerian War in French-language comics, also known as bandes dessinées, published in Algeria, France, and Belgium since the 1960s, my dissertation investigates the ways in which this medium re-appropriates textual and iconographic source materials. I argue that the integration or citation of various sources by artists functions to confer a measure of historical accuracy on their representation of history, to constitute a collective memory as well as personal postmemories of the war, and to re-contextualize problematic images so that they and the hegemonic discourses they reinforce may be deconstructed. Moreover, the bande dessinée mimics secondary schoolbook representations of the war in both Algeria and France in its recycling of problematic images such as Orientalist painting, colonial postcards, and iconic images of war. The recycling of textbook images has the double advantage of ensuring reader familiarity with these images and of inviting critical interpretations of them. By exploring how the bande dessinée reuses colonial images as well as critical histories in predominantly anti-colonialist narratives, I seek to explain how this popular medium uniquely problematizes questions of history, memory, and postcolonial identity related to French Algeria and its decolonization. It is my contention that, because historical bandes dessinées frequently include or reference authentic textual and iconographic source material documenting the repercussions of the French-Algerian war on various communities, they represent a valuable resource to middle and high school teachers looking to enrich the state-mandated history curriculum. By using the bande dessinée in this capacity, educators exploit this medium as both a historical document (whose objective is to transmit knowledge of the past) and a document of history (which allows scholars to retrace the evolution of public opinion).
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Rocha, Thaís de Santis. "Um coração que ainda bate após Auschwitz: um estudo de caso sobre o Holocausto." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-25102016-114552/.
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A presente investigação tem como objetivo estabelecer a relevância da relação dos descendentes do Holocausto com a memória desse evento através da análise da obra Meu coração Ferido, escrita por Martin Doerry. Essa obra retrata a trajetória de uma mulher judia entre 1900 e 1944, mostrando como as medidas nazistas alteraram seu cotidiano, incluindo cartas escritas no período no qual esteve confinada em um campo de concentração. Ela possui um destaque dentro da literatura atual devido a sua narrativa, que mescla textos produzidos na época com a contextualização dos fatos feita pelo autor. Pretende-se apontar como ocorre a transferência desse tipo de memória com descendentes de vítimas do holocausto, mostrando como as gerações posteriores convivem com esse tipo de memória e escrevem sobre a mesma.This research aims to analyze the Holocaust representation possibilities from a biography, \"Meu Coração Ferido,\" written by Martin Doerry, and seek to understand how occur the Nazi understanding of processes during installation and the prospect of separated families war, using as source letters exchanged in the period. During the writing process of this work, the author\'s purpose was to understand how his grandmother, Lilli Jahn, differed from others who suffered under Nazism, in their struggle for the liberation of the children and their peculiar character and the preservation and protection of the family. The research focuses on the study of how the descendants understand the Holocaust through in their search for an identity for many years silenced.
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Serpente, A. "Diasporic Chilean and Argentinean narratives in the UK : the traces of second generation postmemory." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1426115/.
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This thesis analyses the interrelated concepts of diasporic postmemory and how they apply to the oral narratives of a small group of second generation Chileans and Argentineans living in the UK, whose parents were political exiles and economic migrants linked to the Chilean (1973-1990), and Argentinean (1976-1983) dictatorships. Diasporic postmemory as a ‘multidirectional’ theory is used to discuss these narratives in a ‘delocalised’ context where it is argued that two central memory fields overlap: the first being the field of the ‘politics of memory’ in the Southern Cone, and the second the ‘diaspora field’. It will be argued that these narratives occupy a mobile and situated diasporic ‘in-between’ space, indicative of ‘translocational positionalities’ that shift between a UK context and abroad. By presenting these postmemory narratives together, we can come to explore how the legacies of the dictatorships in Chile and Argentina continue to have resonances beyond the stable boundaries of the field of the politics of memory in those countries. As such, they hold the possibility to move beyond the direct victims of state terrorism and their kin, encompassing a wider ‘affective community’ of diasporic positionalities and subjectivities tied to wider societal responses to the legacy of state terrorism and trauma. Furthermore, I will also discuss how in this diaspora space, the positionalities of the researcher and interviewees are intertwined, and form part of subjectivities that can become ethical and reflexive subjects of postmemory, in mutually articulating alternative possibilities for more diversified and collective forms of multidirectional memories to emerge.
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Hillman-McCord, Jessica. "From the shtetl to 42nd Street: Nostalgia and postmemory in Jewish American musicals, 1961--today." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3256432.
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Trezise, Bryoni English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Performing postmemories: recollection in crisis." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/39173.
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This thesis examines the problematic status and functioning of memory in a variety of contemporary contexts such as judicial cases, popular culture, television, memorials and museums. In doing this it develops an account of the culture of postmemory, originally defined by Marianne Hirsch as the experience of descendents of survivors of trauma, particularly second generation Holocaust survivors, who inherit that trauma from their family forbears. From Hirsch, postmemory can be understood as the possibility of remembering an event that one has not actually experienced. This thesis extends Hirsch???s notion of postmemory to account for a wider range of contemporary memory practices. These occur beyond family relationships to manifest in institutional and discursive sites such as the archive, the museum, the narrative and the tourist attraction. This thesis argues that it is in these sites that memory can be seen to be breaking away from its referential function. Instead of recollection, memory becomes the performance of slippage and the undoing of reference in which the fictive and the historical merge. The thesis plays out the ensuing crisis in recollection in scenes and actions of a theatre of the postmemorial ??? one characterised less by the familiar linear narratives of memory as by multiple and contradictory narratives formed through the operations of chance, reflexivity and ambivalence working within the contemporary cultural sphere. Performing Postmemories re-imagines the performances of contemporary memory culture and examines its master texts.
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Ratcliffe, Viola. "To Be A Witness: Lynching and Postmemory in LaShawnda Crowe Storm's "Her Name Was Laura Nelson"." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1435789289.
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Minh, Cynthia. "Performing family “like a dog unleashed” : looking at filiality through the lens of postmemory in Vietnamese diasporic fiction." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/59103.
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This thesis examines how Vietnamese refugee families are perceived through visual frames and memories, and in particular how 1.5 or second generation Vietnamese refugee narratives are frequently characterized by the presence of intergenerational conflict. I consider the ways in which two texts, lê thi diem thúy’s the gangster we are looking for and Truong Tran’s dust and conscience, aesthetically reconstruct the ideological family space through the lens of Marianne Hirsch’s concept of postmemory. In the gangster we are all looking for, visual configurations of postmemory invite readers to look at intergenerational conflict through the affiliative histories of post-war trauma, displacement, state oppression, and filial debt. In dust and conscience, affiliative ways of looking redefine fraught filial interactions as performative acts rather than prescriptive ones. By presenting alternative ways of looking at families, these texts challenge normative filial structures, and instead advocate for ambivalent forms of belonging to a family or nation.Arts, Faculty of
English, Department of
Graduate
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Alden, Natasha. "Reading behind the lines: postmemory, history and narrative in the novels of Graham Swift, Pat Barker, Adam Thorpe and Ian McEwan." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491589.
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Giblett, Kylie Louise. ""Die geschriebene Version wollte geschrieben werden, die vielen anderen wollten es nicht": The portrayal of Nazi perpetrators in German novels since 1990 and the role of historiographic metafiction." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15558.
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This thesis examines the way in which Nazi perpetrators have been portrayed in German novels since 1990 by means of a close textual analysis of four novels from this period: "Der Vorleser" by Bernhard Schlink, "Unscharfe Bilder" by Ulla Hahn, "Himmelskörper" by Tanja Dückers, and "Flughunde" by Marcel Beyer. Through an analysis of these texts, the thesis aims to answer the following questions: 1. Is there a discernible tendency in the way in which the literature of the post-1990 period portrays Germans involved in the Third Reich? Are they predominantly portrayed as perpetrators, victims, or some combination of the two? 2. Is this portrayal a significant departure from the way in which they were previously depicted in German literature? 3. Does the portrayal of Germans of the Nazi period as perpetrators or victims in literature of the post-1990 period mirror the memory contests played out in the public discourse of that period? 4. Are there any differences in the ways in which authors of different generations approach the perpetrator/victim dichotomy in their writing? The thesis also considers the impact a reading of the texts as historiographic metafiction has on the portrayals of Germans as perpetrators/victims in the novels.
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Ward, Lewis Henry. "Holocaust memory in contemporary narratives : towards a theory of transgenerational empathy." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/47273.
