Memory as Fluid Process: James Friedman's "12 Nazi Concentration Camps" and Gunter Demnig's Stolpersteine.
Living memorials encourage reflection about the space of traumatic events, about the remains held (or forgotten, obfuscated), and they also encourage reflection about the return of traumatic events. How are the patterns of antisemitism, racism, and xenophobia returning now? How, if at all, do remind...
| Publicado en: | Shofar: An Interdisciplinary Journal of Jewish Studies Vol. 37; no. 1; pp. 41 - 72 |
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| Formato: | Artículo |
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Purdue University Press
Spring2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=135439307&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 135439307 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08828539 6A0 jtl: Shofar: An Interdisciplinary Journal of Jewish Studies issn: 08828539 maglogo: N pubinfo: dt: Spring2019 vid: 37 iid: 1 pid: 19334 pub: Purdue University Press artinfo: ui: 135439307 10.1353/sho.2019.0002 ppf: 41 ppct: 31 formats: fmt: – @attributes: type: T – @attributes: type: P size: 9.6MB tig: atl: Memory as Fluid Process: James Friedman's "12 Nazi Concentration Camps" and Gunter Demnig's Stolpersteine. aug: au: Kaplan, Brett Ashley su: Holocaust memorials Memorial design & construction Friedman, James Demnig, Gunter Concentration camps Memory in art sug: subj: Holocaust memorials Memorial design & construction Friedman, James Demnig, Gunter Concentration camps Memory in art keyword: Gunter Demnig Holocaust art James Friedman memory studies ab: Living memorials encourage reflection about the space of traumatic events, about the remains held (or forgotten, obfuscated), and they also encourage reflection about the return of traumatic events. How are the patterns of antisemitism, racism, and xenophobia returning now? How, if at all, do reminders of the fascist past change the approach to the present? This essay reads two living memorials, James Friedman's photographic series "12 Nazi Concentration Camps" and Gunter Demnig's Stolpersteine, as lenses through which to analyze how we interact with spaces of trauma and how the aesthetics of these photographs or stones create vibrant memorial spaces. Examining the affective nature of interacting with traumatic landscapes, this essay argues that each space calls up distinct aspects of the Nazi genocide, and each memory tourist finds a new meaning in the process of being in these spaces. The very process of interacting with traumatic landscapes alters the living memory or postmemory generated through the interchange between people and powerful things. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Shofar: An Interdisciplinary Journal of Jewish Studies is the property of Purdue University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Shofar: An Interdisciplinary Journal of Jewish Studies holder: Purdue University Press dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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