Memory Places

Although Fourth Ezra and Second Baruch roughly date to the same era (late 1st to mid-2nd century) and respond to the same catastrophe (destruction of the Second Temple), use the same narrative device of pseudepigraphy and narrative foil (destruction of the First Temple), it has been noted that their theologies and theodicies are markedly different. In addition, the narrative point of view also differs, informed as it is by the chosen narrator personae. Baruch is actually located in Jerusalem and near the Temple Mount in the wake of its destruction, whereas Ezra – by his own account – is removed in time (30 years after the destruction) and space (located in Babylonia). He is thus looking back and looking in.

This paper asks to what degree these different perspectives influence their portrayal of the city of Jerusalem.

It has now been published in: Interpreting 4 Ezra and 2 Baruch. Jason Zurawski, ed. (proceedings volume of the 6th Enoch Seminar, held in Milan (Italy), 26-30 June 2011). London/New York: T&T Clark, 2014: 138-152

[ÖZET] Modernizm, sadece üretim ve dağıtım ilişkilerinin değil, aynı zamanda yaşamı çevreleyen düşünce ile bu düşüncenin yansımaları niteliğindeki mimari ürünlerin, şehircilik tasarımlarının ve mekan algılanımlarının da XIX. yüzyıldaki yeniden biçimlendirilişinin anahtar kavramıdır. Bu sebeple, modern dünyanın kökenlerinin dökümünü çıkarmaya dair söz konusu olabilecek herhangi bir girişim, o dünyanın ekonomik gelişim çizgisinin, demografik ivmelerinin, siyasal evrelerinin yanı sıra; taşa bürünmüş düşüncesinin veya yapılarda gizlediği şifrelerinin de çözülmesi girişimi sayılacaktır. Keza, en ilkel mimari yapı olarak mağara kenarlarına inşa edilen ve surdurmayı andıran barınaklardan bu yana, mimari yapılar, her dönemde, bulundukları zaman diliminin ruhunu barındırmışlardır. Barınan insanın ideolojik altyapısı, barınağına da nüfuz etmiştir: Mimari ürünler uygarlıkların ve ideolojilerin onlara ölümsüzlük bahşeden felsefe taşlarıyla döşenmiştir. Bu yüzdendir ki yeri geldiğinde, bir uygarlığı ya da ideolojiyi anlamada etkili birer anahtar görevi görebilmektedirler.
Zamanın akışkan yapısıyla girdiği ilişkiler dahilinde ideoloji –ya da özelde, modernizm– katılaşır ve bu ilişkiden devşirme imgeler meydana getirir. Kuşkusuz, bu imgeler arasında en göze çarpanları arasında, şehirlerde Lacanyen birer obje misali yükselen saat kuleleri sayılabilir. Saat kulelerinin tarihsel anlatısını yapmak, onların sadece mimarlarından bahsetmek, yapılış ve –eğer gerçekleşmişse– yıkılış tarihlerini vermek, yani koskoca bir anlatıyı bu birkaç belirli ve sınırlı parametre arasına sıkıştırmak anlamına gelmemelidir. Kanaatimizce, tüm bu temel bilgilerle birlikte, değinilmesi gereken, böyle bir mimari objenin ne zaman veya nasıl yapıldığından ziyade, neden yapıldığı sorunsalı olmalıdır.
II. Abdülhamid döneminin tekabül ettiği Osmanlı geç dönem modernizminin Anadolu yerleşimlerinde en çok rastlanan çehrelerinden biri de ülkenin neredeyse dört bir yanına yayılmış bulunan saat kuleleridir. Mimari biçimleriyle, kitabeleriyle, yöresel hikayeleriyle anıldığı kadar, ideolojik altyapılarıyla da anılmayı hak eden bu yapılar, Osmanlı son döneminin modernleşme, Batı'ya ayak uydurma gayretlerinin birer nişanesi biçiminde yükselmişlerdir. Merkezi ayarlı saatler üzerinden zamanın hem sistematizasyonunun, hem de üretim ilişkilerini düzenleyen kullanımına ilişkin politikaların gölgesindeki devasa saat kulesi formu, bu bağlamda, Osmanlı modernizmini anlamlandırma denememizde bir gösterge olarak ele alınacak ve okunmaya çalışılacaktır. (Anahtar Kelimeler: İzmit Saat Kulesi, saat kuleleri, Osmanlı, II. Abdülhamid, modernizm, batılılaşma, mimari.)

Este ensayo pretende reflexionar sobre la construcción colectiva y comunitaria del concepto de memoria histórica en un territorio. El concepto de memoria es desarrollado por algunas comunidades como espacios de interpretación de sí mismos, en un discurso museológico que recoge la palabra silenciada por el conflicto armado en la región de los Montes de María. Es una historia de cómo una organización social relacionada fuertemente con las comunidades de esta subregión de Bolívar y Sucre, comienza la construcción de un museo de memoria que alimenta su guion museológico con los hechos ocurridos por la violencia, a partir de resignificar los lugares de memoria mediante la itinerancia por el territorio, lo que configura todo un paisaje de la memoria.
Palabras clave: museo comunitario, museo de memoria, lugar de memoria, paisaje de memoria.