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What is the relationship between writing in the present and the traumatic historical events that form the subject of that writing? What narrative strategies do authors employ in order to negotiate the ethical and epistemological problems raised by this gap in time and experience? “Trauma theory” is undermined by clinical controversies and contradictory claims for “literal truth” and “incomprehensibility”. Similarly, the Holocaust has been considered inherently unrepresentable unless by those who witnessed it, leading to a false opposition between genres of “testimony” and “fiction”. A way out of these dead ends is to consider the role of the first-person narrator in contemporary Holocaust narratives. While use of this device risks an inappropriate level of identification with those whose experience is both extreme and unknowable, I argue that this problem may be resolved to an extent through “transgenerational empathy”, an approach to the past that is self-reflexive, incorporates ideas of time, memory and generations, and moves both towards and away from the victims of the past in a simultaneous gesture of proximity and distance. For this theory I draw on Dominick LaCapra’s definitions of empathy and “empathic unsettlement”, and on Hans-Georg Gadamer’s concept of the “fusion of horizons” between past and present. Transgenerational empathy involves giving equal weight to “memory” and “history”. An over-emphasis on memory leads to narratives that are merely identificatory, such as Anne Michaels’ Fugitive Pieces and Binjamin Wilkomirski’s Fragments. In contrast, W. G. Sebald’s use of a narrative persona in The Emigrants and Austerlitz enables transgenerational empathy in narrative by simultaneously imposing layers of distance while establishing close personal connection. Similarly, Jonathan Safran Foer’s third-generation aesthetic of “post-postmemory” in Everything is Illuminated uses a “dual persona” device to foreground empathically the abyss at the heart of any attempt to recapture the past. My analysis of these authors draws on the writings of Gillian Rose, Paul Ricoeur, Marianne Hirsch and Jacques Derrida. However, the concept of “transgenerational empathy” would benefit from further research, both in terms of its “temporal dimension” and the use of narrative personae by other contemporary authors such as Philip Roth.
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Astrove, Grace. "The United States Holocaust Memorial Museum’s Multivalent Tower of Faces." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3296.
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Holocaust survivor Dr. Yaffa Eliach collected over 6,000 photographs depicting residents of Eishyshok, a small Jewish settlement in Eastern Europe, taken between 1890 and 1941. Eliach survived the Nazi-led massacre in 1941 that killed nearly the entire Jewish population of Eishyshok. As a way to commemorate the destroyed town of her youth she began to collect photographs from other survivors and residents who fled Europe prior to the Holocaust. She subsequently selected 1,032 photographs from the Yaffa Eliach Shtetl Collection for display in The Tower of Faces, a permanent exhibition in The United States Holocaust Memorial Museum, located in Washington, DC. The Tower of Faces is a multivalent exhibition. What the photographs represent has changed as time has passed and the collection has served multiple purposes. For Eliach, who has a personal connection to the collection and to events the images have come to represent, the exhibition is a monument within a memorial museum that specifically visually depicts and commemorates Eishyshok and its residents. Once the photographs were accessioned into the United States Holocaust Memorial Museum’s permanent collection exhibition designers and curators used the photographs to facilitate a connection between visitors who may not have a direct association to the Holocaust. For visitors, the familial photographs do not represent direct memories or evidence of atrocity, as they do for Eliach. Rather, the Tower of Faces is a site of postmemory and the photographs is what connects the Holocaust to Eliach’s memory of the Holocaust to visitors’ understanding of the Holocaust.
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Rickett, Rosy Madeleine. "Refugees of the Spanish Civil War and those they left behind : personal testimonies of departure, separation and return since 1936." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/refugees-of-the-spanish-civil-war-and-those-they-left-behind-personal-testimonies-of-departure-separation-and-return-since-1936(34c545cd-c917-4f35-be95-956ced07d493).html.
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During and after the Spanish Civil War, over 500,000 people left Spain; at least 200,000 would remain outside Spain for many years, some for the rest of their lives. They went to France, Mexico, Argentina, the USSR, and across the globe. These Spanish ‘republican’ refugees were also connected to those who had stayed within Spain, by familial and political ties or the bonds of friendship. In order to investigate this reality – a group of people from all kinds of political, social and economic backgrounds based in so many different geographic locations – this thesis foregrounds the role of the individual in both experiencing and constructing history, being defined and resisting definition from different entities. Consequently, it seeks to intervene in the historiography of the Spanish Civil War and republican exile by highlighting the ways in which individual experiences and narratives both strengthen and weaken categories such as: political, a-political, refugee and exile. This PhD brings together underused source materials stored in Spain and Mexico, as well as digital archives stored online; it is based on archived oral history interviews with refugees, additional oral history interviews undertaken by the author, several collections of letters, unpublished and published memoirs, and official documents. Each chapter considers a different aspect of the refugees’ experiences and how these experiences are represented in the source material: departure, separation and communication, return and home, and the memory of exile within families. How and why did people leave? How did they change their behaviour in order to adapt to or survive particular circumstances? How have the children and grandchildren of Spanish refugees reacted to family narratives and memories? Central to this analysis is the role played by factors such as gender, age, class, status, personality and political views in shaping peoples’ experiences, as well as an emphasis on ‘non-elite’ alongside ‘elite’ refugees’ experiences of displacement. The historiography of the Spanish Civil War and subsequent exile has been shaped by political and ideological debates, as well as the different national contexts refugees found themselves in. From the numbers of refugees recorded as having left Spain, to the idea that returning to Spain was a betrayal, to the memory of the exile within Spain, almost every aspect of the refugees’ experiences has been used to make or refute arguments surrounding the morality of the republican cause and the nature of the Francoist regime. At the same time, the different circumstances of refugees living in countries like France and Mexico meant that different narratives or collective memories regarding the role of refugees in their host countries are still being constructed and reconstructed. One of the central aims of this thesis is to show how these debates have obscured the richness of individual experiences; the thesis therefore argues that considering stories which do not “fit” or details which are difficult to synthesise ultimately leads us to a more profound understanding of history. Driven by an extensive use of a range of oral history interviews, the thesis will also explore how historical time is complicated by personal testimony. The events of one person’s life are carried into the present, as they continue to affect their character, state of mind and attitude to success and hardship. Personal memories and perspectives will provide a contrast to historical narratives which focus on the role of the state, military events, ideology or political parties; instead, the thesis will show how these entities and events affect people’s lives, and the lives of their children. The central argument of this thesis is that Spanish refugees were not ‘preordained’ by the ideological conflicts which were embedded in the Civil War or their displacement. Instead, refugees actively constructed their ‘self-hood’ in response to these circumstances, rather than being (wholly) defined by them.
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Rossi, Maura. "La memoria transgeneracional: presencia y persistencia de la guerra civil en la narrativa española contemporánea." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424172.
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A substantial number of literary works elaborated and published in contemporary Spain features the memory of the Spanish Civil War and successive Francoist dictatorship as a recurring topic within its plots. Brought forward by authors who are unable to resort to a biographical connection with the events they tell about, this kind of narrative tackles the literary explicitation of painful events which still appear to retain a traumatic and conflictive nature.
This thesis aims at investigating the features through which the memory of the 1936-1939 conflict is still reflected in peninsular narrative written by the second and third generation. The main focus of the research therein presented is to define the modalities, strategies and main objectives intrinsic in transgenerational representation of the war and its mnemonic consequences, with a specific interest for the notion of inherited historical trauma, interacting with the suggestions coming from the socio-political debate taking place in Spain in the last two decades. In the first place, this work discusses the blurred notion of ‘memory’ from a semiotic and multidisciplinary perspective, specifically focusing on the controversial concept of ‘historical memory’ and attempting a multifaceted definition through the convergence of neurological, psychoanalytic, sociological and historical considerations. It then approaches the memory of the conflict as a diachronically differentiated emotional evolution, focusing on the diverse dominant discourses which, throughout the past seventy-five years, have recreated their own version of the war from its conclusion to present days (in particular , Francoism, the transitional period and the democratic state). The central core of the argument proposed in my work is a series of considerations related to the mnemonic persistence of the conflict in contemporary fiction, along with a specific interest for the generational factor (to address which reference has been made to Marianne Hirsch’s theories on postmemory); the influence of the market and the ‘hauntological’ motif in the recent super-production of mnemo-conscious fiction; the review of the main formal labels currently applied to the corpus which has been analyzed; the peculiar representational scheme of ‘the past seen from the present’; and, lastly, the fictionalization of violence.
