Memorialisation

Kriege und moderne militärische Konflikte bergen das wirkmächtige Potential den Verlauf der Geschichte in einer derart gestauchten chronologischen Abfolge der Geschehnisse zu verändern, die es für Gesellschaften schwer macht, sie in ihrer Gesamtheit und ihren überaus komplexen Konsequenzen zu fassen. Mindestens ebenso schwierig ist es für kleinere sozialen Entitäten, die blutigen, schockierenden, traumatischen und tieftraurigen persönlichen Erfahrungen, die ein Krieg mit sich bringt, zu begreifen. Dennoch sind die Assoziationen, die mit dem historischen Ereignis und der Erfahrung Krieg einhergehen, vielfältiger und facettenreicher, als man zunächst annehmen könnte. Wie das Kriegsgeschehen und sein mittelbares sowie unmittelbares Nachspiel erlebt werden, ist abhängig davon, aus welcher Perspektive man einen Krieg und seinen Ausgang erlebt. Welche Motive ein Staat, eine Nation oder eine Gesellschaft gehabt hat, die Krieg führte, mit welchem Ergebnis dieser Krieg zu einem Ende kam und welche kollektiven oder auch persönlichen Erfahrungen mit ebendiesem Kriegsende verbunden waren, spielt daher die maßgebliche Rolle, wenn man über die Rezeptionsgeschichte und die Erinnerungskultur einer Nation an einen Krieg spricht und sich dieser Problematik mithilfe eines kunsthistorischen, archäologischen, architektonischen oder auch soziologischen Zugangs nähert.

Following the 1994 genocide in Rwanda, the country has been transformed. Among these transformations was the creation of a series of memorials to document, preserve, and commemorate the genocide. In 2016, the National Commission for the Fight Against Genocide (CNLG) estimated there were 265 official memorials; however, this number is ever changing as memorials are created, centralized, or merged. While memorials are now highly legislated by governmental bureaucracy, they were not always. Memorials continue to be significantly influenced by internal survivor organizations such as IBUKA, external NGOs such as AEGIS Trust, and other individuals and/or foreign governmental authorities who donate time, money, and resources. The resultant memory practices have ranged from contentious to complimentary, with distinct differences between the memorials depending on when they were built and survivor input. Finally, memorials are increasing their digital presence through both governmental and non-governmental practices.