This essay aims to reflect on the collective and community construction of the concept of historical memory in a territory. The concept of memory is developed by some communities as spaces for self-interpretation, in a museological discourse that includes the word silenced by the armed conflict in the Montes de María region. It is a story of how a social organization strongly related to the communities of this subregion of Bolivar and Sucre, begins the construction of a museum of memory that feeds its museological script with the events occurred by the violence, from resignifying the places of memory Through the roaming of the territory, which makes up a whole landscape of memory.
Keywords: community museum, museum of memory, place of memory, landscape of memory.

The aim of this article is to present a succinct review and evaluation of the main areas of contention in the false memory debate and, from this basis, to suggest ways in which the best from both sides can be utilized. We examine the potential pitfalls of therapy in terms of the fallibility and suggestibility of autobiographical memory and therapists and therapeutic techniques as the architects of false memories. We then evaluate the case for false memory formation examining if some researchers hold misconceived views of psychotherapy, if experimental studies lack ecological validity, and the effect of trauma on memory. Finally, we explore how the potential pitfalls of therapy can be avoided in practice, reflecting on the usefulness of British Psychological Society guidelines, how clinicians can implement research findings, and how research on the false memory debate can be improved. We conclude that the way forward is researcher–clinician collaboration in the development of ecologically valid research paradigms.

Podstawowym zadaniem pomników i tablic pamiątkowych jest przypominanie o wydarzeniach lub postaciach, do których nawiązują poprzez formę lub tekst. W każdym przypadku jest to " działanie obliczone na długie trwanie " 1 , przedstawia-jące wartości podzielane przez daną grupę czy szerzej – społeczeństwo. Zarówno pomniki, jak i tablice, są powszechnym elementem miast i wsi. Przybierają odmienne formy, zajmując różne miejsca w symbolicznych przestrzeniach lub niewielkich, schowanych dla przechodniów budynkach. Wszędzie bowiem znajdują się osoby pragnące kształtować pamięć poprzez upamiętnienia. Czasami jest to kwestia zachowania historii rodzinnej, przekazywanej w ramach pamięci komunikacyjnej, innym razem upamiętnienia dotyczą zagadnień pamięci kulturowej, powszechnie uznawanej przez społeczeństwo miasta czy nawet kraju. Choć w swojej ważnej roli w przestrzeni ulic czy zabudowań monumenty zwykle przybierają formę kamiennych obelisków oraz płyt, nie oznacza to, że materiał ten przetrwa przez kolejne wieki. Bez względu na budulec, z którego stworzono pomnik, jego losy mogą być zmienne. Mam tu na myśli nie tylko świadome próby ich usuwania, ale również przypadko-we zdarzenia czy nieszczęśliwe wypadki, które również mają wpływ na trwałość i oddziaływanie upamiętnień. Jak pokazują ostatnio opublikowane akty prawne, kwestia usuwania pomników może mieć także charakter kreowania polityki histo-rycznej danego państwa. Zdecydowanie rzadziej, aniżeli usuwanie czy niszczenie pomników i tablic, możemy zaobserwować przybywanie coraz to nowszych form, prezentujących różne postaci, rocznice, miejsca czy wydarzenia. Jest to wynikiem zarówno potrzeby społecznej, jak i dość dużej dowolności oraz możliwości fundacji, lokowania monumentów w przestrzeni miejskiej. W roku 2012 nakładem Towarzystwa Przyjaciół Jeleniej Góry ukazała się książka " Pomniki i tablice pamiątkowe Jeleniej Góry " 2. Publikacja ta była wynikiem kilkuletnich prac nad stworzeniem katalogu materialnych miejsc pamięci w mieście 3. Uwzględniono w nim różnego typu rzeźby, obeliski, pomniki i tablice pamiątkowe, których liczba na dzień oddania do druku wyniosła 181 obiektów.

