Caught by images: on the role of visual imprints in Holocaust testimonies

Alphen, Ernst van

doi:10.1177/147041290200100204

Cited by 12 publications

(5 citation statements)

References 3 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…One consequence of traumatic events can be the inability to create coherent narratives about them or the repetitive "acting out" of unassimilated trauma. Trauma in witness testimony thus constitutes not only a disrupted state of consciousness, but also an inability to own the experience of the event (Van Alphen 2002). While the sounds associated with bombings, such as sirens, were referred to as memories located in the past, the actual event of the bombing was acted out as occurring in the present.…”

Section: Trauma and Earwitness Testimonymentioning

confidence: 99%

Sound Souvenirs : Audio Technologies, Memory and Cultural Practices

Bijsterveld¹,

Dijck

2009

101

View full text Add to dashboard Cite

The series Transformations in Art and Culture is dedicated to the study of historical and contemporary transformations in arts and culture, emphasizing processes of cultural change as they manifest themselves over time, through space, and in various media. Main goal of the series is to examine the effects of globalization, commercialization and technologization on the form, content, meaning and functioning of cultural products and socio-cultural practices. New means of cultural expression, give meaning to our existence, and give rise to new modes of artistic expression, interaction, and community formation. Books in this series will primarily concentrate on contemporary changes in cultural practices, but will always account for their historical roots.The publication of this book has been made possible by grants from the Netherlands Organization for Scientific Research (NWO), the Faculty of Arts and Social Sciences, Maastricht University, and the Department of Media Studies, University of Amsterdam. All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. AcknowledgementsIn 2003, the editors of this book started collaborating in a research group called Sound Technologies and Cultural Practices. The group soon generated interest among a number of our colleagues in Europe and the U.S., which ultimately led to a conference and the initial planning for this volume. During the Sound Souvenirs Workshop held in Maastricht in November 2007, one of the participants identified his "favorite line" in one of the papers. The idea caught on and, soon, others followed suit. Together we built up the communal "tune" that resulted in this book. It is hard to express the enormous pleasure of working with such a stimulating group of scholars. We would like to express our gratitude and our thanks to all of them for their cheerful and insightful contributions. We are also grateful to the companies, institutions, and individuals who gave us permission to reproduce the illustrations. Film, Radio and Television, 24.4 (October 2004): 613-634. Ruth Benschop has used some short excerpts from an earlier published article in her chapter. That article is "Memory machines or musical instruments? Soundscape compositions, recording technologies and reference," International Journal of Cultural Studies, 10.4 (2007): 485-502.Our deepest gratitude goes to Margaret Meredith who carefully edited our English. Finally, we would like to thank the Department of Media Studies, University of Amsterdam, and the Faculty of Arts and Social Sciences, Maastricht University, for providing financial support for the copyediting, and the Dutch Foundation for Scientific Research (NWO) for funding the Sound Technologies and Cultural Practices project from which th...

show abstract

Section: Trauma and Earwitness Testimonymentioning

confidence: 99%

Sound Souvenirs : Audio Technologies, Memory and Cultural Practices

Bijsterveld¹,

Dijck

2009

101

View full text Add to dashboard Cite

show abstract

“…'s account of this event as an example of traumatic Holocaust memory, treating it as an important source of insight into the inner working of the survivor's mind (Hartman, 2001, Langer 1991, van Alphen, 2003. In what follows we will contrast this interpretation with one informed by discursive psychological work on memory.…”

Section: Discursive Psychology Memory and (Troubled) Experiencementioning

confidence: 69%

Accounts of a troubled past: Psychology, history, and texts of experience.

Byford

Tileagă

2017

Qualitative Psychology

View full text Add to dashboard Cite

The article considers the contribution that discursive psychology can make to the study of accounts of a troubled past, using, as relevant examples, testimonies of Holocaust survivors and confessions of collaboration with the secret police in communist Eastern Europe. Survivor testimonies and confessions of former informants are analyzed as instances of public remembering which straddle historical and psychological enquiries: they are, at the same time, stories of individual fates, replete with references to psychological states, motives and cognitions, and discourses of history, part of a socially and institutionally mediated collective struggle with a painful, unsettling, or traumatic past. Also, the examples point to two different ways in which archives are relevant to the study of human experience. In the case of Holocaust survivor testimony, personal recollections are usually documented in order to be systematically archived and made part of the official record of the past, while in the case of collaboration with the security services, it is the opening of the 'official' archives, and the fallout from this development, that made the confessions and public apologies necessary. The article argues that discursive psychology's emphasis on remembering as a dynamic, performative and rhetorical practice, situated in a specific social and historical context offers a particularly productive way of exploring the interplay between personal experience and the institutional production of historical knowledge, one that helps to address some of the challenges encountered by psychologists and historians interested in researching accounts of troubled past.

show abstract

“…'The original traumatic event has not yet been transformed into a mediated, distanced account … Trauma is failed experience'. 31 There is a further consequence. As writers such as Halbwachs have argued, memory requires language; all memory involves a dialogue, at the very least with oneself.…”

Section: Victims and Memorialisationmentioning

confidence: 99%

Picturing peace: murals and memory in Colombia

Rolston¹,

Ospina²

2017

Race & Class

View full text Add to dashboard Cite

The painting of murals and graffiti is a widespread and well-established practice in Colombia. Most of the artwork is not directly political. However, a significant number of murals speak directly to the political problems of the society; to the protracted violent political conflict and the emerging peace process in Colombia. They articulate the memory of violence and represent the demands of victims for acknowledgement, reparation and justice. That articulation varies through different regions in Colombia, depending on the balance of forces between guerrillas, former paramilitaries and the state. The phenomenon of mural painting represents the meeting between victims’ agency and activist art in Colombia.

show abstract

Caught by images: on the role of visual imprints in Holocaust testimonies

Cited by 12 publications

References 3 publications

Sound Souvenirs : Audio Technologies, Memory and Cultural Practices

Sound Souvenirs : Audio Technologies, Memory and Cultural Practices

Accounts of a troubled past: Psychology, history, and texts of experience.

Picturing peace: murals and memory in Colombia

Contact Info

Product

Resources

About