The work is completed by a specific commentary on four novels which have been judged particularly exemplificative, i.e. La voz dormida by Dulce Chacón (2002); ¡Otra maldita novela sobre la guerra civil! by Isaac Rosa (2007); El corazón helado by Almudena grandes (2007) and Ayer no más by Andrés Trapiello (2012).Un numero consistente di opere letterarie elaborate e pubblicate in Spagna negli ultimi anni presenta all’interno delle rispettive trame il tema ricorrente della memoria della guerra civile spagnola e della successiva dittatura franchista. Proposta da autori impossibilitati a ricorrere a un’esperienza biografica degli eventi che narrano, questa tipologia narrativa si incarica di esplicitare in forma romanzata eventi dolorosi che, ancora oggi, sembrano conservare il loro carattere conflittuale e traumatico. Il lavoro si propone di approfondire il riflesso letterario che la memoria del conflitto del 1936-1939 conserva all’interno della narrativa peninsulare di seconda e terza generazione. Obiettivo della ricerca è la definizione delle modalità, strategie e finalità di rappresentazione transgenerazionale della guerra e delle sue sequele mnemoniche, con un’attenzione specifica per la nozione di trauma storico ereditato, in dialogo con le suggestioni provenienti dal dibattito socio-politico spagnolo degli ultimi due decenni. In primo luogo, la tesi affronta una discussione semiotica e pluridisciplinare della nozione nebulosa della ‘memoria’, occupandosi in particolare del discusso sintagma ‘memoria storica’, che tenta di definire facendo convergere apporti neurologici, psicanalitici, sociologici e storiografici. In un secondo momento, approccia la memoria del conflitto come un divenire emotivo, soffermandosi sui diversi discorsi dominanti che, in prospettiva diacronica, hanno restituito un’immagine dello stesso dal momento della sua conclusione fino ai giorni nostri (in particolare, il Franchismo, la transizione e lo stato democratico). Nucleo centrale dell’argomentazione proposta è una serie di considerazioni relative alla persistenza mnemonica del conflitto nella narrativa contemporanea, con un interesse specifico per la questione generazionale (per affrontare la quale si fa ricorso alle teorie sulla postmemoria di Marianne Hirsch); l’analisi dell’influenza del mercato e del motivo della spettralità nella recente super-produzione memorialista; la rassegna delle etichette formali applicate dalla critica al corpus analizzato; la tipologia rappresentativa del ‘passato a partire dal presente’; e, da ultimo, il commento della narrativizzazione della violenza. Completa il testo un’analisi specifica ed esemplificativa di quattro romanzi selezionati come particolarmente rappresentativi, ovvero La voz dormida di Dulce Chacón (2002); ¡Otra maldita novela sobre la guerra civil! di Isaac Rosa (2007); El corazón helado di Almudena grandes (2007) e Ayer no más di Andrés Trapiello (2012).
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Jacobson, Anna L. "Besamim: Exploring Jewish identity, mental illness and gender in poetry." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/118756/1/Anna_Jacobson_Thesis.pdf.
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This practice-led thesis in the field of creative writing asks: how can poetry act as a vehicle to explore tensions I feel as a Jewish Australian woman, who has experienced mental illness and associated memory loss? Together, my poetry manuscript Besamim and my accompanying exegesis argue that everyday and cultural objects can act as aide-mémoires for memory recovery. My exegesis also contextualises and situates my own creative practice by examining the works of significant Jewish Australian poets, Fay Zwicky and Marietta Elliott-Kleerkoper.
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Seliprandy, Fernando. "Documentário e memória intergeracional das ditaduras do Cone Sul." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-25092018-125808/.
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O objeto da pesquisa é o cinema documental contemporâneo ligado aos descendentes de militantes de esquerda vítimas das ditaduras do Cone Sul. Desde fins dos anos 1990, ganha relevo na região a produção de documentários dirigidos ou protagonizados por filho(a)s, sobrinho(a)s ou neto(a)s daqueles que se opuseram aos regimes autoritários vigentes entre as décadas de 1960 e 1980. Nessa filmografia, as histórias de resistência e repressão vividas pela geração anterior são revistas pelas gerações mais jovens pelo enfoque familiar e íntimo. A tendência se manifesta na Argentina, no Chile, no Brasil, no Uruguai e no Paraguai, no âmbito de um fenômeno de memória intergeracional mais vasto, que abrange outras expressões artísticas além de outras conjunturas traumáticas. Quatro títulos compõem o corpus principal do trabalho: Diário de uma busca (Flavia Castro, Brasil / França, 2010); Los rubios (Albertina Carri, Argentina, 2003); Mi vida con Carlos (Germán Berger-Hertz, Chile / Espanha, 2009); Os dias com ele (Maria Clara Escobar, Brasil / Portugal, 2013). Metodologicamente, a argumentação confronta a análise dessas obras específicas com um corpus fílmico expandido e outros materiais externos, construindo uma abordagem global e nuançada sobre as expressões da memória intergeracional nesse documentarismo. Quatro objetivos centrais guiam as reflexões, desdobrando aspectos salientes nos títulos do corpus principal. Respectivamente: descrever a formação dessa filmografia ao longo dos anos, examinando as dinâmicas transnacionais e temporais em jogo, bem como os influxos exercidos pelos festivais de cinema e pela escrita acadêmica nesse processo; ampliar o debate sobre o circuito de interações entre as gerações, destacando o papel ativo dos descendentes e abarcando vetores de memória que extrapolam a transmissão de um legado traumático; delinear o repertório de formas cinematográficas e narrativas dessa produção, rastreando paralelismos, matizes, contradições estéticas e lugares de enunciação da primeira pessoa; interpretar aquilo que a representação audiovisual testemunha sobre o peso do passado e sua ancoragem em um presente ainda marcado pelo autoritarismo. A investigação indaga as balizas conceituais desse campo de estudos para descortinar um fenômeno denso em sua historicidade, com imagens carregadas de conexões transnacionais, transferências culturais, tensões formais e nexos referenciais. O resultado final é um quadro multifacetado do documentarismo intergeracional do Cone Sul, com perspectivas renovadas pelo prisma da subjetividade e dos afetos, mas no qual também se plasmam novas fórmulas da memória.The subject of this research is the documentary filmmaking related to descendants of leftist militants who were victims of Southern Cone dictatorships. Since the late 1990s, there has been a significant production of documentaries directed by or focused on children, nephews, nieces or grandchildren of those who opposed authoritarian regimes in the region from the 1960s to the 1980s. In this filmography, histories of repression and resistance experienced by the previous generation are revisited by the younger generations from a familiar and intimate point of view. Nonfiction works of this type have been released in Argentina, Chile, Brazil, Uruguay, and Paraguay, inside a broader cultural framework of intergenerational remembrances that reaches out other forms of artistic expressions besides other traumatic historical contexts. The main corpus of this investigation includes four documentaries: Diary, letters, revolutions (Flavia Castro, Brazil / France, 2010); The blonds (Albertina Carri, Argentina, 2003); My life with Carlos (Germán Berger-Hertz, Chile / Spain, 2009); The days with him (Maria Clara Escobar, Brazil / Portugal, 2013). Methodologically, the argumentation contrasts the analysis of these specific works with an expanded filmic corpus and other external materials, constructing a global and nuanced overview of the intergenerational memory expressions in this documentary production. Four key objectives are pursued, developing central aspects identified in each title of the main corpus. Respectively: to describe the formation of this filmography over the years, considering the transnational and temporal dynamics at stake, as well as the role of both film festivals and academic writing in this process; to broaden discussions about the interactions circuit between the generations, emphasizing the descendants agency and embracing memory vectors far beyond the transmission of a traumatic burden; to outline the range of cinematographic and narrative forms used in the films, scrutinizing aesthetics parallels, variations and contradictions, along with the locus of enunciation of the first person; to decipher what audiovisual representation testifies about the weight of the past and its concrete links with a present still marked by authoritarian legacies. The research inquires the conceptual assumptions of this field of studies in order to bring to light the historicity of a dense phenomenon, whose images are full of transnational connections, cultural transfers, formal tensions, and referential grounds. The outcome is a multiform portrait of the intergenerational documentary made in the Southern Cone, with renewed perspectives derived from the subjective and affective viewpoint, but in which new memory patterns also start to get shaped.
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Cotter, Brianne. "Las “brujas” en las carceles clandestinas de Argentina: La prisionera politica embarazada y otra madres en la imaginaria cultural del terrorismo estatal." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589746381503724.
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Bardizbanian, Audrey. "Après la Shoah : écritures de la trace dans les œuvres de Jonathan Safran Foer, Daniel Mendelsohn, et Art Spiegelman." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040183.