"The Italian Social Republic of Salò, 1943-1945, seceded from the ItalianMonarchy at the end of 1943 and continued the war on the side of Nazi Germany. The Salò militia’s memory was banned from post-war cultural debates. The question of the political and historical legitimation of conflicting memories – and especially individual and collective memories of the Civil war- emerged for the first time in the Italian political and cultural debate with the first Berlusconi’s Government in 1994 which comprised former  members of the RSI. To foster this recognition of the Lost Cause of the RSI, digital public history web sites were built since the second
half of the 1990’s, and more recently, a memory place was built in honor of the fascist General Rodolfo Graziani in Affile (Roma). Today, these memory battles between the resistance against Salò and pro-nazi fighters in the RSI – analogously to the US Civil war case – raise the question whether public historians are legitimized to shape the meaning and the reasons of the fought “lost causes” and the dilemma whether historians can apply moral hierarchies to historical events. Furthermore, it question public history’s role to interpret history around memory places like Mussolini’s grave, the monument to the Acqui division in Cefalonia or the room occupied by Mussolini after being captured in July 1943 in Campo  Imperatore (Aquila).
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Chaque ville compte des espaces abandonnés, comme la friche ou la ruine, apparemment vides de sens et de fonction. Ces espaces peuvent nous sembler désinvestis et inutiles, mais ils sont encore porteurs de sens et d'identité. Parce qu'ils nous rappellent le passé, il s'agit de lieux de mémoire, mais parce qu'ils invitent au changement, ils sont aussi des lieux de l'oubli. Ceux qui s'y intéressent les pensent d'ailleurs en fonction de ce qu'ils ont été et de ce qu'ils deviendront, sans toutefois tenir compte de leur transition. C'est précisément cette transition qui nous intéresse ici. Comme ils sont transitoires, ces lieux subsistent dans le temps en attendant; en attendant le financement, la démolition, la reconstruction ou le réaménagement. Dans ce contexte, ils se retrouvent souvent au cœur de conflits de représentation et d'appropriation; on ne s'entend pas sur leur signification, leur valeur ou leur avenir. Ces conflits participent parfois à prolonger leur état d'abandon. On remarque d'ailleurs des cas où ces lieux restent à l'abandon sur le long terme. L'attente devient alors centrale et le lieu devient un « lieu de l'en-attendant ». Les conflits ne font alors que se fragmenter davantage. L'analyse de cette fragmentation ne nous permettrait-elle pas de mieux démêler la nature des conflits et le palimpseste de sens qui se forme autour du lieu? C'est à la lumière de ces constatations que nous proposons une analyse des lieux de l'en-attendant, de leur transition, de leur signification et des conflits qui les entourent. Nous soumettons l'hypothèse qu'il ne s'agit pas de simples lieux abandonnés; ils ne concernent pas seulement le passé ou le futur, ils sont l'amalgame de multitude sens qui se superposent et se confrontent dans le temps. Ces lieux sont des espaces-temps complexes qui génèrent d'importants conflits et deviennent des problèmes à gérer dans la ville. Pour mieux saisir les lieux à l'étude et pour vérifier notre hypothèse, nous proposons une étude de cas du Generalstab (Belgrade). Ce bâtiment a été bombardé par l'OTAN en 1999 et ses ruines subsistent au centre de la ville. D'un côté, il s'agit d'un monument d'architecture moderne et d'un vestige de la Yougoslavie. De l'autre, il s'agit d'une opportunité d'investissement immobilier et d'une cicatrice douloureuse de la guerre. Cette étude vient alimenter une réflexion théorique sur les lieux abandonnés, leur rapport à la mémoire et à l'oubli, leur signification et les conflits qui les entourent. Le cas du Generalstab, qui s'étend sur 15 ans, nous permet de détailler et d'évaluer la transition du lieu. À partir de cette analyse, nous concluons que le lieu de l'en-attendant se distingue de la friche ou de la ruine tels qu'on les aborde dans les écrits sur le sujet. Il s'agit d'un lieu exceptionnel qui nait de grands bouleversements et qui se trouve au croisement entre la mémoire et l'oubli. Durant l'en-attendant, cet espace-temps de transition, de multiples perceptions du passé et du futur s'entremêlent de manière à générer et à complexifier des conflits qui participent quant à eux à assurer la continuité d'une forme de stagnation.

Opening in 2007, the Creation Museum of Petersburg, KY presents visitors with a Young Earth Creationist argument against evolution and physical cosmology.  Instead, the facility asserts that science proves the biblical description of God’s creation of the cosmos and all life upon it a little less than 6,000 years ago.  While official documentation suggests the museum’s intentionally missionary function, closer examination reveals its important role as a memory place that legitimates a Young Earth Creationist identity, as well as identities tied to affiliated “culture wars” issues.  The past that the Creation Museum asks visitors to remember, however, contains notable silences with regard to the place of Jews and Jewishness within sacred history, despite structural allusions to the theological framework of Dispensationalism.  While institutionally forgetting Jews, the facility emphatically stresses the memory of dinosaurs as part of the biblical, human past.  Analysis shows that decisions related to the museum’s theologically diverse audience and a desire to present Young Earth Creationism as “scientific” has led to a surprising discursive connection between the memory of Jews and dinosaurs at the site.  In other words, by framing dinosaurs as witnesses to the truth of Christian scripture, the Creation Museum is compelled to depict Jews and Jewishness as quixotic fossils with no particular function in an otherwise purposefully designed universe.

Landscapes rebuild themselves repeatedly because they are living systems. The changes in the landscape leave traces over time. These traces are a vital record of our comprehensive history; nonetheless, these records are not written documents (Hoskins, 1955). The landscape contains lots of tangible and intangible data concerning natural and anthropogenic activities. These activities create a medium in which landscapes evolve based on the interrelated effects. Thus, it is essential to understand the changes within a landscape to ensure the continuity of landscapes processes and develop resilient landscapes. Each landscape is unique with its memory (Brierley, 2010); each memory layer in landscape must be read from a holistic perspective. The holistic evaluation of landscape memory shapes the natural and cultural context of contemporary landscape designs. Designing landscapes separate from its embedded memory codes makes designed landscapes irrelevant and vulnerable. Designing landscapes detached from anthropogenic memory codes generate places without identity and a sense of belonging. When the landscape designs disregard memory layers, landscape practice will overlook the site’s heritage, hence misinterpretations of its unique character. The present essay aims to present a holistic model for the systematic reading of landscape memory. It asks whether the landscape can remind and remember natural and anthropogenic processes and how these memory layers can be read systematically.

The transmission of memory seems to be an obsession of our time. This issue has been addressed by different disciplines and approaches. Design, as a discipline that contributes to the enhancement of culture, can help to expand the horizon of memory studies, but so far this issue is still undefined and blurred. Mnemosphere project, through an interdisciplinary approach, investigates the ways in which the memory of places is designed and communicated through experiential spaces capable of stimulating emotions. The research proposes a dialogue between communication design and exhibition design, in the atmospheric and aesthetic dimension, with emphasis on the translation of content into a system for the understanding of the mnestic space set up. This is done with special attention to the topics of emotions, chromatic perception, and the design of temporary spaces and services. The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres o...

