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This volume, edited by Leyla Dakhli and Klaus Wieland, is an overview of the cultural memory of the Lebanese Civil War, as it has emerged and evolved over the last 30 years. These narratives represent a counter-memory to the non-existent national memory, undesired by Lebanon's political class.
In 1991, the Amnesty Law G84/91 was enacted, granting state power impunity for all war crimes, including crimes against humanity. The general amnesty entailed partial amnesia; the war was to be "officially" forgotten. And yet, since the 1990s, nongovernmental organizations, archives, activists, publicists, visual artists, filmmakers, and writers have produced an impressive alternative culture of remembrance of the Lebanese Civil War, which is revisited and analyzed in this book. Contributors represent a multi-disciplinary mix, with perspectives from area studies, history, social science, literary studies, trauma and memory, and peace and conflict studies.
In 1991, the Amnesty Law G84/91 was enacted, granting state power impunity for all war crimes, including crimes against humanity. The general amnesty entailed partial amnesia; the war was to be "officially" forgotten. And yet, since the 1990s, nongovernmental organizations, archives, activists, publicists, visual artists, filmmakers, and writers have produced an impressive alternative culture of remembrance of the Lebanese Civil War, which is revisited and analyzed in this book. Contributors represent a multi-disciplinary mix, with perspectives from area studies, history, social science, literary studies, trauma and memory, and peace and conflict studies.
Series:
Mobilizing Memories, Volume: 04
This volume, edited by Leyla Dakhli and Klaus Wieland, is an overview of the cultural memory of the Lebanese Civil War, as it has emerged and evolved over the last 30 years. These narratives represent a counter-memory to the non-existent national memory, undesired by Lebanon's political class.
In 1991, the Amnesty Law G84/91 was enacted, granting state power impunity for all war crimes, including crimes against humanity. The general amnesty entailed partial amnesia; the war was to be "officially" forgotten. And yet, since the 1990s, nongovernmental organizations, archives, activists, publicists, visual artists, filmmakers, and writers have produced an impressive alternative culture of remembrance of the Lebanese Civil War, which is revisited and analyzed in this book. Contributors represent a multi-disciplinary mix, with perspectives from area studies, history, social science, literary studies, trauma and memory, and peace and conflict studies.
In 1991, the Amnesty Law G84/91 was enacted, granting state power impunity for all war crimes, including crimes against humanity. The general amnesty entailed partial amnesia; the war was to be "officially" forgotten. And yet, since the 1990s, nongovernmental organizations, archives, activists, publicists, visual artists, filmmakers, and writers have produced an impressive alternative culture of remembrance of the Lebanese Civil War, which is revisited and analyzed in this book. Contributors represent a multi-disciplinary mix, with perspectives from area studies, history, social science, literary studies, trauma and memory, and peace and conflict studies.
Submerged Intelligence for Global Omens
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This book acts as a cautionary tale, urging society to proactively invest in forging a path towards the future by drawing upon the insights gleaned from the past. Underwater cultural heritage is not merely a collection of broken ruins on the ocean floor; it holds the potential to provide strategic intelligence into global security challenges and future uncertainties. By understanding and valuing the unknown force of underwater cultural heritage, we can anticipate and navigate potential future challenges, harnessing its hidden power to shape the course of history.
Submerged Intelligence for Global Omens
Author:
This book acts as a cautionary tale, urging society to proactively invest in forging a path towards the future by drawing upon the insights gleaned from the past. Underwater cultural heritage is not merely a collection of broken ruins on the ocean floor; it holds the potential to provide strategic intelligence into global security challenges and future uncertainties. By understanding and valuing the unknown force of underwater cultural heritage, we can anticipate and navigate potential future challenges, harnessing its hidden power to shape the course of history.
Traumatische Zeiterfahrung in H. G. Adlers Roman „Eine Reise“
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This book examines the interrelationships between trauma, time, and narrative in the novel “The Journey” (1962) by the scholar, novelist, poet, and Holocaust survivor H. G. Adler. Drawing on Paul Ricœur’s philosophy of time and studies of time in literature, Julia Menzel analyzes how Adler’s novel depicts the experience of time as a dimension of Holocaust victims’ trauma. She explores the aesthetic temporality of “The Journey” and presents a new interpretation of the literary text, which she conceives of as a modern “Zeit-Roman” (time novel).