Jau ankstyvuoju Maironio kanonizacijos laikotarpiu, iki 1918 m., literatūros kritikoje pasireiškė dvilypė poeto kūrybos vertinimo tendencija: profesionalūs to meto literatūros kritikai didžiausią meninę vertę pripažino intymiajai, gamtos lyrikai, tačiau kartu pažymėjo, kad skaitytojų palankumą ir populiarumą Maironis pelnė ne jos, o savo patriotinių eilių dėka. Lemtingo pastarųjų tekstų poveikio tautiniam atgimimui aspektas tarpukario Lietuvoje tapo esminiu poeto kūrybos vertinimo ir kanonizacijos kriterijumi.
Svarbiausią poziciją nacionaliniame kanone pelniusiomis Maironio kūrybos savybėmis ankstyvojoje kritikoje įvardijamas emocinis įtaigumas, gebėjimas telkti ideologiškai susiskaldžiusią, socialinių ribų padalytą tautinę bendruomenę, formuoti jos tapatybę bei orientuoti jos veiksmus, t. y. steigti estetines ir moralines normas, į kurias galėtų orientuotis bendruomenės nariai.
Apytikriai nuo XX a. antro dešimtmečio vidurio Maironis palaipsniui prarado savo pozicijas aktualiajame literatūros kanone. Kaip viena iš svarbių priežasčių minėtina pakitusi literatūros lauko žaidėjų konsteliacija. Simbolistai, keturvėjininkai, trečiafrontininkai revizavo nacionalinės literatūros kanoną kvestionuodami centrinę Maironio poziciją jame. Vis dėlto, be paskirų Jurgelionio, Binkio, Kiršos publikacijų, kuriose iš tiesų ryškėja Maironio dekanonizacija, dauguma kitų trečio dešimtmečio kritikų teatmetė po 1918 m. pasirodžiusią, esą idėjiškai ir stilistiškai laiko dvasios nebeatitinkančia poeto kūrybą (ypač poemą Mūsų vargai) nepaneigdami Maironio kaip tautinio atgimimo laikų klasiko statuso. Tuo pat metu, kai Maironis jaunosios generacijos kritikų buvo ryžtingai šalinamas iš aktualiojo (dabarties) literatūros kanono, vyresnės kartos kritikų, taip pat besiformuojančio literatūros mokslo ir besikuriančios mokyklinės lietuvių literatūros programos pastangomis Maironis įsitvirtino ilgalaikio reprezentacinio kanono centre. Tam didžiausios reikšmės turėjo palaipsniui susiformavęs Maironio kaip tautinio atgimimo pranašo reikšminis kanonas, ypač turint omenyje, kad Aušros gadynė tarpukario Lietuvos kultūroje buvo tapusi svarbiausia, labiausiai akcentuojama kolektyvinės atminties vieta.
Mokyklinėse tarpukario literatūros programose Maironio kaip svarbiausio lietuvių literatūros klasiko pozicija išryškėjo tik 3-iojo dešimtmečio pabaigoje. Viena iš palyginti vėlyvos mokyklinės Maironio kanonizacijos priežasčių galėjo būti tai, kad pirmosiose (iki valstybingumo atkūrimo) publikuotose lietuvių literatūros istorijose (kuriomis, manytina, rėmėsi programų sudarytojai) Maironio kūrybai dėmesio neskirta. Skaityti privalomi Maironio kūriniai – eilėraščių rinkinys Pavasario balsai ir poema Jaunoji Lietuva – mokyklinėse literatūros programose imti minėti nuo 3-iojo dešimtmečio vidurio. Po 1936 m. švietimo reformos aukštesniųjų klasių mokiniams privalomų Maironio kūrinių sąrašą papildė poema Raseinių Magdė.
Pavasario balsų kanoninio statuso institucionalizavimas mokyklinėje programoje įtvirtina dar prieš Pirmąjį pasaulinį karą literatūros kritikoje įsteigtą Maironio kaip iškiliausio savo kartos lyriko vertinimą. Problemiškesnis atvejis – epinės poeto kūrybos įtraukimas į mokyklinį kanoną. Įvairius poemų kompozicinius, meninės raiškos trūkumus yra vardiję net ir svarbiausi Maironio kanonizuotojai – Juozas Tumas ir Adomas Jakštas, jau neminint itin neigiamų XX a. pradžios kairiosios ideologijos kritikų atsiliepimų. Ideologinę visuomeninę poemos vertę pabrėžiantis Jaunosios Lietuvos pristatymas vadovėliuose ir skaitinių knygose leidžia spėti, kad ji įtraukta į mokyklinę programą dėl amžininkų paliudyto šio kūrinio vaidmens XIX-XX a. sandūroje žadinant lietuvių tautinį sąmoningumą. Raseinių Magdės priskyrimą mokykliniam kanonui manytina lėmė 1936 m. švietimo reformos rengėjų nuostata plėsti ir gilinti tautinio atgimimo literatūros dėstymą mokykloje, taip pat po Maironio mirties (1932) išaugęs poeto kanonizacijos mastas.
Mokyklinio Maironio biografijos naratyvo semantinė ašis – lietuvybė, kiek mažiau akcentuojamos siužetinės linijos – kunigo ir poeto pašaukimas. Maironio kaip lietuvybės puoselėtojo vaizdinį kiek komplikuojantys biografiniai faktai (kad jam ruošiantis stoti į gimnaziją šeimoje su vaikais imta bendrauti išimtinai lenkiškai, kad pirmąsias eiles poetas sukūrė lenkų kalba) vadovėliuose nei skaitiniuose neminimi. Neužsimenama juose ir apie lenkakalbio XIX a. I pusės Vilniaus romantizmo poetinės mokyklos poveikį Maironio kūrybai.
Mokyklinis poeto biografijos pateikimas ir kūrybos vertinimas buvo nulemtas bendrųjų tarpukario lietuvių kultūros tendencijų. Aptariamu laikotarpiu centrine kolektyvinės atminties vieta buvo tapęs tautinis atgimimas, todėl ir iškiliausias to meto poetas, savo eilėmis reikšmingai prisidėjęs prie masių nacionalizavimo, mokiniams pirmiausia buvo pristatomas per visuomeninės jo kūrybos reikšmės prizmę.
1932 m. spaudoje detaliai perteiktos, vertintos ir komentuotos Maironio laidotuvių iškilmės, gausūs nekrologai bei po klasiko mirties surengtų Maironio septyniasdešimtmečio iškilmių scenarijus leidžia teigti, kad 4-ojo dešimtmečio pradžioje Maironis užėmė centrinę vietą nacionalinės literatūros kanone. Pats mirties faktas suteikė papildomą impulsą šio poeto kanonizacijai ir padėjo pagrindą patriotinio Maironio kulto formavimuisi. Siekiant atskleisti netekties mastą, Maironiui skirtuose nekrologuose poeto kūrybos reikšmė vertin- ta kone išimtinai visuomeninio, istorinio jos poveikio kriterijumi. Maironis aukštintas visų pirma kaip tautinio atgimimo pranašas, savo eilėmis prikėlęs lietuvius kovai už savo kalbą, kultūrą ir valstybingumą. Tautinio atgimimo epocha tarpukariu  buvo tapusi svarbiausia kolektyvinės atminties vieta, o atgimimo dainiumi praminto Maironio kūryba laikyta ne tik šios herojinės epochos liudytoja, jai priskirta bendruomenės išlikimui gyvybiškai svarbi jos mobilizavimo bei tautinės ir pilietinės tapatybės formavimo funkcija. Apeliuodami į ją L. Gira ir B. Brazdžionis ragino kurti Maironio kultą kaip priemonę, galinčią suaktyvinti po valstybingumo atkūrimo nusilpusį lietuvių patriotizmą.
Nė vienas kitas rašytojas Lietuvos respublikos laikotarpiu nesulaukė tiek daug valstybės dėmesio ir finansinių išteklių, kiek buvo skirta Maironio įamžinimui. Nepaisant to, A. Smetonos režimui oponavę kultūrininkai kritiškai vertino politinio elito pastangas įamžinti poeto atminimą. Kritikuotos tiek iškiliausiam tautiniam poetui esą per pigios mauzoliejaus statybinės medžiagos, tiek paties Maironio pasirinkta epitafija bei B. Bučo sukurtas velionio horeljefas. Pastarieji neatitiko Maironio kaip ryžtingo atgimimo pranašo vaizdinio, kuris imtas formuoti dar XX a. pradžios kritinėje recepcijoje, bet labiausiai įsigalėjo jau po poeto mirties.
Memorialinio Maironio muziejaus steigimas taip pat liudija, kad Maironis 4-ajame de- šimtmetyje buvo tapęs nacionalinės literatūros klasiku: visas jo palikimas, autentiška gyvenamoji aplinka buvo traktuojami kaip kultūrinė vertybė, kurią būtina išsaugoti ir perduoti ateities kartoms. Vėliau muziejuje ėmus kaupti ne tik Maironio, bet ir jo amžininkų rašytojų palikimą ir tokiu būdu pavertus jį lietuvių literatūros muziejumi, Maironio vardas tapo visos nacionalinės literatūros emblema.