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Cette étude propose d’explorer les œuvres de Jonathan Safran Foer, Daniel Mendelsohn, et Art Spiegelman, à travers la notion de trace, principe fondateur de l’esthétique et de l’éthique des écritures de l’après-Shoah. L’expérience lacunaire de ces « générations d’après » implique la présence d’une « postmémoire », dont le caractère « différé » sollicite le travail de l’imagination et informe la démarche créatrice de ces artistes et écrivains de l’après, qui reconstruisent le passé de leurs familles. Ces récits de la hantise sont marqués par une « mémoire trouée », et découlent souvent d’une rupture de la filiation, donc d’une défaillance de la transmission. Engagés dans une quête de savoir, narrateurs et protagonistes interrogent l’événement à partir de traces matérielles, ainsi qu’au travers de retours, réels et imaginaires, sur les lieux de l’origine. Ces récits sont composés de matériaux hétérogènes qui créent des ruptures visuelles, et sont informés par divers dérèglements temporels : désordres, disruptions chronologiques, latence et répétition – tous symptomatiques de l’après-coup du trauma. Ces textes postmémoriels posent enfin la question de l’éthique de la représentation. Performativité de la langue, fictionnalisation de l’Histoire, et enjeux de la transmission sont au cœur de ces œuvres en devenir, et interrogent l’éthique de la responsabilité de leurs auteurs, entre passation et travail de deuilThis study explores the works of Jonathan Safran Foer, Daniel Mendelsohn, and Art Spiegelman through the notion of trace, the founding principle of the aesthetics and ethics of post-Holocaust writing. The incomplete knowledge of these “post-Holocaust generations” implies the presence of a “postmemory”, the “deferred” nature of which requires the imagination to be put to work and informs the creative approach of these post-Holocaust artists and writers, reconstructing their family’s past. These haunting narratives are marked by a “memory shot through with holes” and are often the result of a break in the bond of filiation, and therefore a hiatus of transmission. Having embarked on a quest for knowledge, narrators and protagonists examine the event through material traces, as well as real or imaginary returns to their places of origin. These narratives are made up of heterogeneous elements which create visual ruptures and are informed by various temporal disruptions: disorders, chronological breaks, latency and repetition – all symptomatic of the deferred action of trauma. Finally, these postmemorial texts raise the issue of the ethics of representation. The performativity of language, the fictionalization of History, and the issue of transmission are at the heart of these works in the making, and ethically question their authors’ responsibility, between transfer and the work of mourning
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Bello, María José. "Imagen-tiempo y pedagogías transaccionales: Reconfigurando la postmemoria de la dictadura con los jóvenes a través de un proyecto de investigación visual narrativa." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/383999.
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Esta tesis doctoral indaga en las posibilidades de la imagen para crear conocimiento acerca de la dictadura chilena. En un proyecto pedagógico-investigativo con jóvenes en el Museo de la Memoria y los Derechos Humanos de Santiago de Chile se utilizan las estrategias de la investigación visual narrativa para volver a contar el pasado a partir de la experiencia de los jóvenes de la postmemoria en el espacio expositivo. Las imágenes han jugado un rol fundamental en el territorio de la memoria acerca del pasado. La comunicación social sobre el trauma histórico que significó la violencia política se ha basado en gran medida en la utilización de la imagen documental: fotografías, reportajes, periódicos, videos, documentales, afiches, etc. ¿Pero cómo comunican estas imágenes? ¿Es posible pensar en una manera de ver que se aleje de una lógica documental-objetivista? ¿Cuál debiese ser el rol de las imágenes dentro de las pedagogías de la memoria?
La investigación, que se desarrolló entre los años 2010 y 2015, contó con diferentes etapas. El trabajo con los jóvenes en el museo es el resultado de una primera fase exploratoria de toma de contacto con la institución. En este primer momento se analizaron las imágenes que conforman la cultura material del museo así como las nociones de memoria que éstas construyen. Asimismo, se indagó en el trabajo pedagógico que estaba desarrollando la institución, con el objetivo de conocer el rol de las imágenes dentro de este proceso. A partir de este primer momento de indagación se construyó el marco teórico y la metodología de la investigación, así como los métodos de trabajo que guían el trabajo de campo con los jóvenes. Las nociones de imagen-tiempo (Deleuze, 2010) y pedagogías transaccionales (Wilson, 2005) se constituyen en la base de la construcción de un método de trabajo que busca reconfigurar las maneras de ver y entender el pasado.This doctoral dissertation investigates how images may generate knowledge about the Chilean dictatorship. In a pedagogical research project, carried out with youth in the Museum for Memory and Human Rights, Santiago, Chile, visual narrative methods were used to narrate the past, drawing on the young people's experience of post-memory in the exhibition space. Images play a fundamental role in comprising the territory of memory that approaches the past. The portrayal in the media of the historical trauma that lead to political violence was based on the use of documentary material: photographs, reports, news papers, videos, documentaries, posters, and so on. But how were these images communicated? It is possible to think of a way of seeing that distances itself from an objective-documentary logic? What is the role of images within a pedagogy of memory? This research, which took place from 2010 to 2015, can be divided into different stages. The work in the museum with the youth was the result of an initial exploratory phase during which contact with the institution was established. In this first stage, the images that make up the museum's visual culture were analyzed as well as the notion of memory that the museum was producing. At the same time, an inquiry was made into the pedagogy the museum was developing, in an effort to learn about the role of images within this practice. After this initial contact and inquiry, the theoretical framework, methodological approach and work methods to use during the project with the youth were established. Deleuze's (2010) notion of time-image and Wilson's (2005) transactional pedagogies serve as the basis for a work method that attempts to reconfigure ways of seeing and understanding the past.
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Chiang, Yi-chieh, and 蔣逸潔. "Paradise Revisited: Traumatic Histories and Postmemory in Toni Morrison’s Paradise." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/52569830161786928596.
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碩士國立高雄師範大學
英語學系
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Toni Morrison’s Paradise represents the struggle within the generations of an isolated all-black town. Attempting to reveal the trauma beneath (post)memories, Morrison recollects histories which lead to the expectation of home construction and the regret of the past. With the interpretation of Cathy Caruth’s trauma and Marianne Hirsh’s postmemory, the thesis explores the perpetual influences of histories. The thesis is divided into five chapters. Chapter One examines critical readings in Paradise together with the African American experiences related to the perplexity of histories, trauma, and (post)memories. Chapter two elaborates on the influence of historical periods (slavery, the Civil War, and migrations) on the blacks to emphasize that the predicaments of the past oppress the descendants of slavery survivors. Through remembering histories, the African Americans share collective experiences to expect a prosperous future. Following the pursuit of an ideal home different from the previous misfortune, Chapter Three draws attention to how the townspeople transform the exclusion of the blacks into the reconfigured paradise because of the hostility toward the whites and the fear of reenactment of histories based on the belated voice from trauma. Chapter Four discusses the generational conflicts resulting from different imagination that the elders who inherit postmemory respect their ancestral experiences while the young reject the connection with the past. Chapter Five suggests that the way to perceive the traumatic past is dynamic. The African American identities are not totally stuck to or separated from the past.
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Rice, Maria J. "Migrations of memory postmemory in twentieth century ethnic American women's literature." 2007. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.13515.
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Jejisher, Gill Rajee Paña. "Partition and Postmemory in the Work of Kriti Arora and Sharlene Bamboat." Thesis, 2014. http://spectrum.library.concordia.ca/978491/1/Jejishergill_MA_S2014.pdf.
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This thesis examines personal memory and inter- and transgenerational transmission, employing postmemory as a key interpretative lens to analyze the media work of New Delhi-based artist Kriti Arora’s five-minute silent film THIS or THAT? Or NEITHER? (2005) and Toronto-based artist Sharlene Bamboat’s And Memory (tentative title, 2011–in-progress). These artworks explore family histories associated with the artists’ great-grandfathers before and after the 1947 partitioning of the Indian subcontinent. This thesis argues that Arora and Bamboat’s artworks employ postmemorial aesthetics that speak to the complexity of navigating between the traumatic histories that the artists inherited and their own lived experiences, which are occupied by the transmitted knowledge. Furthermore, these autobiographical works substantially bring instances of historical trauma into the present to comment on how it continues to affect individuals generationally removed. In addition to Arora and Bamboat, over the last sixteen years, a number of artists such as Indian artist Nalini Malani, Pakistani artist Rashid Rana and Toronto-based artist Sarindar Dhaliwal, all of whom grew up during and after decolonization and nation-building, have negotiated the effects of Partition within their personal histories and have made artworks that focus on historical trauma and cultural memory relating to Partition, as well as the contemporary realities of Indo-Pakistani hostilities. This thesis contributes to emerging research on the effects that Partition has had and continues to have on the practices of contemporary artists of South Asian descent.
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Vlavianos, Elefteria. "Re-Articulation: Retrieval, Renewal and Beyond: Translating a visual aesthetic within the fold of postmemory." Phd thesis, 2021. http://hdl.handle.net/1885/248726.