Die Studie untersucht die Wechselbeziehungen zwischen Trauma, Zeit und Erzählung in dem Roman „Eine Reise“ (1962) des Wissenschaftlers, Schriftstellers, Dichters und Holocaust-Überlebenden H. G. Adler. Unter Bezugnahme auf Paul Ricœurs Zeitphilosophie und die literaturwissenschaftliche Zeitforschung analysiert Julia Menzel, wie Adlers Roman traumatische Zeiterfahrungen der Opfer des Holocaust zur Darstellung bringt. Sie erkundet die ästhetische Eigenzeit von „Eine Reise“ und eröffnet eine neue Lesart des literarischen Texts, den sie als modernen Zeit-Roman begreift.
Die Studie untersucht die Wechselbeziehungen zwischen Trauma, Zeit und Erzählung in dem Roman „Eine Reise“ (1962) des Wissenschaftlers, Schriftstellers, Dichters und Holocaust-Überlebenden H. G. Adler. Unter Bezugnahme auf Paul Ricœurs Zeitphilosophie und die literaturwissenschaftliche Zeitforschung analysiert Julia Menzel, wie Adlers Roman traumatische Zeiterfahrungen der Opfer des Holocaust zur Darstellung bringt. Sie erkundet die ästhetische Eigenzeit von „Eine Reise“ und eröffnet eine neue Lesart des literarischen Texts, den sie als modernen Zeit-Roman begreift.
Traumatische Zeiterfahrung in H. G. Adlers Roman „Eine Reise“
Author:
This book examines the interrelationships between trauma, time, and narrative in the novel “The Journey” (1962) by the scholar, novelist, poet, and Holocaust survivor H. G. Adler. Drawing on Paul Ricœur’s philosophy of time and studies of time in literature, Julia Menzel analyzes how Adler’s novel depicts the experience of time as a dimension of Holocaust victims’ trauma. She explores the aesthetic temporality of “The Journey” and presents a new interpretation of the literary text, which she conceives of as a modern “Zeit-Roman” (time novel).
Die Studie untersucht die Wechselbeziehungen zwischen Trauma, Zeit und Erzählung in dem Roman „Eine Reise“ (1962) des Wissenschaftlers, Schriftstellers, Dichters und Holocaust-Überlebenden H. G. Adler. Unter Bezugnahme auf Paul Ricœurs Zeitphilosophie und die literaturwissenschaftliche Zeitforschung analysiert Julia Menzel, wie Adlers Roman traumatische Zeiterfahrungen der Opfer des Holocaust zur Darstellung bringt. Sie erkundet die ästhetische Eigenzeit von „Eine Reise“ und eröffnet eine neue Lesart des literarischen Texts, den sie als modernen Zeit-Roman begreift.
Die Studie untersucht die Wechselbeziehungen zwischen Trauma, Zeit und Erzählung in dem Roman „Eine Reise“ (1962) des Wissenschaftlers, Schriftstellers, Dichters und Holocaust-Überlebenden H. G. Adler. Unter Bezugnahme auf Paul Ricœurs Zeitphilosophie und die literaturwissenschaftliche Zeitforschung analysiert Julia Menzel, wie Adlers Roman traumatische Zeiterfahrungen der Opfer des Holocaust zur Darstellung bringt. Sie erkundet die ästhetische Eigenzeit von „Eine Reise“ und eröffnet eine neue Lesart des literarischen Texts, den sie als modernen Zeit-Roman begreift.
This volume highlights the importance of diverse voices and perspectives in understanding the history and heritage of psychiatry. Exploring the complex interrelations between psychiatry, heritage and power, Narrating the Heritage of Psychiatry complicates the pervasive biomedical narrative of progress in which the history of psychiatry is usually framed. By examining multiple perspectives, including those of users/survivors of mental health services, the collection sheds light on neglected narratives and aims to broaden our understanding of psychiatric history and current practices. In doing so, it also considers the role of art, activism, and community narratives in reimagining and recontextualizing psychiatric heritage. This volume brings into conversation perspectives from practitioners as well as scholars from the humanities and social sciences.