Violence in Eneolithic and Early Bronze Age North of Carpathians. The article presents selected settlements dated to Eneolithic and Early Bronze Age with archaeological traces of destruction, human victims and the reorganization of the settlement spaces. In the light of Robert Wuthnow's theory of cultural analysis and Pierre Nora's concept of 'sites of memory' these traces are interpreted in terms of social crises, which ended in sharp conflicts. Described events can not be linked to climate changes, or the invasions of foreign peoples. They took place in different landscape zones (Osłonki – lowlands; Bronocice and Iwanowice – loess uplands). They had to have the nature of internal conflicts, accompanied by various forms of violence, including war.

The subject and content of conservation extended since Venice Charter; so the set of values assigned to cultural heritage also changed. The set of values, previously assigned based on only historical and physical characteristics, are now appreciated to be socially constructed, knotted and experienced. According to contemporary value understanding, places become the subject of conservation studies not only being historically and artistically prised and authentic, but also due to symbolic and social values assigned. Especially those places on which common values are assigned by the society become integral part of urban memory in time. As collective memory find place itself on urban space and space collects and piles up memory in time, soon after the place of memory turns into a memory place. Memory places include socially constructed, experienced and knotted relations and transfer these relations to future generations.
Memory places that arouse common feelings and bring back common memories of social group are mostly being considered as common heritage and thus become the subject of conservation studies. Especially these studies stand out during the intention or act of removing such memory places – when the memory place is subjected to forgetting acts. Soon after memory places become the struggle places through which the society act together and develop strategies to safeguard its own collective memory – to be used for remembering.  Within this context, it is argued that memory place turns into a double-acting place based on by whom it is managed: Subject of conservation by the society to be a means for remembering or act of scraping by the political power to be a tool for forgetting.
The main argument of the study is that urban space collects memories in time and it turns into a memory place – which should be the subject of conservation studies as they include attributed values by the society. The study argues the difficulty of protecting memory places without systematic conservation understanding. Therefore it tries to compose a relation between memory, place and conservation studies – by questioning how memory of place turns into memory places in time from the perspective of value assignment discussions. Hence, the study will first understand the formation and importance of memory places and then discuss reasons why and how memory places should be a subject of conservation studies – based on remembering and forgetting practices through well-known examples as World Trade Centre, Gezi Parkı or less-known local places as Ziyaret in Samadağ or Narlıkuyu in Mersin.

Este artículo de revisión tiene como objetivo recoger y hacer una sistematización preliminar de investigaciones y textos de reflexión teórica o investigativa, sobre la relación entre arte y memorias colectivas, en contextos de conflicto armado, dictaduras y represión política. Método: se revisaron las bases de datos Scopus, Redalyc, Sage, Taylor & Francis, Scielo y Dialnet. Se recopilaron artículos en ciencias sociales y otros textos sobre memoria colectiva, con el fin de identificar las formas a través de las cuales el arte es un vehículo y vector para la conservación, transmisión y expresión de memorias subalternas. La información se analizó según el método de análisis categorial por matrices, siguiendo un procedimiento intratextual de coherencia, uno intertextual y una codificación teórica que permitió cruzar las categorías con el marco geográfico de las acciones. Resultados: se partió de investigaciones sobre las producciones artísticas en relación con los denominados “lugares d...

The article reflects on the meaning of place in studying vernacular memory as a phenomenon that is both the “carrier” of social actors’ memory and a product of the narrative, the meanings, values and emotions that the actors attribute to place and the actions they take in response. The author used small town and its neighbouring villages as a case study to demonstrate the complexity of the connections between place and memory, and its consequences to conducting a fieldwork. The main sources upon which the article is based are materials from research conducted by Polish and Ukrainian researchers in 2017–2019 on memory of Poland and Ukraine after World War II. The study consisted of personal interviews and observations, supplemented by analysis of documents. The article reflects on how biographical experiences accumulate in a place, forming the locus type of memory, where a particular perspective of involvement in a past event, the emotions felt and the body’s reactions interweave with the interpretations, meanings and values attached to them in later life. It is a challenge for the researcher to find oneself in this unique topography of memory, summoned not so much with words as gestures, glances, facial expressions, and even timbre of voice. In such a situation, the researcher must endeavour to come close to the way the interlocutor experiences, remembers and imagines this place. Among these carriers of meanings are the emotions expressed in the interview, which become a chance to understand the memory in question.

IT: Il presente contributo – partendo dalle categorie di «lieux de mémoire» e «place memory» elaborati rispettivamente da Pierre Nora e Paul Connerton – intende determinare in cosa consistano i «luoghi della memoria scolastica» e quali siano le dinamiche che li governano. Sono state individuate cinque varietà di «luoghi della memoria scolastica», ovvero, nell’ordine: i musei della scuola; le scuole-museo e aule-museo; le scuole storiche; le «scuole dimenticate», ovvero le scuole cadute in rovina; quelli che abbiamo preliminarmente definito i «sancta sanctorum della scuola», ovvero quei luoghi (in genere per l’appunto scuole) che hanno costituito gli incubatori spaziali di esperienze educative tanto innovative da potersi considerare uniche ed essere annoverate come tali negli annali della pubblica istruzione nazionale. Il contributo presenta le principali caratteristiche di queste diverse tipologie, evidenziandone linearità e asimmetrie, e traccia un quadro interpretativo che – seppur con alcuni distinguo – documenta la dimensione eminentemente localistica della memoria scolastica.