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Re-Articulation: Retrieval, Renewal and Beyond: Translating a visual aesthetic within the fold of postmemory
This practice-led research examines how painting facilitates the retrieval and renewal of a displaced cultural aesthetic from one context and idiom to another. In this project, the relationship between retrieval and renewal is addressed as a visual translation. Within art history and theory, the approach to painting as a visual translation is primarily considered as a metaphor. This approach can be traced back to Charles Baudelaire, who suggested that a visual translation was reliant on the skill, vision, ability and temperament of the artist.
This research is set in relation to the impact of the Armenian Genocide 1914-1918, and to my receiving a gift of a catalogue of Armenian manuscript paintings from the 13th and 14th centuries. This context brings together a complex set of interrelated issues that include denial, loss and fragmentation. Set in relation to these issues and contextual framework, visual translation as a metaphor presents as a point of departure in this investigation. Drawing on the images contained within the catalogue and taking into account Marianne Hirsch's concept of postmemory, this research re-examines the relationship between painting and translation. This re-examination takes the form of a series of investigations that involve a critique of the materials, methodologies and formal elements, such as line, structure and colour, that facilitate the process of retrieval and renewal.
Through this research, my intention is to create a body of paintings that facilitates the rearticulation of a displaced cultural aesthetic into this current space and time, and that also contributes to broadening our approach regarding what a visual translation entails.
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Schwarz, Marie Bettine. "Postmemorativni narativ vyhnání sudetských Němců v české literatuře a filmu." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-367635.
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Cultural memory and its media have a productive power in constructing historical nar- ratives. Especially, in Central and Eastern Europe, memory is mostly created through bottom- up processes: The past is mediated in the public sphere and imagined in popular culture (Blacker, Etkind 2013: 10). The velvet revolution is followed by a memory boom in the Czech Republic, in which media acts as memory activists addressing tabooed memories. At a time where the last witnesses of the expulsion are passing away, the dying voice is taken up by media This thesis aims to explore the determinant patterns of the Czech narrative in post-1989 fiction. Particularly, it focuses on postmemorial representations. The thesis is based on an anal- ysis of five fictional works dealing with the expulsion of the Sudeten Germans. The expulsion is embedded in the century-long co-habitation with the Sudeten German depicted as a neigh- bour. However, the Sudeten Germans are only incorporated into a regional but not the national Czech identity. While the expulsion is reframed in an ethical-legal framework, on a narrative level strategies of individualisation and universalisation are employed to make the past acces- sible for those born later.
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Severyn, Ryan J. "From the Lancet to the Page: An Analysis of Bloodletting as a Metaphor For Bearing Witness and Its Potentially Deadly Consequences." Thesis, 2014. http://hdl.handle.net/1828/5639.
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By investigating the metaphorical connection between bloodletting and the act of writing and drawing, this thesis examines the effects and potential dangers of bearing witness and recording witness testimonials as it is experienced by first-generation and second-generation Holocaust witnesses/authors respectively. Primo Levi’s works as well as biographical records documenting his life and death are examined as the primary sources for the analysis of the survivor or first-generation witness/author. Art Spiegelman’s graphic novels Maus and Maus II provide the source materials for the exploration of the second or ‘postmemory’ generation’s experience with recording their own inherited transgenerational trauma. To support this metaphorical and theoretical framework, I will engage the theories of Janet McCord and her study on suicide and Holocaust survivors as well as employ the works of Sigmund Freud, Dominick LaCapra, Cathy Caruth and Marianne Hirsch in relation to their work on cultural trauma and memory.Graduate
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Kuchta, Anna. "Tożsamość drugiego pokolenia po Holokauście w świetle zjawiska postpamięci na podstawie wybranych przykładów współczesnej polskiej literatury wspomnieniowej." Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/81881.
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D'ALESSANDRO, Barbara. "La letteratura della postmemoria in Italia: 1978-2019." Doctoral thesis, 2020. http://hdl.handle.net/11573/1462565.
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Dopo un aggiornamento bibliografico e una ricognizione teorica relativa agli studi sulla memoria e sul trauma, la tesi procede alla selezione di un corpus di autori in lingua italiana, prevalentemente appartenenti all’ambito degli Jewish Studies, che vengono definiti “della postmemoria” grazie all’utilizzo del paradigma teorico della postmemory proposto da Marianne Hirsch.
La tesi si struttura sviluppando nei diversi capitoli alcuni nodi concettuali ritenuti particolarmente significativi e utilizzati come punti di intersezione tra le opere scelte, partendo dal riferimento imprescindibile dell’esperienza di Edith Bruck, scrittrice italo-ungherese sopravvissuta alla Shoah, le cui opere costituiscono un modello e un punto di partenza per gli autori appartenenti alle generazioni successive. Oltre a Edith Bruck gli scrittori di cui vengono selezionate e analizzate alcune opere sono: Helena Janeczek, Alessandro Schwed, Elena Leowenthal, Alessandro Boni, Alessandro Piperno, Filippo Tuena, Anna Segre. Si analizzano inoltre, in conclusione, due antologie contenenti racconti di autori vari, non necessariamente di origine ebraica, come esempio di “postmemoria affiliativa”.
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Кухар, Олександра Романівна. "Наративізація травми у прозі С. Жадана про війну." Магістерська робота, 2020. https://dspace.znu.edu.ua/jspui/handle/12345/1675.
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Кухар О. Р. Наративізація травми у прозі С. Жадана про війну : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник О. А. Слижук. Запоріжжя : ЗНУ, 2020. 87 с.UA : Кваліфікаційна робота магістра «Наративізація травми у прозі С. Жадана про війну» містить 87 сторінок. Для виконання роботи опрацьовано 62 джерела. Мета дослідження: проаналізувати феномен наративізації травматичного досвіду особистості в літературі на прикладі творів С. Жадана, прийоми художньої реалізації травматичних подій, спричинених воєнними діями на Сході Україні в контексті його творів про війну. У процесі написання кваліфікаційної роботи розв’язано такі завдання: ˗ проаналізовано та узагальнено проблему травматичного досвіду в літературознавчому дискурсі; ˗ досліджено дескрипцію воєнної травми в сучасній українській прозі; ˗ розглянуто постколоніальний досвід як травму у творчості С. Жадана; ˗ визначено роль міста як проєкцію травматичного досвіду особистості в прозі С. Жадана; ˗ проаналізовано зміну гендерних стереотипів як наслідок травматичного досвіду в поезії та прозі Сергія Жадана; ˗ виділено прийоми реалізації художніх наративів в прозі С. Жадана про травматичний воєнний досвід; ˗ визначено роль мотиву подорожі у прозі про війну С. Жадана; ˗ проаналізовано посттравматичний досвід наратора у структурі прозового тексту Сергія Жадана; ˗ досліджено художнє відображення впливу воєнної травми на психоідентифікацію особистості в прозових творах автора; ˗ узагальнено суть дослідження. Об’єкт дослідження: твори «Інтернат», «Месопотамія», «Луганський щоденник», «Anarchy in the Ukr» С. Жадана. Предмет дослідження: прийоми художнього відтворення травматичного досвіду воєнних подій в Україні поч. ХХІ ст. в прозових творах С. Жадана. Методи дослідження. У роботі були застосовані такі методи в синтетичному поєднанні: компаративний аналіз, герменевтичний, історико-типологічний, психоаналітичний та описовий методи, які використовувались у доборі, описі матеріалу та під час його аналізу. Наукова новизна роботи полягає у тому, що вперше здійснена спроба аналізу прийомів реалізації травматичного досвіду у прозових творах С. Жадана про війну. Сфера застосування результатів дослідження полягає у їх використанні у підготовці до лекцій і практичних занять із сучасної української літератури, у проведенні спецкурсів, для виконання кваліфікаційних робіт різних рівнів.