This volume highlights the importance of diverse voices and perspectives in understanding the history and heritage of psychiatry. Exploring the complex interrelations between psychiatry, heritage and power, Narrating the Heritage of Psychiatry complicates the pervasive biomedical narrative of progress in which the history of psychiatry is usually framed. By examining multiple perspectives, including those of users/survivors of mental health services, the collection sheds light on neglected narratives and aims to broaden our understanding of psychiatric history and current practices. In doing so, it also considers the role of art, activism, and community narratives in reimagining and recontextualizing psychiatric heritage. This volume brings into conversation perspectives from practitioners as well as scholars from the humanities and social sciences.
Abstract
The story of memory studies has been told as a tale of booms and waves. Most recently, a fourth wave of memory studies, responding to the environmental, ecocritical and post-humanist turn in the humanities, has been heralded (Craps et al., 2018). This Special Issue aims to trace and reflect upon the developments that have led to this fourth phase. At the outset, however, it needs to be acknowledged that we consider how memory and different forms of environment have long been understood as interrelated. Firstly, environments have featured as metaphors to focus attention on contexts of different kinds that are pertinent to acts of remembering. Secondly, environments have been considered as the background settings for memory processes: the places in which memory work is done. Thirdly, environments have been considered a functional parts of memory processes – where an environment serves as a media carrier of memory content that is actively involved in the transmission process. Although we chart how significant recent shifts in dominant modes of defining the term “environment” have impacted the field of memory studies and contributed to developments that have been construed as a fourth wave of memory studies, we argue that such a the fourth wave of memory studies does not represent a paradigmatic shift in our understanding of the relationship between memory and environment, but rather a shift in emphasis. As we move from memory place to mnemonic space to planetary memory (Bond et al., 2017; Chakrabarty & Latour, 2021; Crownshaw, 2014), the most significant shifts in our understanding of memory pertain to epistemology, category and scale. These altered frames of perception invite us to understand memory and environment as embedded, co-constitutive and co-constructed. Whilst there has been a consensus within the field of memory studies that only humans have the ability to “remember in ways that link individual remembering to cultural frameworks” (Kansteiner, 2002), a stronger emphasis on exploring the role of non-human entities in memory processes stands to challenge this conviction.
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Abstract
This article explores how and why (re)constructions of Fairyland in Earthland can create fairyland-scapes that serve as sites of retelling and remembering ecocentric tales. To conceptualise and theorise the notion of fairyland-scape, the article employs folkloric memory as an approach, fairyland ecology as a method, and fairyland ecosystem as a model. To demonstrate and analyse the various forms and samples of fairyland-scape in practice, the article also examines the interplay between The Grimm Brothers’ Kinder- und Hausmärchen (Children’s and Household Tales) and Die Deutsche Märchenstraße (The German Fairy Tale Route) as a case study.
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This article attempts to identify the relationship between memory, time, and environment, and to answer the question of whether (and how) memory can be perceived as a form of human environment. The paper, by elaborating on the already established notions of environmental memory and temporal environments, connects different diagnoses regarding our current temporality (Hartog, Chakrabarty, Malm) with the research on the Remembering-Imagining System (Conway et al.) and indicates that they may be useful to define how collective ris works. Finally, by analysing three different literary examples (Gospodinov, Dukaj, Szczerek), it addresses the question of why does it seemingly become more difficult to understand our temporal environment and imagine our collective future?
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This essay rethinks the interrelation between materials and memory, asking: how do our encounters with materials in the built environment confront us with the past and what is the role of memory in such encounters? It argues that encounters with building materials constitute confrontations with the past, as we observe pastness in the built environment, instinctively undertake relative dating, and, as a result, temporally locate ourselves in relation to the space and the space in relation to ourselves. Integrating a key strand of architectural theory – attention to building materials and the material environment – into memory studies, the essay also proposes that the meanings of building materials are mediated by memory and that building materials themselves mediate (cultural) memory. By focusing on materials rather than events or architectural styles, it exposes the multiple and multifaceted cultural memory processes inherent in our everyday engagement with materials.