EN: This paper, starting from the categories of lieux de mémoire and place memory developed respectively by Pierre Nora and Paul Connerton, is aimed at determining what constitute «sites of school memory» and the dynamics that govern them. Five kinds of «sites of school memory» have been identified, namely, in order: school museums; schoolhouse museums and schoolroom museums; historic schools; «forgotten schools», i.e. schools which have fallen into ruin; those that we have previously defined as «sacred places of education», namely those places (usually schools) that constitute the spatial incubators of innovative educational experiences so as to be considered unique and be counted as such in the annals of the national education system. This paper presents the main characteristics of these different types, highlighting linearities and asymmetries, and tracks an interpretive framework that documents the highly localistic character of school memory, albeit with some distinctions.

O objetivo deste trabalho é o de analisar de forma descritiva como o Cais do Valongo, e mais especificamente a memória dos afrodescendentes sobre esse espaço que evidencia o período escravocrata no país, vem sendo apropriado turisticamente pelas políticas oficiais da Prefeitura e iniciativas de movimentos negros do Rio de Janeiro. O Cais do Valongo é considerado o maior porto de entrada de africanos na América Latina, já que recebeu entre 500 mil e 1 milhão de negros escravizados no Rio de Janeiro entre os anos de 1811 e 1831. Utiliza-se os conceitos de memória coletiva de Candau (2011), já que está diretamente relacionada à construção da identidade de um grupo, neste caso, os afrodescendentes; e de lugar de memória de Pierre Nora (1993), pois se trata de um espaço com notável interesse material, simbólico e funcional para o mesmo grupo. Fez-se análise aprofundada do Cais do Valongo, e realizou-se observação direta assistemática a campo e pesquisa bibliográfica sobre memória, lugar de memória e turismo cultural. Após a discussão teórica realizada, considera-se que o turismo no Cais do Valongo deve ser o fenômeno conciliador entre diferentes atores (poder público, iniciativa privada e movimento negro), cujo protagonista é o grupo que reivindica sua memória, os afrodescendentes.

Here we present the context and nature of findings from the first season of archaeological survey and trial excavation in an area of Ethiopia’s Lower Omo Valley. With the exception of well-documented early hominin discoveries, the region has previously been overlooked as a wilderness absent of human inhabitation. Such an outlook has fostered various consequences for strategies of legal, research and conservation policy within the regional boundaries of Mursiland in particular. In this paper recent discoveries of megalithic circular platforms and other archaeological remains are introduced against their dynamic local and regional placement within present-day understandings of place. Furthermore, the value of a participative archaeology research framework in which accountability is directed towards common ground between multiple ‘stake-holders’ is foregrounded within the design and dissemination of research agendas . We take the position that this demonstrates important possibilities for intricate understandings of wilderness and landscape linked to heritage, conservation, development and tourism.

The transmission of memory seems to be an obsession of our time. This issue has been addressed by different disciplines and approaches. Design, as a discipline that contributes to the enhancement of culture, can help to expand the horizon of memory studies, but so far this issue is still undefined and blurred. Mnemosphere project, through an interdisciplinary approach, investigates the ways in which the memory of places is designed and communicated through experiential spaces capable of stimulating emotions. The research proposes a dialogue between communication design and exhibition design, in the atmospheric and aesthetic dimension, with emphasis on the translation of content into a system for the understanding of the mnestic space set up. This is done with special attention to the topics of emotions, chromatic perception, and the design of temporary spaces and services. The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres of spaces and atlas of emotions, among others. Then, the project analysis devices for activating the memory in exhibition spaces, through data collection and defines parameters for the design of future spaces related to memory and emotions. The result is the collective construction of an archive of visual materials for the concepts proposed. This is being done through an open call that has been spread online through the project’s platforms. The shared archive and results will be available online to contribute to a further perspective on design studies connected with memory and spaces.