EN : The master’s qualification work «The Narrativization of Injury in the Prose by S. Zhadan» contains 87 pages. 62 sources are processed to complete the work. The aim of the study is to analyze the phenomenon of narratization of the traumatic experience of a personality in literature, as exemplified in the works of S. Zhadan, techniques for the artistic realization of traumatic events caused by military operations in the east of Ukraine in the context of his writings about the war. In the process of writing a qualification work, the following tasks are decided: ˗ the injuries in literary discourse are analyzed and summarized ; ˗ the description of military injury in modern Ukrainian prose are researched; ˗ the postcolonial experience as an injury in the work of S. Zhadan is studied; ˗ the role of the city is defined as the projection of the traumatic experience of the personality in S. Zhadan’s prose; ˗ the changes in gender stereotypes as a result of traumatic experience in poetry and prose by S. Zhadan are analyzed; ˗ the techniques for the implementation of artistic narratives in S. Zhadan’s prose about the traumatic military experience are highlighted; ˗ the role of the travel motive in the S. Zhadan’s prose about the war is defined; ˗ the post-traumatic experience of the narrator in the structure of the prose text by S. Zhadan is analyzed; ˗ the artistic reflection of the effect of military trauma on the psycho-identification of a personality in the prose works of the author was researched, ˗ the essence of the study is summarized. Object of study: works «Orphanage», «Mesopotamia», «Lugansk Diary», «Anarchy in the Ukr» by S. Zhadan. Subject of research: techniques of artistic reproduction of the traumatic experience of military events in Ukraine, early XXI century in prose works by S. Zhadan. Research Methods. In the work, such methods in a synthetic combination are used: comparative analysis, hermeneutic analysis, historical-typological analysis, psychoanalytic and descriptive methods that were used in the selection, description of the material and during its analysis. The scientific novelty of the work lies in the fact that for the first time an attempt to analyze the methods for implementing the traumatic experience in the prose works by S. Zhadan about the war is made. The scope of the research results is in their use in preparing for lectures and practical exercises of modern Ukrainian literature, in conducting special courses, and for implementation qualification works of different levels.
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Breen, Alanna Mary. "Resistance and remembrance : 21st century Spain reengaging 20th century trauma." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1331.
Full textAbstract:
This dissertation centers on the realization that history evolves and is never complete because the past is elusive and perceptions sway as society changes. Throughout the turn to the twenty-first century, Spain has been moving from resistance to remembrance with regard to individual, cultural and governmental interest in the Civil War and dictatorship of the twentieth century. During the transition to democracy after General Francisco Franco’s death on November 20th, 1975, the reunified government opted to forget the divisive past with the unofficial Pacto de Olvido. Despite this impulse toward resistance, the urge for remembrance at a personal and social level evolved into a, nationwide debate. On December 26th, 2007, the incumbent Congress of Deputies enacted La Ley de Memoria Histórica, a law that mandates attention to previously denied history. In essence, this controversial ruling seeks to promote remembrance of both sides of the Civil War. Contemporary literature, media and film have long been involved in this deeply political and personal work. From the multitude of options, this project selected five renowned texts published between 1992 and 2005. The authors of Autobiografía del General Franco (1992), La voz dormida (2002), El lápiz del carpintero (1998), Enterrar a los muertos (2005), and Soldados de Salamina (2001) belong to what Marienne Hirsch defines as the postmemory generation, the one born following a national trauma. These writers do not have the privileged position of immediate contact with survivors, yet emotional and temporal distance from the events narrated empowers these Spanish authors to create nuanced, literary depictions of war and post-war experiences. In their texts, these writers challenge accepted history, poetically weave a collective memory based on testimonies, illuminate idealistic differences, counter-balance hope with horror, and narrate the transformative experience of historical research. By engaging with the past from the perspective of the present, their narrators articulate the tension between resistance and remembrance. The texts studied here offer five contrastive representations of ways in which versions of history are alternately censured or suppressed, and subsequently unearthed and refashioned in collective and official memory as political power and narrative agency are transformed in an ever-changing society.text
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Duarte, Sara Filipa Oliveira. "Repensar a nostalgia colonial portuguesa e os seus silêncios: um contributo da arte contemporânea para a descolonização do pensamento." Master's thesis, 2020. http://hdl.handle.net/10362/93873.
Full textAbstract:
Nesta dissertação procuramos indagar como, no seio da arte contemporânea, se
tem vindo a refletir sobre o legado colonial português, e, em particular, sobre as memórias
construídas em torno deste passado. O passado colonial manifesta-se, na
contemporaneidade, em narrativas romantizadas e nostálgicas, que implicam um
silenciamento do caráter violento do colonialismo. A manutenção deste tipo de discurso
evidencia a persistência de estruturas coloniais e, logo, a necessidade de uma
descolonização epistémica. O objetivo central desta reflexão é pensar como, ao propor
reflexões sobre a memória colonial, a arte contemporânea tem contribuído para uma
descolonização do pensamento. Partindo de obras de Daniel Barroca, Maria Lusitano,
Ângela Ferreira, Vasco Araújo e Grada Kilomba, concentramo-nos em três temas
fulcrais: o fantasma da guerra colonial como reflexo da amnésia generalizada em torno
da violência colonial; a ausência de uma reflexão crítica sobre a narrativa glorificadora e
romantizada do passado colonial veiculada através de monumentos e construções de
índole recreativa edificados pelo Estado Novo (1932-1974), que perpetuam ideais
coloniais no presente; e, por fim, as implicações da herança colonial para a condição dos
sujeitos da diáspora africana e a necessidade de um processo de descolonização do
pensamento que desconstrua as estruturas racistas que persistem do período colonial.This dissertation aims to inquire how contemporary artists have sought to reflect on the Portuguese colonial legacy and the memories regarding that past. In today’s postcolonial context, the colonial history manifests itself in romanticized and nostalgic narratives that imply the silencing of colonial violence. The spreading of such a discourse reveals the persistence of colonial structures and, therefore, the need for an epistemic decolonization. The aim of this study is to analyse how contemporary art has been contributing to such a decolonization by proposing critical reflections on the issue of colonial memory. Through the works of Daniel Barroca, Maria Lusitano, Ângela Ferreira, Vasco Araújo and Grada Kilomba, we aim to reflect on three main issues: the spectre of the colonial war as a reflection of the generalized amnesia surrounding colonial violence; the absence of a critical reflection on the glorifying and romanticized narrative of the colonial past conveyed by monuments and recreational buildings built by the Estado Novo (1932-1974); and, finally, the impact of colonialism’s legacies on the condition of the individual of the African diaspora, and the urgency of an epistemic decolonization to deconstruct the racist structures that persist from the colonial period.
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Marcotte, Sophie. "L'écriture de la post-mémoire dans La femme qui fuit d'Anaïs Barbeau-Lavalette, suivi de La cartographie de l'absence." Thesis, 2020. http://hdl.handle.net/1866/24208.
Full textAbstract:
Mémoire en recherche-créationCe mémoire est composé d’un essai et d’un roman. L’essai s’intéresse à la post-mémoire, concept développé pour traiter des traumatismes historiques, en tant que matériau mémoriel intime. La recherche opère un glissement entre le traumatisme historique et le traumatisme privé en fondant leur similarité sur leur nature événementielle. Le roman La femme qui fuit d’Anaïs Barbeau-Lavalette permet de concevoir l’importance de la post- mémoire dans le cadre de traumatismes familiaux. Cette histoire, mise en fiction en s’appuyant sur les traces d’un passé disparu, illustre bien la mise en récit et la reconquête du sens perdu par la deuxième génération d’un événement traumatique. La partie création du mémoire se consacre au récit d’une narratrice hypocondriaque dont la mère est décédée du cancer du sein alors que la protagoniste était encore enfant. Le personnage tente de déplier ses souvenirs, mais ne réussit que par l’entremise de son imagination – seule la narratrice-enfant possède les véritables souvenirs maternels. Toutefois, comme la fillette n’existe plus au présent, la reconquête de l’ascendance achoppe. En tentant de recomposer sa mère, la narratrice découvre surtout ses propres fantômes et ceux de son père. La création propose l’expérience de la théorie post-mémorielle tout en questionnant ses limites.
This master’s thesis is subdivided in two components : an essay and a novel. The essay focuses on postmemory, a concept elaborated in relation to historical traumas, as intimate memorial structure. The research shifts from historical traumas to personal traumas by basing their similarity on their event nature. The novel Suzanne by Anaïs Barbeau- Lavalette underlines the importance of postmemory in familial trauma. This story, fictionalized by linking true artefacts, sheds light on postmemorial work and on the resignification of events orchestrated by the post-generation of a traumatic event. The creation section of this work tells the story of a hypochondriac narrator who suffered the loss of her mother to breast cancer in childhood. The main character seeks to recover the lost memories of her mother but can only remember her by means of her imagination – only the child narrator still possesses the true memories. However, as the young girl no longer exists in the present time, the quest stumbles. Through the search for her mother, the narrator mostly uncovers her father’s and her own ghosts. The creative work attempts to embody the postmemory theory while questioning its limits.
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Uribe, Justina. "Aurores étripées ; suivi de, Henri Michaux ou l'incapacité prodigieuse." Thesis, 2020. http://hdl.handle.net/1866/25071.