The burial photograph taken at a German Cemetery on the 4 April 1944 is of Flight Sergeant Jones DFM’s funeral. His daughter Gill Sarsby was born one month after this event so they never met. Gill has always mourned not knowing her father, and only having a small amount of material culture linking them, the objects have an elevated importance. The artefact investigated in this study is the burial photograph of Flight Sergeant Jones. This precious object is deciphered using the interdisciplinary approach of Modern Conflict Archaeology, by which the photograph becomes a conduit for discovery. But also the main informant Gill is a focus of investigation to better understand the relationships between loss, material culture, memorialisation and memory. Through material culture research, engagement with landscape, memory and imagination, it will be shown an individual who had never known her father was able to feel an emotional connection with him and a gap between generations created by twentieth century conflict was bridged.

Cremation is a complex and variable fiery technology. Across the human past and present, fire has been variously deployed to transform the dead in a range of spatial and social contexts. Often operating together with other disposal methods, cremation has risen and fallen in popularity in association with many shifts in mortuary practice since the Stone Age (Cerezo-Román & Williams 2014;Williams et al. 2017).Yet ‘cre- mation’ is far more than just the fiery dissolution of the human cadaver: in the human past and present it is often part of a multi-staged mortuary process that can afford a range of distinctive spatial and material possibilities for the translation and curation of the ‘cremains’ or ‘ashes’ together with a range of other mate- rial cultures and substances. By rendering cadavers fragmented, shrunken, and distorted, burning bodies not only denies decomposition and speeds corpse transformation, it renders the dead portable and partible. In a range of subsequent post-cremation practices and beliefs, ‘ashes’ from pyres can be considered a versatile mnemonic and numinous substance which might be consigned to graves and tombs, but also readily strewn over land and water or integrated into above-ground architectures and portable material cultures. Hence, not only does cremation involve fiery transformation, it facilitates the creation of varied and distinctive landscapes of death and memory through the deposition and commemoration of the dead in which ashes facilitate remembering and forgetting through their presence and their staged absence.

This chapter examines how refugee tour guides in Berlin use memorials to mediate and represent the trails of collective memory from other places and times, and place themselves within the ongoing history of movement and migration inherent to Berlin. The chapter argues that in the context of Germany’s ambivalent hospitality towards refugees, these tours act as a transcultural memory activism that allows refugees to interlace their memories into the host society’s shared collective memory to negotiate their inclusion. This memory activism deploys memory mixing to open up a space of recognition and interchange, offer potentials of hybridity, and assign new meanings to dominant memory narratives. Hence, the tours also suggest the potential of opening up memorials as a resource for protesting suffering and injustices and disrupting notions of cultural purity.

On the occasion of the opening in 2020 of the Main Cathedral of the Russian Armed Forces, stylistic trends of modern Orthodox architecture and ecclesiastical art are analyzed. It’s considered the phenomenon of the reconstruction of the Cathedral of Christ the Savior in Moscow, its influence on the development of monumental religious painting in Russia, as well as the building the Cathedral of the New Martyrs and Confessors of the Russian Church on Lubyanka. The problematic of the style of new Orthodox architecture and ecclesiastical art is formulated in terms of eclecticism (historicism) that has a programmatic symbolic meaning in the context of the “statization” of Russian art culture of the past few decades.

This article discusses the relationship between violence and public space in light of a collectively perpetrated and widely televised arson attack that took place in 1993 in Sivas, Turkey, and its recent on-site commemorations. It draws on critical theoretical perspectives developed since the 1990s to consider conventional models of public space as entangled in violence, while also aiming to contribute to contemporary scholarship on contrarian responses to this entanglement. The tendency in this scholarship is to identify these responses as bottom-up, unscripted, performative and direct, and therefore as diametrically opposed to those identified as top-down, scripted, rational, and legislation-facing. The multifarious initiatives and interventions involving contextually shifting priorities, positions and strategies that mark the case discussed in this article call this tendency into question. Unassimilable under such binary oppositions, these initiatives and interventions have not refrained from engaging conventional models of public space while also developing and mobilizing contrarian ones. This article ultimately argues that public space is not just where violence occurs but also where its semantic disambiguation is pursued; this pursuit, which involves various forms of socio-political work, in turn defines and continually redefines the very distinction between conventional and contrarian imaginaries of public space.