Birleşmiş Milletler İnsan Yerleşimleri Merkezi verilerine göre 2001 yılında üç milyar insan kentlerde yaşamaktadır ve kentler, insan onuruna uygun yaşama, gezme, görme, eğlenme, kültürel faaliyetlerde bulunma amacı doğrultusunda yapılandırılması gereken ortak ortamlardır. Avrupa Kentsel Şartı’nın 9. maddesi geçmişten günümüze farklı kültürel ve etnik yapıları barındıran toplulukların barış içinde yaşamalarının sağlanması ödevini vurgulamaktadır. Yirminci maddede ise yerel yönetimlerin; kentli haklarını bütün bireylere cinsiyet, yaş, köken, inanç, sosyal, ekonomik ve politik ayrım gözetmeden, fiziksel veya zihinsel özürlerine bakılmadan; eşit olarak sunmasını sağlama yükümlülüğü ile eşitlik vurgusu yapar (Palabıyık, 2004).
Kent müzeleri de birer hafıza mekânı (Nora, 2006) olarak yerel yönetimlerin bu kültürel ve içermeci amaçları gerçekleştirmede etkin birer aracı olarak kullanılabilir. Peki, özellikle dezavantajlı gruplar kentsel hafıza mekânları olarak kurulan kent müzelerinde kendi kollektif hafızlarının izlerini bulabiliyorlar mı? Tüm dünyada kent müzelerinin birer tapınak gibi saygın, ancak toplumun kıyısında, yalnız elitlere hizmet veren kültür kurumları yerine, etkili koruma, iletişim ve eğitim merkezleri olarak yapılandırılması yaygınlaşıyor. Bu tür kurumlar giderek kentlerin biriken, öne çıkan sorunlarına geçerli çözümler üreten “çözüm ortakları”na dönüşüyorlar. Yeni müzecilik akımıyla artık müzeler eşya odaklı müzeler olmaktan çok insan odaklı müzeler olmaya ve ''hikâye'', ''anlatı'' mekânlarına evriliyor. Son yıllarda genel olarak müzecilik, özellikle kent müzeciliği literatüründe, dışlayıcılık yerine kapsayıcılık için çalışılması, toplumun bütün kesimlerini kucaklayan iki yönlü, yoğun bir kitle ilişkisi en önemli başarı ölçütü olarak ele alınıyor (Silier, 2010). Bu araştırmanın amacı da Türkiye ölçeğinde kent müzelerinin başarılı bir örneği olarak anılan Bursa Kent Müzesi'nin toplumsal içermeye ne kadar hizmet ettiğinin anlaşılması için Yahudi Azınlık Cemaati’nden seçilen bireylerin müzeyi algılamada kendi kollektif hafızalarından izler bulmaları ile kendilerini kente ait hissetmelerinin mümkün olup olmadığının betimlenmesidir.
Bu çalışmada Bursa ilinde Yahudi azınlık kimliğine sahip bireylerden güdümlü örneklem seçimi yapılacak ve Bursa Kent Müzesi ziyareti deneyimleri sırasında ve sonrasında derinlemesine mülakatlar gerçekleştirilecektir. Bu bağlamda, kendilerini müzede mekansallaştırılmaya çalışılan kentin bir parçası olarak hissedip hissetmedikleri betimlenmeye çalışılacaktır.
Anahtar sözcükler/Keywords: Hafıza mekânları, yeni müzecilik, kent müzesi, Yahudi azınlığı, sosyal içerme

Este artículo de revisión tiene como objetivo recoger y hacer una sistematización preliminar de investigaciones y textos de reflexión
teórica o investigativa, sobre la relación entre arte y memorias colectivas, en contextos de conflicto armado, dictaduras y represión política. Método: se revisaron las bases de datos Scopus, Redalyc, Sage, Taylor & Francis, Scielo y Dialnet. Se recopilaron artículos en ciencias sociales y otros textos sobre memoria colectiva, con el fin de identificar las formas a través de las cuales el arte es un vehículo y vector para la conservación, transmisión y expresión de memorias subalternas. La información se analizó según el método de análisis categorial por matrices, siguiendo un procedimiento intratextual de coherencia, uno intertextual y una codificación teórica que permitió cruzar las categorías con el marco geográfico de las acciones. Resultados: se partió de investigaciones sobre las producciones artísticas en relación con los denominados “lugares de memoria”, concernientes a la iconografía, la mitología y la historia oficial del Estado-Nación, para avanzar hacia expresiones de memoria en las que el arte formal y los artistas profesionales se vinculan a la construcción mnemónica en sus propios países, aportando nuevos elementos para la recordación, la representación de la historia y la elaboración de horrores y traumas colectivos. Conclusión: la relación entre arte y memoria posibilita resistencias a las historias oficiales, en la reivindicación de los derechos de las víctimas, en la reconstrucción del tejido social o la lucha por la justicia. © Revista Colombiana de Ciencias Sociales.

Abstract
This review article has as purpose to collect and make a preliminary systematization of researches and texts about theoretical or investigative reflection about the relation between art and collective memories in armed conflict, dictatorships and political repression contexts. Methods: In the process were reviewed Data Basis like Scopus, Redalyc, Sage, Taylor & Francis, Scielo and Dialnet. There were collected Social Sciences articles and other texts about collective memory with the final purpose of identifying the forms through which art
has been a vehicle and a vector for the conservation, transmission and expression of subaltern memories. All the information was analyzed according to the method of category analysis by matrices, following an
intratextual procedure of coherence, an intertextual procedure and a theoretical codification that allowed to intersect categories with the geographic frame of the actions. Results: It started from researches about the artistic productions in relation with the called “Memory spots”, related with the iconography, the mythology and the official History of the nation-state, to go forward to expressions of memory in which the formal art and the professional artists are linked to the mnemonic construction in their own countries contributing with new
elements to the remembrance, the representation of the history and the elaboration of horror and collective traumas. Conclusion: The relation between art and memory enables resistance to the official history, in the
vindication of the victim’s rights, in the reconstruction of the social tissue or the battle for justice.  © Revista Colombiana de Ciencias Sociales.

Co roku wiosną w Rejonie Pamięci Narodowej Cedynia-Gozdowice-Siekierki (województwo zachodniopomorskie) odbywają się uroczystości upamiętniające czyn zbrojny żołnierzy 1 Armii Wojska Polskiego, którzy w ramach operacji berlińskiej (kwiecień 1945 roku) przekroczyli Odrę. Tegoroczne obchody miały również wymiar naukowy, do czego przyczynili się między innymi pracownicy oraz studenci Wydziału Humanistycznego US.