Full textAbstract:
Mémoire en recherche-création.Le fragment comme blessure, comme forme fracturée qui, dans les brèches du langage qu’il incarne, fait signe à l’indicible, est au centre de ce mémoire en recherche-création. Dans le roman Aurores étripées, la forme fragmentaire sert à sonder l’imaginaire de la postmémoire. En effet, le parcours de la protagoniste est marqué par des deuils collectifs et personnels ; sa douleur de vivre est liée, de façon intime, inextricable, à la dictature Pinochet et à ses retombées. Des récits de torture, de collaboration, mais aussi de combats menés, de solidarité à travers l’horreur hantent la narratrice. Dans cette traversée du silence qui l’entoure et menace toujours de l’engloutir, elle sera accompagnée par des voix de femmes de sa famille, surtout par les paroles de Carmen, ancienne résistante. L’essai Henri Michaux ou l’incapacité prodigieuse explore les formes que prend le mal-être dans l’œuvre du poète, notamment dans La nuit remue. L’on observe que chez Michaux, la douleur de vivre est indicible en cela qu’elle est infigurable : élusive et paradoxale, elle ne saurait prendre une forme définitive, pourtant, dans cet univers marqué par le changement et la métamorphose, elle est la seule constante, et, on le pense, la seule essence. À la fois fatalité et façon d’être au monde, sa sentence est à la source de ce que Michaux appelle l’espace du dedans.
The fragment as injury, as the fractured form which in the fissures of the very language it incarnates, gestures at the unutterable, is at the center of this research-creation thesis project. In the novel Aurores étripées, the fragment-form serves to probe the imaginary aspect of postmemory. The protagonist’s course is beset by both collective and individual grief ; her existential anguish is intimately, inextricably linked to Pinochet’s dictatorship. Stories of torture, collaboration, as well as those of combat and solidarity in the face of horror, all haunt the narrator. The female voices of her family, above all that of Carmen, a former member of the resistance, help the protagonist traverse the silence that threatens to engulf her. The essay Henri Michaux ou l’incapacité prodigieuse explores the various forms which existential malaise comes to inhabit in the work of the poet, most notably in La nuit remue. One notes that in Michaux’s work the anguish of living is unutterable, and in that very fact is also nonfigurable : both elusive and paradoxical, it is incapable of adopting a determinate form, however, in a universe characterized by change and metamorphosis, it is the only constant, and one may well think, the only essence. At once fate and the way of being in the world, its determination is the source of what Michaux terms the space within.
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Whitworth, Greg Brian. "Remembering remains : the texture of memory in post-Proceso Argentina." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4427.
Full textAbstract:
This thesis is a photographic essay that examines the work of memory in Argentina related to the dictatorship of 1976 and its aftermath. In it, I examine various sites of memory that can be broadly defined as archival, performative and pedagogic and attempt to relate these sites to the scene of contemporary memory.
An estimated 30,000 people were disappeared during “El Proceso” from 1976-1983 and these absent visages continue to haunt the nation. Officials from the outgoing regime remained protected from prosecution for 20 years after the formation of the constitutional government. Over time and without access to juridical redress, Argentine human rights groups have resorted to assorted means to recuperate the memories of the disappeared and the excesses of the regime.
Groups like Las Madres de Plaza Mayor, HIJOS, and Grupo Etcetera developed performative practices – from the sanguine march to the carnavalesque protest. Neighborhood associations attempted to mark and recuperate former clandestine detention centers as public sites. Student activists mark sites with elaborate murals narrating the cityscape’s connection to its political ghosts. Municipal and provincial organizations emerged to catalogue, film, record, archive and listen.
Lastly, with the election of center-left president Nestor Kirchner (2003-2007) and his commitment to this memory work, along with his support of the legal prosecution of former regime officials, there emerged more monumental projects such as the creation the Parque de la Memoria and the memory museum at the largest detention and torture center in Argentina during the dictatorship, ESMA.
This study enters into these sites of memory and attempts to narrate their affect and grammar in relation to the politics of memory that Argentines continue to struggle with to this day.text
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Sabawi, Samah. "Inheriting Exile: Transgenerational Trauma and Palestinian-Australian Identity." Thesis, 2020. https://vuir.vu.edu.au/40718/.
Full textAbstract:
Inheriting Exile is a creative-critical exploration into the Palestinian-Australian experience of trauma, exile, identity and belonging. Through the personal and generational lenses of two writers, father and daughter, it sets out to navigate various modes of transmission of trauma and memory, primarily building on and going beyond Edward Said’s conceptualisation of exile (2001) and Marianne Hirsch’s theorisation of postmemory (Hirsch, 2012).
My thesis has two components. The first is the exegesis, in which I utilise an array of critical and autoethnographic strategies in order to engage with and interrogate Edward Said’s theorisation of the nourishment of the Palestinian identity in exile and Marianne Hirsch’s conceptual framework of postmemory - the transmission of trauma to second and third generation Holocaust survivors who may not have experienced it first-hand. Through bridging together Said and Hirsch’s works, I introduce the notion of ‘inhabitation’. I define inhabitation as a term that reflects the internalisation of both place and displacement, highlighting the myriad of ways in which Palestinians in exile, denied the right to return and to inhabit their homeland, might subsequently become imaginatively inhabited by both desire for the homeland and its denial.
The second component is the creative project: a biographical novel with the working title Coffee with George, based on my father Abdul Karim Sabawi’s life in Palestine. My father is a celebrated Palestinian poet and novelist who was exiled from Gaza in the aftermath of the 1967 War and emigrated to Australia in 1980. In writing his story, I offer an intimate portrayal of the lived experience of first-generation displaced Palestinians: their past traditional way of life in the homeland, the social and cultural environment they were uprooted from and the traumatic memories they continue to carry with them.
This research adds new knowledge to global understandings of what it means to be an exiled Palestinian, or a Palestinian born or raised in diaspora. It also contributes to the ‘trauma genre’ that has so far largely neglected the experience of al-Nakba and its impact on subsequent generations of Palestinians. Al-Nakba literally translates to ‘Catastrophe,’ and is used to refer to the 1948 systematic expulsion and ethnic cleansing of the Palestinian population and the establishment of the state of Israel on what was the territory of Palestine.
The research also contributes to Australian literature through the creation of new literary work in the form of the biographical novel Coffee with George. Currently, very few creative works by Palestinian-Australians have been published or performed. Literature – theatre, fiction, film and poetry – by offering us insights into personal experience, can provide powerful vehicles to engage our diverse communities and to build cultural and artistic bridges between Australians of all ethnic backgrounds.
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Gans, Michael Moses. "Fathers, sons and the holo-ghost: reframing post-Shoah male Jewish identity in Doron Rabinovici's "Suche nach M"." Thesis, 2012. http://hdl.handle.net/1828/4268.
Full textAbstract:
The enduring, mythical and antisemitic figure of Ahasuerus is central to the unraveling and reframing of post-Shoah Jewish identity in Rabinovici’s novel Suche nach M for it serves as the mythological color palette from which Rabinovici draws his characters and, to extend that metaphor, how the Jews have been immortalized in European culture. There is no escape in Suche nach M. When painting the Jew, both Jews and non-Jews can only use brush strokes of color from the Christian-created palette of the mythic, wandering Jew, Ahasuerus, who is stained in the blood of deicide, emasculated, treacherous, and evil. He is the constitutional “Other.”
By deploying Urie Bronfenbrenner’s (Bio) Ecological Systems Theory, the Mythic Jew and the Ikhud (“Fusion”) Models that represent an evolving psychosocial environment combined with personal reflection, this thesis explores how Suche nach M invokes yet critiques the process of Jewish male identity formation in postwar Austria.Graduate
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Malavoy-Racine, Tristan. "Un endroit familier ; suivi de Le problème de la mémoire dans le portrait littéraire." Thesis, 2020. http://hdl.handle.net/1866/25452.
Full textAbstract:
Mémoire en recherche-créationUn endroit familier est composé de trois portraits littéraires. L’auteur y met en relief des moments marquants de la vie de trois membres de sa famille : son grand-père maternel, qui a participé activement à un réseau de radio clandestine dans la France occupée, dans les années 1940; sa grand-mère paternelle, qui a élevé quatorze enfants à Saint-Joachim-de-Montmorency, et dont la longue vie embrasse à elle seule tout un pan de la ruralité québécoise du siècle dernier; puis son arrière-grand-mère maternelle, dont le mari est mort dans les tranchées de Champagne, durant la Première Guerre mondiale. Avec en arrière-plan le vingtième siècle, ses enthousiasmes et ses dérives, cette galerie de portraits en comprend un autre, plus discret, fragmenté, celui de l’auteur qui cherche à mieux comprendre d’où il vient. À la recherche de l’autre, ne sommes-nous pas toujours un peu à la recherche de nous-mêmes ? L’essai qui suit, intitulé Le problème de la mémoire dans le portrait littéraire, aborde le recours aux sources documentaires qu’exige le genre, de même que l’incidence des intentions de l’auteur sur la façon dont les sources seront exploitées. Il est ensuite question du degré d’exclusivité de la mémoire individuelle et de ce qu’implique l’idée, nourrie par la théorie de la postmémoire, notamment, d’une mémoire des traumas où le souvenir de l’un devient le souvenir de l’autre. L’essai se referme sur une réflexion portant sur le pouvoir qu’a la littérature de faire sortir de l’ombre, avec leurs énigmes non résolues, celles et ceux qui nous ont précédés. Et s’il y avait d’abord, au coeur d’une telle démarche d’écriture, le besoin de mieux vivre avec ses morts ?