Resumo:  O objectivo da salvaguarda dos bens patrimoniais é a consolidação de traços identitários dos nossos antepassados. O homem necessita de memória histórica, ou seja, de interiorização do passado; como ser cultural, ele não poderá evoluir sem o sentimento das tradições. A evocação e a invocação da História, de necessidade vital para o futuro do homem como essência histórica, não podem extinguir-se. É um facto social incontestado que os cidadãos têm consciência do valor histórico e da riqueza etnográfica da sua herança colectiva, espelho e vector da sua identidade, mobilizando-se com determinação assumida nas tarefas urgentes da sua defesa. Com estes combates e manifestações de vigoroso dinamismo intenta-se preservar, para as gerações vindouras, a precariedade dos vestígios materiais de milénios de história humana e de entidade cultural. O conceito alargado de memória cultural relaciona-se com todas as áreas da moderna percepção de defesa do património, desde a clássica área da conservação e restauro do património arqueológico à conservação de um monumento técnico. Ele encerra a força e o valor da tradição com o testemunho dos valores estéticos e éticos inerentes. Preservar e documentar o passado e a identidade histórica significa declarar-se também partidário da coexistência qualificada do novo na História, mercê de um diálogo articulado e mutuamente benéfico com a actualidade, com a 'nova vida' e exigências socioculturais e com as consequentes transformações da arquitectura, perante as oportunidades e capacidades do desenvolvimento da ciência e das inovações tecnológicas. A salvaguarda do património arquitectónico é considerada como um modo de defesa global do ambiente que não se preocupa só com a protecção do espaço vital natural, mas também com a do espaço vital colectivo desenhado pelo homem no decurso da sua existência. Não faltam, por isso, normas e directivas internacionais apelando todas para a necessidade de salvaguarda integrada da herança comunitária.
Abstract: The goal of safeguarding historical heritage is to consolidate the identity traits of our ancestors. Man needs historical memory, that is, of interiorization of the past; as a cultural being, it can not evolve without the feeling of traditions. The evocation of history, of vital necessity for the future of man as a historical essence, can not be extinguished. It is an uncontested social fact that citizens are aware of the historical value and ethnographic richness of their collective heritage, mirror of their identity, mobilizing with determination in the urgent tasks of their defense. With these manifestations of vigorous dynamism we try to preserve for the generations to come the precariousness of the material vestiges of millennia of human history and of cultural entity. The broad concept of cultural memory is related to all areas of the modern perception of heritage defense, from the area of conservation and restoration of the archaeological heritage to the conservation of a technical monument. It closes the strength and value of tradition with the witness of inherent aesthetic and ethical values. Preserving the past and the historical identity means to declare itself also a partisan of the qualified coexistence of the new in history, through an articulated dialogue with the present, with the 'new life' and sociocultural requirements and with the consequent transformations of architecture, given the opportunities and capacities of the development of science and technological innovations. The safeguarding of the architectural heritage is considered as a global defense of the environment which is not only concerned with the protection of the natural living space but also with the collective life space designed by man in the course of his life. That is why international norms are not lacking, all appealing to the need for an integrated safeguard of the community heritage.

This article explores how notions of loss and absence are constituted through Indonesian
eksil (exile) life narratives including their development of private collections of leftist literature,
personal diaries, obituaries and personal documents, in order to explore the interrelational
aspects of materiality, acts of mourning and their place in the memorialisation of
the left in diaspora. I suggest that both the acts of collecting and the individual narratives of
failure, loss and absence have unifying effects and act as different agentic modalities that
work towards redemptive hope for the future.

Chap. 13. The end of the donor portrait in the Dutch Republic left a gap in the artistic repertoire of spiritual self-imagination. The absence of portraits in ecclesiastical environments, as part of a commemorative cult, has stimulated the rise of the autonomous biblical portrait historié in secular spaces. Since the rise of the Modern Devotion, being portrayed in a religious scene was a way to testify in person of one’s search for forgiveness, mercy and rapprochement to God. The primacy of Scripture and the “Word-oriented” visual culture of the Reformation, in connection to the Dutch Israel imagery, attested to the popularity of the biblical portrait historié in civic context. Biblical portraiture could be theologically legitimised on the basis of guidelines in commentaries on catechisms, although this does not explain its practical purpose. It has been argued that secularized mentality penetrated devotional art and destroyed it from within. It remains unclear whether or not a family portrait with a biblical subject a for private home actually differs in use from an altarpiece or other devotional works of art containing portraits. To attend to this matter, general questions about functionality and devotional practice of portraits need to be studied first. The debates about the Andachtsbild and the differences between private and public art also complicate an overall interpretation of the portrait historié.

Before the Reformation, Dutch artists were already aware of the symbolic relationship between subject matter and form (or function) of religious paintings. In the autonomous biblical portrait historié – i.e. the secularised type – form, figuration and fashion were often linked to the discussion on the functionality of religious art. Often one finds critial references to pious practises: e.g. the pseudo-donor portrait in Delff’s Jacob and Esau: a criticism on intercession of saints; or the fact that Fabritius’s centurion before Peter does not kneel in veneration of the apostle. Catholic defenses against the reproach of idolatry and reactions from Protestants make clear how portraiture and remembrance were viewed from a religious perspective. According to the Reformed view, there is an essential distinction between paintings in the church and those at the home because of a difference in use. Portraits were allowed at home according to Ursinus’s guidelines, that fitted seamlessly with Calvin’s approval of representations of visible creatures. In the Reformed restrictions of art, one can find further explanation for the success of the biblical portrait historié. Not only does this type of portrait only have a civic use, but it also meets all the requirements that were set for art. For it serves as a remembrance, not only of the portrayed, in the Paulinic sense, but also of the biblical story, while the image as a rule also contains a moralistic message.

The reasons given for portrayal as a specific biblical figure or participant in a biblical scene, mainly explain the choice of subject rather than the motivations for that identification. Reformed critiques of the phenomenon portrait historié have not been handed down, and its assessment can only be interpreted indirectly. In some catechetical texts dramatically performed roles are discussed, which may offer some insight into how this kind of role play in religious art was judged – though views differ widely. Biblical parallels and comparison between persons were often justified in an euhemeric way, because of the conformity with God. Both the perfectionist pursuit of conformity with Christ and the imitation of exemplary figures in calvinist sanctification can be seen as adaptations of the medieval imitatio Christi to the Reformed theology of predestination. By following in the footsteps of Old Testament forerunners, and by being portrayed as patriarchs and the people elect, the Dutch placed themselves, as it were, in the succession from the Old to the New Covenant. In the biblical portrait historié, the Christian actually portrays himself as a Christian; in Old Testament scenes without risk of a personal glorification, so as to disprove allegations of vainglory and idolatry. The analogy in Old Testament portraits histories was seldom based on individual parallels. The choice of subject seems to have been as important as the identification with a biblical figure. The autonomous biblical portrait historié is a painterly representation of the personal empathy of the people portrayed with the Dutch Israel. Inherent to the doctrine of predestination is that biblical figures, as representatives of the contemporary persons, are not actually the acting figures of the story, but God, who works in the form of the Holy Spirit, who reveals himself in Grace who remains invisible to the believer and the spectator.