The transmission of memory seems to be an obsession of our time. This issue has been addressed by different disciplines and approaches. Design, as a discipline that contributes to the enhancement of culture, can help to expand the horizon of memory studies, but so far this issue is still undefined and blurred. Mnemosphere project, through an interdisciplinary approach, investigates the ways in which the memory of places is designed and communicated through experiential spaces capable of stimulating emotions. The research proposes a dialogue between communication design and exhibition design, in the atmospheric and aesthetic dimension, with emphasis on the translation of content into a system for the understanding of the mnestic space set up. This is done with special attention to the topics of emotions, chromatic perception, and the design of temporary spaces and services. The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres o...

The transmission of memory seems to be an obsession of our time. This issue has been addressed by different disciplines and approaches. Design, as a discipline that contributes to the enhancement of culture, can help to expand the horizon of memory studies, but so far this issue is still undefined and blurred. Mnemosphere project, through an interdisciplinary approach, investigates the ways in which the memory of places is designed and communicated through experiential spaces capable of stimulating emotions. The research proposes a dialogue between communication design and exhibition design, in the atmospheric and aesthetic dimension, with emphasis on the translation of content into a system for the understanding of the mnestic space set up. This is done with special attention to the topics of emotions, chromatic perception, and the design of temporary spaces and services. The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres of spaces and atlas of emotions, among others. Then, the project analysis devices for activating the memory in exhibition spaces, through data collection and defines parameters for the design of future spaces related to memory and emotions. The result is the collective construction of an archive of visual materials for the concepts proposed. This is being done through an open call that has been spread online through the project’s platforms. The shared archive and results will be available online to contribute to a further perspective on design studies connected with memory and spaces.

Este artículo de revisión tiene como objetivo recoger y hacer una sistematización preliminar de investigaciones y textos de reflexión teórica o investigativa, sobre la relación entre arte y memorias colectivas, en contextos de conflicto armado, dictaduras y represión política. Método: se revisaron las bases de datos Scopus, Redalyc, Sage, Taylor & Francis, Scielo y Dialnet. Se recopilaron artículos en ciencias sociales y otros textos sobre memoria colectiva, con el fin de identificar las formas a través de las cuales el arte es un vehículo y vector para la conservación, transmisión y expresión de memorias subalternas. La información se analizó según el método de análisis categorial por matrices, siguiendo un procedimiento intratextual de coherencia, uno intertextual y una codificación teórica que permitió cruzar las categorías con el marco geográfico de las acciones. Resultados: se partió de investigaciones sobre las producciones artísticas en relación con los denominados “lugares d...

Ellis Island in New York, USA, served as a center accepting the entry of people who immigrated to the United States between 1892 and 1954. Afterwards, it lost its function due to the changing laws, and today a part of the island has turned into a place of visit telling the history of immigration to America. In this article, the functioning of the island when it was active as an immigration reception office, the admission conditions, the approach to immigrants and the importance of the island as a memory place today are discussed in three parts. The first is the Ellis Island immigrant photographs taken by Lewis Hine in the early 1900s; the other is the text of author Georges Perec's memory research on being a migrant during his 1978 visit to the Ellis Island Immigration Museum; Finally, photographer and street artist JR placed photographs of immigrants who entered the island and their families living today in the interiors of Ellis Island in 2014 and interpreted the place and the phenomenon of migration in the context of contemporary art. The importance of Ellis Island, which has turned into a symbol of immigration to America and a place of memory today, has been discussed in related studies.

Este artículo de revisión tiene como objetivo recoger y hacer una sistematización preliminar de investigaciones y textos de reflexión teórica o investigativa, sobre la relación entre arte y memorias colectivas, en contextos de conflicto armado, dictaduras y represión política. Método: se revisaron las bases de datos Scopus, Redalyc, Sage, Taylor & Francis, Scielo y Dialnet. Se recopilaron artículos en ciencias sociales y otros textos sobre memoria colectiva, con el fin de identificar las formas a través de las cuales el arte es un vehículo y vector para la conservación, transmisión y expresión de memorias subalternas. La información se analizó según el método de análisis categorial por matrices, siguiendo un procedimiento intratextual de coherencia, uno intertextual y una codificación teórica que permitió cruzar las categorías con el marco geográfico de las acciones. Resultados: se partió de investigaciones sobre las producciones artísticas en relación con los denominados “lugares d...

Der Text umfasst die Beschreibung, die Analyse und die Interpretierung von Elementen des Lapidariums in Stare Łysogórki (Alt Lietzegöricke), die nach der offiziellen Enthüllung am 23. April 2016 erschienen. Das erste Element ist eine Steintafel mit einem dem Erzbischof Kazimierz Majdański (1916–2007) gewidmeten Epitaph. Zweitens ist das eine Tafel zum Gedenken von schon verstorbenen Kolonisten, die seit 1945 in das Land an der Oder und an der Ostsee zogen. Das dritte neue Element ist ein lateinisches Birkenkreuz, das mit seiner Form an die Kreuze erinnert, die an den Soldatengräbern während des Zweiten Weltkriegs gestellt wurden. Andere neue Komponente bilden zahlreiche Floraexemplare: Bäume, Sträucher, Stauden und einjährige Pflanzen, die verschiedene symbolische Bedeutungen besitzen. Der Text beinhaltet auch die Beschreibung des geplanten Ausbaus des Lapidariums im Jahre 2018, der mit dem 100-Jubiläum der Unabhängigkeitswiedergewinnung durch Polen verbunden ist.