Un endroit familier is made up of three literary portraits. The author highlights significant moments in the life of three members of his family : his maternal grandfather, who actively participated in an underground radio network in occupied France, in the 1940s; his paternal grandmother, who raised fourteen children in Saint-Joachim-de-Montmorency, and whose long life alone encompasses a vast segment of Quebec rurality of the last century; finally, there will be his maternal great-grandmother, whose husband died in the trenches of Champagne, during the First World War. Against the backdrop of the twentieth century’s enthusiasms and excesses, this gallery of portraits includes as well the more discreet, fragmented image of the author who seeks to better understand where he comes from. Looking for the other, aren't we always looking a little for ourselves ? The following essay, Le problème de la mémoire dans le portrait littéraire, discusses the use of documentary sources required by the genre, as well as the impact of the author's intentions on how those sources will be exploited. Then we will explore the degree of exclusivity of individual memory and the idea, drawn from the theory of postmemory, in particular, of a memory of traumas in which one’s memory becomes that of another. The essay ends with a reflection on the power of literature to bring out of the shadows, with their unsolved puzzles, those who came before us. What if there was first, at the heart of such a writing process, the need to live better with our dead ?
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Schutt, Stefan. "The Small Histories project: the internet, life stories and ‘performances of reconstruction’." Thesis, 2011. https://vuir.vu.edu.au/16069/.
Full textAbstract:
This project revolves around Small Histories, an online web-based software system for the uploading and
sharing of life stories: http://www.smallhistories.com. I created Small Histories to explore the ways in which
the internet can facilitate the urge to tell, share and compare one’s personal history and, by doing so,
generate an online network of interlinked personal narratives connected to historical times, events and
places.
The project originated with a personal event: the tracing of my biological Israeli father in 1997 and my
subsequent explorations of my Israeli and German family histories. The stories I encountered in these
explorations differed, depending on who was telling them. The Small Histories system was a response to the
potential of the burgeoning internet to represent such differing viewpoints, and to generate new forms of
encounters with the past. Since then the system has developed in tandem with the internet, especially the
explosive growth over recent years of what has been called social software.
Conceptually, this project explores the fast-evolving social internet as a setting for auto/biographical
narrative practice and how this overlaps with and changes accepted notions of performance, community
formation, identity construction and acts of memory. As a framework for these investigations, I propose
that the internet is a catalyst without precedent for the production of performances of reconstruction, where
fragments of the past are dug up, collected, assembled and presented as an imaginative reconstruction of
‘what used to be’, in an attempt to re-establish a lost sense of roots, identity and belonging; a coherent
narrative of identity in an era of fragmentation.
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Isaacs, Carole Ann. "Problematique de l'identite Juive dans des oevres choises de Patrick Modiano." Diss., 2016. http://hdl.handle.net/10500/20979.
Full textAbstract:
Towards the end of the 1960s in France we witness the awakening of the memory of
the Holocaust and the Occupation which coincides with the publication of Patrick
Modiano’s first novel, La place de l’étoile. It is from this time that Jewish memory of
the Holocaust begins to surface and we see the emergence of a literature of the
post-Holocaust generation. Modiano belongs to this generation that, being deprived
of a personal memory of the Holocaust, turns to this period in a quest for roots and
identity. Like his Jewish colleagues, Modiano struggles to come to terms with a past
that he has not experienced and an absence of memory. This dissertation analyses
Modiano’s use of the period of the Holocaust as signifier of Jewish identity in four of
his novels in order to highlight the role of the issue of Jewish identity in the
construction of a textual identityVers la fin des années 60 on voit en France le réveil de la mémoire de la Shoah et de l’Occupation qui coïncide avec la publication du premier roman de Patrick Modiano, La place de l’étoile. C’est à partir de cette époque que la mémoire juive de la Shoah va pouvoir se faire entendre et qu’on constate l’émergence d’une littérature de la génération d’après la Shoah. Modiano appartient à cette génération qui, étant dépourvue d’une mémoire personnelle de la Shoah, se tourne vers cette période dans une quête de racines et d’identité. Comme ses confrères juifs, Modiano a du mal à se réconcilier avec un passé qu’il n’a pas vécu et une absence de mémoire. Cette étude examine de près le recours de Modiano aux années de la Shoah en tant que signifiant de l’identité juive dans quatre ouvrages afin de mettre en exergue le rôle de la problématique de l’identité juive dans la construction d’une identité textuelle chez cet écrivain
Linguistics and Modern Languages
M. A. (French)
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Odendaal, Marié Antoinette. "Visual strategies in video art : the simulation of traumatic memories." Diss., 2021. http://hdl.handle.net/10500/27613.
Full textAbstract:
This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei
Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events.Art and Music
M.V.A.
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Reed, Rebecca. "Storytelling and survival in the "Murderer's House": gender, voice(lessness) and memory in Helma Sanders-Brahms' Deutschland, bleiche Mutter." Thesis, 2009. http://hdl.handle.net/1828/1686.
Full textAbstract:
Helma Sanders-Brahms’ film Deutschland, bleiche Mutter is an important contribution to (West) German cinema and to the discourse of Vergangenheitsbewältigung or “the struggle to come to terms with the Nazi past” and arguably the first film of New German Cinema to take as its central plot a German woman’s gendered experiences of the Second World War and its aftermath. In her film, Deutschland, bleiche Mutter, Helma Sanders-Brahms uses a variety of narrative and cinematic techniques to give voice to the frequently neglected history of non-Jewish German women’s war and post-war experiences.
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Paredes, Dávila José Ricardo. "El debate sobre la memoria del conflicto armado en el Perú (1980-2000) : un acercamiento a través de la cultura visual." Thèse, 2014. http://hdl.handle.net/1866/11481.
Full text
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Kizimchuk, Stephanie. "Mizrahi Memoirs: History, Memory, and Identity in Displacement." Phd thesis, 2017. http://hdl.handle.net/1885/132609.
Full textAbstract:
In this dissertation I analyse the dynamics of history, memory,
and identity as represented in the published English-language
memoirs of Mizrahim (also known as ‘Middle Eastern Jews’ or
‘Arabic Jews’) who were displaced during the mid- to
later-twentieth century from Iraq, Iran, and Egypt. I take a
thematic approach, analysing the memoirs through a focus on
metaphor, sensescapes, dreams, urban landscapes and sacred sites,
as well as the different perspectives of key stakeholders. I
demonstrate that the culture wars model is inadequate for the
study of the experiences of displacement and dispersal. Rather, I
argue that the framework of multidirectional memory (Michael
Rothberg), in combination with the notion of screen memory,
provides a far more accurate reflection of the memory dynamics
represented across this body of texts. I also draw on the
concepts of postmemory (Marianne Hirsch) and the ‘off-modern’
(Svetlana Boym) as productive ways of understanding the
intergenerational transmission of histories and memories, and the
construction of diverse identities in post-displacement life.
Furthermore, I show that memory dynamics are multidimensional and
are shaped by the senses, emotions, and spirituality. They are
multilayered, encompassing diverse experiences of temporality,
place, and ontology. They are also highly entangled and
interweave different perspectives, power relations, locations,
histories, and peoples.
Through examining the dynamics of memories, histories, and
identities in published English-language Mizrahi life writing, I
seek to contribute to a more accurate understanding of the
diversity of Jewish experiences and the complexity of Jewish life
and history in a Middle Eastern and North African context. I aim
to develop a nuanced understanding of situations of displacement,
dispersal, and resettlement. I demonstrate that memoir writing is
a crucial genre for recording migratory experiences and
transnational histories. This medium provides a vital and
powerful tool that can aid in the recovery of psychological
wellbeing and emotional resilience among women and men who have
been displaced. An improved understanding of memory dynamics as
well as the construction of identities and histories is all the
more important in this present moment where dangerously
simplistic divisions are often made at the expense of equity,
diversity, and true human complexity.