Suchergebnisse

East Asia is embroiled in one of the most titillating historical memory wars in present-day politics. A highly complex and intricate matter, conflict over history is the underpinning strain behind political and social relations between China, South Korea and Japan. Mired by the past, tension often rises from conflict over the Yasakuni Shrine visits, comfort women and the textbook matter. This dissertation will examine how China, South Korea and Japan maintain their historical memory narratives. Through a case study method, each state is analyzed through five factors: commemoration, rhetoric, education, compensation and punishment. Overall, China and South Korea have maintained relatively stable historical memory narratives while Japan has exhibited a rather volatile one. Further, historical memory is significant to political leaders and will likely be part of trilateral relations for the foreseeable future. In spite of it all, minor advancements have been made in the overall historical memory war.

Includes bibliographical references (leaves 58-63). ; The purpose of this thesis is to address the question: how can memorialization contribute to social transformation? Specifically, in what ways is memorialization activist? To answer this question I worked with St. George's Cathedral's Crypt Memory and Witness Centre on their Bearing Witness exhibit, conducted primary and secondary literature surveys (namely academic articles and books, and periodicals from 1980-1986), story-telling focus groups and individual interviews. The exhibit group consisted of 17 former South African squatters who fasted at St. George's Cathedral in 1982, demanding rights to live and work in Cape Town. Of the group of 17, I conducted personal interviews with seven women and three men.

"Deflecting Absence: 9/11 Fiction and the Memorialization of Change" is an interdisciplinary examination of the way in which post 9/11 texts have been instrumental in memorializing the event as a moment of radical historical departure. Focusing on fiction through the reading of seminal 9/11 literary texts including Falling Man, Extremely Loud and Incredibly Close, and Amy Waldman's The Submission, the article deals with the internal contradictions at work both in reading and writing about works of 9/11 fiction and the way in which such texts eternally memorialize the discourse of change. Examining these literary texts alongside "Reflecting Absence," the 9/11 memorial site, Spike Lee's film 25th Hour, and a broader discussion of the implications of the cultural discourse offered through these texts, the article exposes the disjuncture between 9/11 texts' desire to memorialize the event as the moment that 'everything changed' and the missed opportunities for radical political change which followed.

Diaspora actors demonstrate their ability to play a role in a variety of political and social processes in their homelands, including transitional justice. Transnational diaspora memorialization initiatives have become embedded and sustained within different contexts. This paper examines how the causal mechanism of coordination affects memorialization initiatives. It compares memorialization efforts in two localities in Bosnia and Herzegovina with different levels of coordination between diaspora, returnees, and local institutional actors. Centralized coordination with the help of a homeland institution enriches existing memory narratives and aims to forward transitional justice. Memorialization and commemorative practices initiated by diaspora without homeland institutional backing can lead to coordination among a more diverse set of actors, ultimately fostering new, alternative, and more inclusive memory narratives. ; (VLID)4606375

Black Lives Matter is having a profound impact on how individuals and communities view their repressive histories and their present environments. The movement has greatly influenced the questioning of everyday landscapes and the role of official memory in the erection, maintenance, or removal of monuments and memorials. In this column, I shed light on these phenomena, and highlight the tensions that exist between the acknowledgement and removal of racist or problematic memorials and statues and the protection of historical monuments and cultural heritage more generally. A human rights approach to memorialization would be a step in the right direction, while recognizing that the imperatives of the present shape memorialization efforts. It calls on those in the human rights field to continue pressing for critical reflection and debate around racism and memory landscapes, and to call out and expose racism in all of its forms in order to bring about social change.

Apologies and reparations for comfort women, or sex slaves for the Imperial Japanese Army during World War II, are a contentious issue between the survivors, their supporters, and the Japanese government. After decades of silence, many surviving comfort women have publicly come forward to demand justice—yet the Japanese government has continued to deny responsibility. In response, comfort women supporters and activists have created public memorials throughout the world, particularly in the US. These memorials have caused Japanese diplomatic intervention and demands for removal, sparking a battle for recognition in the public sphere. In this thesis I explore the comfort women movement and the controversy surrounding the memorials, reexamining these memorials as a form of recognition, reparations and reconciliation.