13. Religieuze portretkunst in context 579
13.1. Het bijbelse portrait historié als gedachtenis 579
13.2. Nog één maal de bijbelse rol 598
13.3. Euhemerisme en gelijkvormigheid aan Christus in de zeventiende eeuw 601
13.4. Nawoord 605

On the Transmigration of Souls, an orchestral work written and published by Adams in 2002, facilitates human recovery from a different angle than composers have previously taken in pre-September 11th memorial music. Instead of merely commemorating the tragic events of that day, Adams sought to take the audience through a complete process of grieving, and then go even farther. He hoped to help them remember what happened, acknowledge their hurt, and then begin to move beyond it, or “transmigrate” in a unique and highly individualized way. Instead of composing with the intent that each audience member will feel a specific emotion, Adams leaves space for each person to be alone with his or her thoughts. His primary goal was that the emotions felt by each individual should be genuinely his or her own. He successfully creates this new form of expression through the use of various modern compositional techniques, the manipulation of time and text, the creation of musical space, and the allowance for an individual experience full of meditation and introspection.

La ricerca indaga gli spazi culturali del ricordo, ovvero quei luoghi dove risiede la memoria collettiva legata ai drammi del Novecento in Europa, nel periodo che va dalla fine della Prima Guerra Mondiale ai conflitti nei Balcani. Questi luoghi della memoria, presenti sia nel contesto urbano della città sia nel territorio, possono essere considerati all’interno di un sistema museografico diffuso che non si ferma alla semplice commemorazione ma diventa un luogo attivo/performativo che ha come obiettivi la trasmissione del ricordo e la partecipazione delle comunità locali. I temi, tuttora oggetto di studio del gruppo di ricerca coordinato da Luca Basso Peressut e Gennaro Postiglione, sono stati analizzati all’interno delle attività di ricerca del PRIN 2008 “L’intervento nelle aree archeologiche per la musealizzazione e la comunicazione culturale” e successivamente confluiti nel progetto internazionale “REcall- European Conflict Archaeological Landscape Reappropriation” (www.recall-project.polimi.it) di cui il prof. Gennaro Postiglione è Project Leader e la PhD Candidate Michela Bassanelli è il Principal Investigator.

Forty years since Idi Amin's infamous 1972 expulsion order of the Indian community from Uganda, there has been a prolific peak in the online memorialisation of this deracination experience. This content, namely on the social networking phenomenon Facebook, has been disseminated by outreach projects seeking to mark the fortieth anniversary. Here an interpretation of this intervention is offered: using scholarship on new media, memorialisation, and the expulsion itself, this article contributes to these fields by examining the move away from the physical markers of remembrance, such as Holocaust memorials, to online spaces of remembrance. Demonstrating the peculiar nature of the virtual memorial, this critique foregrounds how such spaces enable a diaspora now displaced globally. Concluding with speculations on the way in which digital data might be managed in the future, the article emphasises how the need to remember is taking new forms, and the partnership physical and virtual memorials engender.

Mined landscapes represent the exploitation of earth’s resources, but they also provide evidence for the unequal power relations and changing attitudes to resource use (including both geology and human beings as resources) within mining communities and their surrounding political and economic contexts. This study explores the impacts that gold mining has had on the landscapes of Johannesburg, South Africa, with particular reference to how land used for Black mine workers’ cemeteries was reclaimed and used to store mine waste. The study describes how the uncovering of an early-20th century cemetery site beneath a mine waste dump poses questions on the meaning and significance of the dead in the urban industrial landscape. The deliberate burial and then accidental rediscovery of these bodies some 100 years later is a significant metaphor for the reinterpretation of racialized urban landscapes in South Africa.

MEMORIAL EARTH PARK ©
AN ENVIRONMENTALLY SUSTAINABLE PUBLIC SPACE, SYNTHESIZING BURIAL MOUNDS, FAMILY TREES AND HUMAN BODY COMPOSTING IN NORTH TEXAS

Gregory Alan Craig, PLA, LEED AP BD+C, MLA
The University of Texas At Arlington, 2019
Supervising Professor: Dr. Diane Jones Allen

Over the next 30 years, the population growth in North Texas will place increasing demands on our urban infrastructure and natural resources, while reducing our available public land and open space. Impacts from expanded urban development will decrease our tree canopy coverage, reduce air & water quality and increase impervious surfaces, urban heat island effects and storm water flooding. Environmental sustainability is critical to combat the negative impacts of future growth in North Texas.
The memorial landscape is a landscape of tremendous cultural significance in America (Wasserman, 1998) , but the two most traditional means of disposing of human remains are not sustainable, have significant carbon footprints, impose harsh environmental impacts and consume open space that is increasingly scarce in our ever expanding urban regions. Fortunately, new green death care technologies will provide opportunities for cities to create culturally significant and enduring memorial landscape. In recent years, scientific innovations and shifting outlooks on death have bred a change in the ways Americans plan for the fate of their dearly departed, including human body composting and green burial practices that offer a more sustainable vision of death in the future.
The objective of this design thesis is to research the history, form, spiritual and symbolic nature of man-made, burial and ceremonial mounds, while investigating human body composting. The goal is to synthesize a new land-form typology and create an environmentally sustainable, memorial mound park in the North Texas region. A memorial park designed around the principles of environmental sustainability. Sustainability that goes beyond site issues and addresses the issues inherent with traditional human body disposition.

These are the first few pages of chapter 2 in the book I am writing on the photographic projects of Vivan Sundaram. The chapter deals with questions of memorialisation and the possible relationships between art and politics, history and memory, in the context of an analysis of Sundaram's important installation titled Memorial, 1993.