Wśród rozległych pustkowi Aragonii leży niezwykłe, zrujnowane miasto, będące wstrząsającym świadectwem okrucieństw wojny domowej w Hiszpanii. Osiemdziesiąta rocznica zakończenia walk o Belchite jest okazją do przypomnienia jego tragicznych dziejów – tym bardziej że wplecione są w nie również polskie wątki.

PPT que acompaña texto de la Ponencia presentada en Seminario Internacional de Memoria y Derechos Humanos: “Crímenes de lesa humanidad y terrorismo de Estado ¿Existen garantías de No Repetición?”, 1 y 2 de septiembre de 2017, Santiago de Chile. 20 años Parque por la Paz Villa Grimaldi.

Muistojen ja tarinoiden Kangasniemi -projekti tutkii monitieteisesti eteläsavolaisen paikkakunnan tarinaperinnettä ja mikrohistoriaa. Tavoitteena on löytää tutkimuskohteita, joita voidaan lähestyä virallisen historiankirjoituksen, kollektiivisen muistamisen tai yksilön muistojen kautta ja joilla on arkeologista tutkimuspotentiaalia. Esittelemme kolme erilaista paikkaan sidottujen muistojen kohdetta: Elämänlähteen, joka on unohdettu ja uudelleen löydetty matkailukohde 1700-1800-lukujen taitteesta; Pyhän kiven, joka on mahdollinen vuosisataisen perimätiedon paikka, mutta nykyisin kadotettu; sekä Kangasniemen sissikahakan tapahtumapaikan, johon liittyy viralliseen historiankirjoitukseen yhdistettävissä oleva paikallinen kertomus.

RESUMO: Este texto tem por objetivo articular leituras comparativas referentes às negociações e conitos das memórias da escravidão nas regiões portuárias de três cidades atlânticas: Rio de Janeiro (Brasil), Dakar (Senegal) e Ouidah (Benin). Ao transitar pelos lugares de memória da escravidão transcontinental, procura-se ampliar as possibilidades de reexão sobre os dilemas contemporâneos envolvendo a construção de projetos memorialísticos em torno das identidades negro-africanas. As distintas políticas de memórias da escravidão, se por um lado revelam estratégias de desconstrução de racismos e de práticas coloniais, por outro, quando estudadas numa perspectiva diaspórica, trazem à tona meandros e dilemas contemporâneos referentes aos jogos de poder envolvendo a implementação de identidades e memórias coletivas em distintas regiões do Atlântico Negro. ABSTRACT: This text aims to construct comparative readings refering to negotiations and conicts of memories of slavery in the port regions of three Atlantic cities: Rio de Janeiro (Brazil), Dakar (Senegal) and Ouidah (Benin). These readings, concerning the sites of memory of transcontinental slavery, propose to expand the possibilities of reection on contemporary dilemmas involving the construction of memory projects about black African identities. If the different elaborations of memories of slavery reveal, on the one hand, the deconstruction of racism and colonial practices strategies, on the other, when studied in a diasporic perspective, bring out contemporary dilemmas related to conicts of power involving the implementation of identities and collective memories in different regions of the Black Atlantic.

Belgrade maintient, aujourd'hui encore, la plupart des ruines du bom-bardement de l'OTAN. Ces anciens hauts lieux sont désormais symboles du démantèlement de la Yougoslavie. Dans un contexte où la ville tend à changer d'image, ils sont appelés à disparaître. Certains subsistent toutefois, pris entre un passé contradictoire et un avenir incertain. Ces lieux en perte de sens sont désormais marqués par une attente qui pourrait s'avérer aussi créatrice que stérile. Ce sont des lieux de l'en-attendant. Pour penser ces lieux importants de l'espace post-yougoslave, nous aborderons le cas du Generalštab, monument culturel et figure de proue du Belgrade bombardé mots clés : Belgrade; Ruines; Lieux de mémoire; Lieux d'oubli; Lieux de l'en-attendant; Generalstab

The Creation Museum and the affiliated Ark Encounter, both located in northern Kentucky, are the premier Young Earth Creationist public attractions in the world.  Operated jointly by the parachurch apologetics ministry AiG (“Answers in Genesis”), the expressed goal of these facilities is to convince visitors that the Bible accurately records the natural history of our planet.  Thus they present artifacts, dioramas, interactive video displays, and placards to argue that science supports the biblical description of God’s creation of the cosmos and a global flood.  Most scholarly attention regarding these depictions of the past have focused on their portrayal of dinosaurs and the assertion that these “terrible lizards” cohabited with humans.  Yet, while paleontology presents a clear challenge to the chronology that the Creation Museum and Ark Encounter advocate, so does Assyriology.  Despite this similarity, the present paper will show that the facilities deploy strikingly different rhetorical strategies in their representation of dinosaurs versus ancient human societies of the Near East.  More specifically, a focused analysis of how these Young Earth Creationist attractions utilize Sumerian and Akkadian sources, representations of cuneiform writing, and ancient Mesopotamian material culture (especially artistic representations of the Uruk period en) in comparison to that of dinosaurs reveals consistent boundaries of silence and justification.  Thus, while significant textual space is devoted to explaining an alternative dating for geological strata, the archaeological and textual evidence of ancient Mesopotamian history is left almost entirely unexamined.  This suggests that expectations of visitor unfamiliarity regarding ancient Near Eastern history and literature has structured the rhetoric of both attractions, allowing them to legitimate the cultural memory of the past that they construct through the strategic appropriation of information drawn from the field of Assyriology without devoting space to its critical examination.