The article addresses how Slovenians in Argentina ritualise memories of the socialist Yugoslavia. The Slovenian diaspora in Argentina was established by post-war refugees, who inextricably related the perception of Yugoslavia with memories of the Second World War, the communist revolution and, in particular, the post-war exile and extrajudicial mass executions. The article specifically analyses commemorations of the victims of communist violence as the central anti-Yugoslavian political ritual and argues that imageries of communism, Yugoslavia and the anticommunist struggle, all carefully ritualized in ceremonies and commemorations, not only reinforced the social memories of exile, but also catalysed the social organization of the diaspora, its political ideology, and the framework of its attitudes towards the homeland and the past. ; The article addresses how Slovenians in Argentina ritualise memories of the socialist Yugoslavia. The Slovenian diaspora in Argentina was established by post-war refugees, who inextricably related the perception of Yugoslavia with memories of the Second World War, the communist revolution and, in particular, the post-war exile and extrajudicial mass executions. The article specifically analyses commemorations of the victims of communist violence as the central anti-Yugoslavian political ritual and argues that imageries of communism, Yugoslavia and the anticommunist struggle, all carefully ritualized in ceremonies and commemorations, not only reinforced the social memories of exile, but also catalysed the social organization of the diaspora, its political ideology, and the framework of its attitudes towards the homeland and the past.

The article addresses how Slovenians in Argentina ritualise memories of the socialist Yugoslavia. The Slovenian diaspora in Argentina was established by post-war refugees, who inextricably related the perception of Yugoslavia with memories of the Second World War, the communist revolution and, in particular, the post-war exile and extrajudicial mass executions. The article specifically analyses commemorations of the victims of communist violence as the central anti-Yugoslavian political ritual and argues that imageries of communism, Yugoslavia and the anticommunist struggle, all carefully ritualized in ceremonies and commemorations, not only reinforced the social memories of exile, but also catalysed the social organization of the diaspora, its political ideology, and the framework of its attitudes towards the homeland and the past. ; The article addresses how Slovenians in Argentina ritualise memories of the socialist Yugoslavia. The Slovenian diaspora in Argentina was established by post-war refugees, who inextricably related the perception of Yugoslavia with memories of the Second World War, the communist revolution and, in particular, the post-war exile and extrajudicial mass executions. The article specifically analyses commemorations of the victims of communist violence as the central anti-Yugoslavian political ritual and argues that imageries of communism, Yugoslavia and the anticommunist struggle, all carefully ritualized in ceremonies and commemorations, not only reinforced the social memories of exile, but also catalysed the social organization of the diaspora, its political ideology, and the framework of its attitudes towards the homeland and the past.

Physical environments and their images feature increasingly prominently today in efforts to contend publicly with political violence, making aesthetics ever-significant to discourses and practices of testimony. Critics have shown that the publicness of the platforms and practices used in these efforts is marked by disparate levels and types of participation and agency. Relatively underexplored, however, is how those disadvantaged by this disparity navigate it and what role aesthetics may play therein. I explore these questions through fieldwork on architectural memorializations of the 1993 Solingen arson attack where a family with Turkish background were targeted at home in their sleep. I argue that the arson attack has featured in these memorializations not simply as the subject of testimony but also as a force structuring its aesthetics.

Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls 'political-timing-specific' artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives. ; Hélia Marçal and Daniela Salazar, '"Political-Timing-Specific" Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of Memorialization', in Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory , ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Re-, 21 (Berlin: ICI Berlin Press, 2022), pp. 239-54

Given that truth commissions are heavily intertwined with the social politics of societal memory and the historical perception of events, the imagery surrounding these hearings therefore plays a role worth examining throughout this memorialization process. This essay investigates how imagery from South Africa's Truth and Reconciliation Commission (TRC) hearings has experienced an afterlife in the subsequent decades, and how this afterlife may differ from the images' original values and purpose. This body of work examines the extended life of these images beyond that of straightforward media representation of the event—looking at how these archival elements have been reappropriated and incorporated into fine-art bodies of work by artists and documentarians working in photography, such as Sue Williamson, Jo Ratcliffe, Berni Searle, Penny Siopis, and others, in order to respond to the TRC by participating in and driving conversations surrounding the commission's ambiguities, contradictions, and inadequacies. Through a semiotic analysis of the imagery itself, and analysis of the contextual placement and dissemination of the imagery in both its original and subsequent usages, this research therefore seeks to holistically understand the role of visual media in South Africa's era of transitional justice and reckoning.