Final evaluation of the project ´Healing and Reconciliation for Victims of Torture from the Khmer Rouge Trauma´, a reparation project in Case 002 of the Extraordinary Chambers in the Courts of Cambodia designed and implemented by the Transcultural Psychosocial Organization Cambodia and Kdei Karuna in collaboration with and through funding by USAID.

The project spanned three years and aimed to help Cambodians heal from the effects of torture. Working at the community level, it provided psycho-education sessions, individual and group therapy, community-based dialogues and forum theater, national public forums and capacity building for psychological staff and community-based facilitators.

Responsibilities: Served as team leader with full responsibility for the evaluation design and implementation.

Editing by Mercy Ananeh-Frempong.

Suggested Citation:
Poluda, J., Siv, S., & Khut, J. (2019). Evaluation of the Project ´Healing and Reconciliation for Victims of Torture from the Khmer Rouge Trauma´. USAID, TPO Cambodia, Kdei Karuna. https://tpocambodia.org/wp-content/uploads/2014/06/USAID_Cambodia_TPO_KdK_Evaluation-Report_Poluda_Jan-2020.pdf

Considered selected examples of contemporary art (Russian and foreign) addressed to the topic of monumentalization / memorialization. Emphasized the problem of “spiritual emptiness” in the public consciousness, as well as the possibility of its solution by artistic means. In the field of attention - the degree of correspondence of selected works to the declared topic, the possibility of terminological definition of current trends of the latest monumental art.
Анализируются примеры современного искусства (российского и зарубежного), обращенного к теме монументализации / мемориализации. Акцентирована проблема «духовной пустоты» в общественном сознании, а также проблема возможности ее решения художественными средствами. В сфере исследовательского внимания - степень соответствия избранных произведений заявленной теме, возможности терминологического определения актуальных тенденций новейшего монументального искусства.

Memorials are objects, structures, or (real or virtual) places that serve to focus the memory of conflict related violence. By pinning memory to a location, they fix it in place. Memorials serve as vessels for information in a metaphorical but also in a highly material way, for they are archives of facts and artifacts, storage spaces for documents, images, and sometimes also human remains. Memorials, in addition, are sites to learn about past atrocities, both cognitively and emotionally, and educate visitors through images, metaphors, and symbols as well as, in many cases, texts, videos, and guided tours. In transitional justice
processes, memorialization serves as a means of symbolic reparation, thus expanding the scope of dealing with the legacy of violent conflicts and repression from tribunals, truth commissions, and monetary reparations to memorials and commemorations.

Im Juni 2013 wurde am Stadtrand von Moskau Russlands erster National-friedhof eröffnet. Die Entwürfe aus dem Jahr 2003 sahen einen parkähnlichen Landschaftsfriedhof vor, der Elemente des amerikanischen Nationalfriedhofs Arlington aufgriff. Doch die Ergebnisse des Wettbewerbs wurden unter der Hand revidiert. Anstelle eines von Architekten entworfenen Ortes rangunabhängiger Bestattungen und stiller Trauer entstand ein von Bildhauern gestalteter Friedhof der Helden und Generäle im sowjetischen Monumentalstil. Ein Bruch mit der Tradition war nicht im Interesse des Verteidigungsministeriums, das das Verfahren dominierte. Der neue Friedhof huldigt einem panhistorischen Militarismus, in dem die Geschichte Russlands als eine Abfolge heroischer Siege erscheint.

prologue, intro and afterword of book
Publication date: October 20, 2016
Abstract:
Restrictive border protection policies directed toward managing the flow of refugees coming into neoliberal democracies (and out of failing nation-states) are a defining feature of contemporary politics. In this book, Verónica Tello analyses how contemporary artists--such as Tania Bruguera, Isaac Julien, Rosemary Laing, Dierk Schmidt, Hito Steyerl, Lyndell Brown and Charles Green--negotiate their diverse subject positions while addressing and taking part in the production of images associated with refugee experiences and histories. Tello argues that their practices, which manifest across a range of contexts including Cuba, the United States, Australia and Europe, represent an emergent, global paradigm of contemporary art, 'counter-memorial aesthetics'.

Counter-memorial aesthetics, Tello argues, is characterized by its conjunction of heterogeneous signifiers and voices of many times and places, generating an experimental, non-teleological approach to the construction of contemporary history, which also takes into account the complex, disorienting spatial affects of globalization. Spanning performance art, experimental 'history painting', aftermath photography and video installation, counter-memorial aesthetics bring to the fore, Tello argues, how contemporary refugee flows and related traumatic events critically challenge and conflict with many existing, tired if not also stubborn notions of national identity, borders, history and memory.

Building on the writings of such thinkers as Michel Foucault and Jacques Rancière, this book offers a useful concept of 'counter-memory' for the twenty-first century. It shows how counter-memorial aesthetics is not only central to the nexus of contemporary art and refugee histories but also how it can offer a way of being critically present with many other, often interrelated, global crises in the contemporary era.

http://bloomsbury.com/us/counter-memorial-aesthetics-9781474252737/

More recently feminist have shed the light on the inability of transitional justice processes, particularly those focused on criminal prosecution, to dispense a form of meaningful justice that responds to the women victims’ various needs of participation, reparation and restoration (Cahn 2005; De Brouwer 2007; Aroussi 2011). However, the study of the gender aspect of memorialisation in transitional justice has not yet been studied by feminist scholars. This chapter focuses on the marginalisation of women in memorialisation processes. In its first section the chapter discusses in a general manner the gender stereotyped nature of memorialisation processes and of the memorials dedicated to women victims. The author links this phenomenon to the construction of nationalism in post conflict societies. The second section of this chapter looks at the Republican and Loyalist murals of Northern Ireland as case study of gender in memorialisation. The example of Northern Ireland is unique in that it shows how memorialisation pursued without a holistic transitional justice can become another space where the conflicting parties continue to struggle for control over the past and the present.
In this process women’s own narratives of the past and their roles during the conflict as victims and agents are silenced and distorted