International audience ; Since 1800s, numerous wars have impacted the cities of Iran. Regarding the urban artwork in Tehran, the capital of Iran, the following question comes to mind: What approach has the urban artwork adopted to represent the war and its related concepts? Adopting a documentary research approach and investigating the concept of war in different eras, this paper attempts to study the sculptures in urban spaces as documents. Based on the books and historical documents, a total of 192 sculptures, which were built from the Qajar dynasty to 2016 have been examined in this study. During the Qajar dynasty, the governments have used sculptures, especially the ones placed in city squares, to demonstrate their power. After the Constitutional Revolution, figures denoting concepts of justice and freedom became pervasive in the squares up until the end of the Pahlavi dynasty. After the Islamic Revolution, the Iran-Iraq war has been called Sacred Defense and the goal of creating statues has been changed to express revolutionary and ideological concepts. Figurative sculptures and busts have been made as a tribute to the martyrs of the Iran-Iraq war. KEYWORDS Sculpture | Urban art | War | Urban space | Tehran

International audience ; Since 1800s, numerous wars have impacted the cities of Iran. Regarding the urban artwork in Tehran, the capital of Iran, the following question comes to mind: What approach has the urban artwork adopted to represent the war and its related concepts? Adopting a documentary research approach and investigating the concept of war in different eras, this paper attempts to study the sculptures in urban spaces as documents. Based on the books and historical documents, a total of 192 sculptures, which were built from the Qajar dynasty to 2016 have been examined in this study. During the Qajar dynasty, the governments have used sculptures, especially the ones placed in city squares, to demonstrate their power. After the Constitutional Revolution, figures denoting concepts of justice and freedom became pervasive in the squares up until the end of the Pahlavi dynasty. After the Islamic Revolution, the Iran-Iraq war has been called Sacred Defense and the goal of creating statues has been changed to express revolutionary and ideological concepts. Figurative sculptures and busts have been made as a tribute to the martyrs of the Iran-Iraq war. KEYWORDS Sculpture | Urban art | War | Urban space | Tehran

International audience ; Since 1800s, numerous wars have impacted the cities of Iran. Regarding the urban artwork in Tehran, the capital of Iran, the following question comes to mind: What approach has the urban artwork adopted to represent the war and its related concepts? Adopting a documentary research approach and investigating the concept of war in different eras, this paper attempts to study the sculptures in urban spaces as documents. Based on the books and historical documents, a total of 192 sculptures, which were built from the Qajar dynasty to 2016 have been examined in this study. During the Qajar dynasty, the governments have used sculptures, especially the ones placed in city squares, to demonstrate their power. After the Constitutional Revolution, figures denoting concepts of justice and freedom became pervasive in the squares up until the end of the Pahlavi dynasty. After the Islamic Revolution, the Iran-Iraq war has been called Sacred Defense and the goal of creating statues has been changed to express revolutionary and ideological concepts. Figurative sculptures and busts have been made as a tribute to the martyrs of the Iran-Iraq war. KEYWORDS Sculpture | Urban art | War | Urban space | Tehran

International audience ; Since 1800s, numerous wars have impacted the cities of Iran. Regarding the urban artwork in Tehran, the capital of Iran, the following question comes to mind: What approach has the urban artwork adopted to represent the war and its related concepts? Adopting a documentary research approach and investigating the concept of war in different eras, this paper attempts to study the sculptures in urban spaces as documents. Based on the books and historical documents, a total of 192 sculptures, which were built from the Qajar dynasty to 2016 have been examined in this study. During the Qajar dynasty, the governments have used sculptures, especially the ones placed in city squares, to demonstrate their power. After the Constitutional Revolution, figures denoting concepts of justice and freedom became pervasive in the squares up until the end of the Pahlavi dynasty. After the Islamic Revolution, the Iran-Iraq war has been called Sacred Defense and the goal of creating statues has been changed to express revolutionary and ideological concepts. Figurative sculptures and busts have been made as a tribute to the martyrs of the Iran-Iraq war. KEYWORDS Sculpture | Urban art | War | Urban space | Tehran