John Smith (d. 1481), or Jankyn as he is more commonly known, is still commemorated annually in Bury St. Edmunds as one of the major benefactors of the town. Most of what we know of him derives from his will. He established a chantry in St. Mary’s church. He also augmented and provided for the incorporation of a college of priests, the College of Jesus. Most important of all, he set up a charity for the payment of town taxes. Jankyn
contributed to the extension of St. Mary’s. He was buried in the north aisle before the door of the altar of St. John. His brass, which has been moved to a different part of the church, shows Jankyn and his wife kneeling in prayer with scrolls extending upwards. There is no devotional image in the composition, perhaps because it was originally positioned close to the image of St. John that stood at the entrance to the chapel. The brass to Jankyn would thus have shown him praying to the very image of his name saint to whom he would have addressed prayers in his lifetime.

During the Second World War, the world’s press faced the difficult task of recording the horrific scenes of conflict, death and destruction they had witnessed across Europe. Often these scenes were so incredulous that many reporters found it impossible to articulate what they had seen into words and turned to photographers to translate the horrors into visual images. The war photograph, therefore, took on the crucial role not only of historical document, but also as a means to inform, provoke, shock and remind. In this essay, I will discuss how the American Surrealist and war correspondent Lee Miller recorded horrors of the Second World War, and the concentration camps at Dachau and Buchenwald, in particular. Through the Surrealist practice of ‘fragmentation’ she was able to use her knowledge of art to break down, or ‘fragment’, scenes of death and destruction into smaller, digestible chunks for the readers of Vogue magazine on both sides of the Atlantic. As hybrids of art and historical documentation, Miller’s concentration camp photographs become ‘modern memorials’ to the victims of war and the Holocaust.

"Representations", N. 129, Winter 2015.

The essay analyzes the project of maintaining the body of V. I. Lenin in the Mausoleum in Moscow for the past ninety years, focusing on the unique biological science that developed around this project, and the unexpected political role this body has performed.

Quando scrive, Emilio Lussu disseziona il passato italiano. In questa ricerca, cerchiamo di individuare in quella retrospettiva i riflessi del (e sul) presente degli anni Trenta. I libri della maturità autoriale, quelli che la critica ha accolto fra i classici del Novecento, escono durante un arco temporale incandescente. Il sardo fa politica, o storia politica, letterariamente. Nel 1933, quando appare “Marcia su Roma e dintorni”, Hitler rende il fascismo «una cosa seria», come coglierà Carlo Rosselli. Nel frattempo, il fuoruscitismo litiga. Il memoriale sul trionfo di Mussolini, e di conseguenza la disfatta dell’Aventino, pare riverberare sulla pubblicistica giellista. Si propone di affiancare al testo e alla sua condanna della classe dirigente di allora un’altra cronaca «in presa diretta», quella di Pietro Nenni nella ”Storia di quattro anni” (1926). L'abbecedario giacobino “Teoria dell’insurrezione” (1936) è il «suo» testo, tanto da fargli procrastinare la stesura, più remunerativa, di “Un anno sull’Altipiano” (1938) che, nei temi, anticipa. Si raffrontano i sovversivismi del trattato a quelli della “Tecnica del colpo di Stato” (1931), un’apologia della violenza di Curzio Malaparte.
Si indaga come mai, alla vigilia di un nuovo conflitto, non si esauriscano nel pacifismo i ricordi della guerra, demoniaca e disumana, racchiusi in “Un anno” e perché combattere sia una «necessità» da compiere fino in fondo, sennò si sacrifica il futuro. L’apparente contraddizione fra la smania d’azione e lo stadio da «macchina da scrivere», altrimenti vituperata, si risolve in un’ipotesi: la letteratura, l’invenzione poetica, hanno compensato i limiti politici di Lussu.

Presentation and slides at the commemorative conference "80 years Tertele", organized by the Dersim Cultural Association Berlin (Dersim Kulturgemeinde Berlin) and the Federation of Dersim Associations in Europe (FDG) in Berlin, 6th May, 2017

This dissertation seeks to determine the impact of practices of memorialisation and commemoration of war crime sites from the 1990s on post-conflict reconciliation in Bosnia-Herzegovina. Through three substantial case studies – Sarajevo, Srebrenica and Prijedor – and using a combination of qualitative research methods – observation, media analysis and semi-structured interviews – it finds memorialisation to be an essential tool for dealing with a traumatic past. However, as currently employed in Bosnia-Herzegovina, it is also having significant damaging effects on the reconciliation process. The title, How (Not) to Remember, is a phrase borrowed from Ger Duijzings (2007: 161).

This thesis investigates artistic post-mortem photography in the context of shifting social relationship with death in the 1980s and 1990s. Analyzing Nan Goldin’s 'Cookie in Her Casket' and Andres Serrano’s 'The Morgue', I argue that artists engaging in postmortem photography demonstrate care for the deceased. Further, that demonstrable care in photographing the dead responds to a crisis of the late 1980s and early 1990s in America. At the time, death returned to social and political discourse with the visibility of AIDS and cancer and the euthanasia debates, spurring on photographic engagement with the corpse.

The push for the global acceptance of the Holodomor as a mass extermination perpetrated by the Stalinist government was a central issue for the presidency of Viktor Yushchenko (2005-2010). His campaign for the acceptance of the Holodomor as a genocide was aided by strong emotional appeals and legislation. Yushchenko unified the Ukrainian public in seeing the Holodomor Genocide as a crucial part of Ukraine’s national narrative and identity. But, his agitation and methods also caused geopolitical rifts and he was criticized by scholars and by his political opposition. Finally, the subsequent presidency of Viktor Yanukovych attempted to push back against the ideology presented by Yushchenko. It remains to be seen whether or not members of the Ukrainian public will continue to identify with Yushchenko’s “post-genocide” conception of the country, in which Ukrainians are “collective victims the Communist regime.”

This compilation explores the way how the German attack on Poland 80 years ago was perceived and captured by German Soldiers in diaries and photo albums. It looks at the first crimes which were committed at the beginning of WW II and at issues of remembrance and memorialization of the events.

During the period of NR/SR Bosnia & Herzegovina (1945-1992) thousands of monuments commemorating the People’s Liberation War, Struggle and Movement (commonly referred to in abbreviated form as NOR, NOB and NOP – henceforth collectively referred to as NOB) were created and unveiled on its territory. In recent decades, these monuments to the NOB have often become forgotten, ignored, or exposed to unquantifiable damage. The reasons for this ‘unquantifiability’ stem, in part, from the lack of a comprehensive recording system among and between stakeholders during the period of SRBiH, and the destruction of archives of stakeholders during the 1992-95 war and its immediate aftermath, but have been inarguably exacerbated by the administrative system in Bosnia & Herzegovina in the present day.

This paper aims to give a brief overview of the current situation of monuments to the People’s Liberation War, Struggle and Movement on the territory of the present-day City of Doboj, in the Republika Srpska entity.

The report and further information can be found at https://www.spomenicinob.info/doboj

The artefacts within our parish churches can add an important dimension to the archaeological study of the buildings themselves. Many categories of fixtures, fittings and ornaments have received detailed attention from art historians
as to their typology and development, but one aspect that has been neglected is the reasons why so many religious artefacts were provided by pious members of church congregations. They sought commemoration not just by erecting tomb monuments but also through many other forms of memoria. This paper, which covers the period c1300–1558, examines the responses of individuals to the doctrine of Purgatory by carrying out good works to improve their chances
of salvation.

In 2017 in Russia and Ukraine, the 1917 Revolution still appears as a troublesome event, a source for disasters. This paper aims at explaining why these "days that shook the world" still cannot become a part of the national narrative in Russia nor in Ukraine by highlighting the way the event has been called all through the pas hundred years.
En 2017 en Russie et en Ukraine, la révolution de 1917 apparaît toujours comme un moment de dissensus, propice aux errements. Pour comprendre pourquoi ces « jours qui ébranlèrent le monde » ne peuvent pas jusqu’aujourd’hui former un chapitre du roman national qu’il soit ukrainien ou russe, on interrogera la façon de désigner l’événement depuis un siècle.

F*ck May 68, Fight Now: Exploring the Uses of the Radical Past from 1968 to Today

Session 1: History is a Weapon

June 8, 2018

Department of History, University of Liverpool

https://archive.discoversociety.org/2018/09/04/circumnavigating-the-past-foreclosing-the-future-commemoration-of-the-radical-past-in-the-amnesiac-present/

Merenics Éva: Individuality, Collectivity, Locality and Transnationality in Armenian Genocide Processing
– Summary –

Hundred years after the beginning of the Armenian genocide, the mass trauma still causes serious tensions not only in Armenian communities bearing the heritage of survivors, but also at the field of international politics. Mostly state recognitions and Turkey’s negative attitude to them indicated these tensions in the year of submitting the present dissertation (2015). This phenomenon has been present for a century, and depending on various factors it has appeared with different intensity.

The related doctoral dissertation attempts to discover the dynamics of both responding individually and collectively to the traumatic event, and also to related political tensions within four different Armenian communities with different social and political backgrounds. These are the ones of the United States, Lebanon, Hungary, and Armenians in the present homeland, which was part of the Soviet Union for several decades. The features of the observed Armenian minority groups are that they are either politically and legally recognised by the host states or quite large in numbers compared to the number of Armenians worldwide, or compared to the number of inhabitants of their host countries. In contrast to them, Armenians of the Armenian Soviet Socialist Republic [SSR] constituted the numerical majority of the inhabitants of the country and could therefore shape the social, political, economic, legal and cultural fields. Still, the Armenian SSR was subordinated to the central power in Moscow, therefore it had limited opportunities to realise genuine social and political solutions.

The related dissertation observes these communities in the period when Armenians did not have an independent homeland, from 1920 to 1991. Genocide trauma processing was influenced in this period by many factors. In parallel with transgenerational effects of the trauma passed on within Armenian families, also the social and political environment in the given states impacted it. Besides, experiencing a certain way of trauma processing in a given Armenian community often led to solidarity or support by other Armenian communities, not only because of the shared experience, but also because of the exchange of ideas and information. Pan-Armenian institutional and organisational networks ensured maintaining relations and communication between geographically distant communities within the frameworks of transnational relations. Finally, local norms determined everyday life and genocide trauma processing for Armenians.

The results contribute to the understanding of mass trauma processing and its effects in the social and political spheres in the affected areas and communities. The dissertation also touches upon the issues of ethnic majority and minority relations and maintaining the identity of minorities. Several examples show possibilities for peaceful international conflict resolution, the risks of apparently dormant conflicts and the need for the resolution of these.

Vinayak Damodar Savarkar (1883-1966) played a major role in the Indian Freedom Struggle against British colonial rule as an activist and politician. He was a leader in the Hindu Mahasabha and is known for the formulation of the Hindu nationalist philosophy of Hindutva. He was popularly known as Swatantryaveer (freedom fighter in Marathi) and had burnt imported goods at the spot on which a memorial was built to commemorate the event that took place in 1905. The presentation looks at the career of the great poet and freedom fighter and the process of designing and executing the interior for 124 strong audience in the hall.