Empty schools and Silencios: pedagogical openings for memory-making in Colombia

This paper draws from Silencios – a photography series by the Colombian artist Juan Manuel Echavarría. Silencios comprises more than 120 portrayals of abandoned schools due to armed conflict in Los Montes de María, Colombia. Sharing Echeverría’s belief that ‘these chalkboards have lessons to tell us about war’, the author of this paper advocates for the pedagogical use of Silencios to promote and support memory works in Colombia. The present analysis acknowledges that hegemonic memories and narratives have a negative impact on conflict-affected societies due to their authoritarian and oppressive character.

Therefore, the pedagogical use of Silencios seeks to ignite multiple narratives and counterhegemonic memories that might emerge as the public interacts with the photography. The visuals, in this sense, become an educational opportunity to stimulate reflection and resistance against the monopoly of the past in a country that is currently emerging from conflict. In this paper, the abandoned schools are considered as memory sites, and as renewed learning spaces to stimulate reflections and debates upon the armed conflict. Silencios can contribute to peacebuilding efforts by bringing up the possibility to reconsider essentialist conceptions of peace, memory, and pedagogy, that might hinder potential venues for enduring peace in Colombia.     

Documenting Diaspora,Diasporising Memory: Memory and Mediation among Chilean and Uruguayan Hijxs del exilio

Addressing the absence of second-generation exiles from Southern Cone post-dictatorship memory scholarship, this paper compares two documentaries: Hora Chilena, about the British-Chilean community and Tus padres volverán, depicting Uruguayan exiles across Europe – both made by and/or about the no retornadxs (those who did not return to their countries of origin after dictatorship). The paper deploys documentary to offer a nuanced depiction of the hijxs del exilio (children of exile), finding them to be distinct to both the protagonist generation and their second-generation peers in the Southern Cone. By incorporating neglected voices and reframing post-dictatorship memory in Europe, the paper challenges memory narratives about second-generation exile.     

儿童证人问题的心理学分析

在心理认知科学发展的背景下,对儿童作证主体之适格性问题的争论已经转变为对儿童证言的可靠性的判断。儿童证人由于其生理和心理的特点决定了其记忆信息的编码、贮存、和提取方面存在着不足,但不能因此否认儿童作证的适格性。相反,应根据儿童的身心特点,制订出相应可行的实践操作原则以提高儿童证人证言的可靠性。     

漫谈英语词汇学习策略

词汇对于第二语言习得至关重要 ,是语言的基本单位 ,是外语学习的“瓶颈”。要快速有效地记忆单词 ,并活学活用 ,举一反三 ,必须掌握科学的方法策略。同时 ,还要了解遗忘规律 ,巩固记忆效果     

The sword,the pen,and the uterus: multidirectional feminist culture and the Argentine dictatorship of 1976–1983

During the period 1982–1999, a cohort of feminist cultural activists highlighted parallels between the political, gendered, racial, and linguistic frameworks used to justify state violence in Argentina of 1976–1983 and in Germany of 1933–1945. Their cultural works indicate the transnational aspects of Argentina’s failures of modernity, and the parallel responsibilities to trauma memory assumed by women and Jews as marginalized members of society, who consequently emerge as both local and transnational agents of democratization. A number of scholars have noted Argentine writers’ and playwrights’ adoption of Holocaust cultural constructs to represent the 1976–1983 dictatorship, yet these cultural contributions have not yet been studied from the combined perspectives of post-Holocaust and post-dictatorship feminist scholarship. By providing a gendered analysis of “Holocaust multidirectionality” within a global arena of “postmemory,” this article shows the convergence of the two terms in the cultural production of women who remember, represent, and transmit the experience and meaning of the Argentine military dictatorship.     

皮埃尔·诺拉的“记忆之场”与国族认知——兼论《普鲁斯特之<追忆似水年华>》

20世纪80年代后,学界的“记忆”研究逐渐兴起。法国当代史学名家皮耶?诺哈主编的多卷本《记忆之场》引领了这一潮流,将之聚焦于富有象征意味的“记忆之场”上。诺哈区分了“记忆”与“历史”,指出了“记忆”的“场所”具有的物质性、功能性与象征性,并以庞大的篇幅建构了法国国族自我认知的社会史。其中,孔帕尼翁的《普鲁斯特之<追忆似水年华>》将普鲁斯特及其作品视为一种“记忆之场”,探讨了“泛普鲁斯特学”、成为“法国伟大作家”的普鲁斯特及其成功的社会基础,将“普鲁斯特”这类“建构之象征物”纳入到“法国之所以成为法国”的研究中,表明其保证了一种集体性的、文化与身份认同的再生产;该文也代表了作品研究的另一种进入方式。     

Contested war remembrance and ethnopolitical identities in Kosovo

This paper examines the relationship between political power and war remembrance by considering the way war remembrance occurs in a divided society. The purpose of this paper is to explore memory of the violent past and its uses as an ongoing arena of disputes between former adversaries and within ethnopolitical groups pushing their distinct versions of memory. Moreover, this paper examines three key aspects of the politics of remembrance: prevalent narratives, arenas of commemoration, and agencies of war remembrance, based on the case study of Kosovo. The postwar narrative and commemoration in Kosovo have evolved along ethnic lines, perpetuating antagonism and conflicting identities. Memorialization in Kosovo raises serious challenges for comprehensive transitional justice and reconciliation between these ethnic groups. The paper concludes that through appropriate civic education, critical inquiry of commemoration practices, and especially through evidence-based adaptation of the history curriculum, there is a chance to promote a culture of shared memory and to establish inclusive politics of remembrance in Kosovo, as crucial components of reconciliation and peace-building.     

Memory and forgetting: examining the treatment of traumatic historical memory in Grave of the Fireflies and The Wind Rises

Within Japanese popular culture, manga and anime have played a significant role in mediating responses to the outcome of the Pacific War. Miyazaki Hayao's (possibly) final feature-length film, The Wind Rises, has been an important addition to the preceding body of popular media ‘texts’ that raise such themes. This article aims to address the question of how far cinematic animation can reasonably be obliged to follow the kinds of historiographical concerns that inevitably arise when engaging with Japan's militarist past. To answer this question, considerable space is devoted to examining the historical context of what others have done in the post-war period and integrate that commentary into an analysis of how the works of Takahata Isao and Miyazaki Hayao fit amongst a succession of creative works that have been co-opted in the reshaping of historical perceptions of the Japanese at war amongst the Japanese themselves. This will also require some incidental discussion of methodological issues that arise when dealing with such cases as vehicles for understanding transformations in historical consciousness. Ultimately it is argued that Miyazaki does indeed make an important contribution to the commentary on the Japanese war experience, although it must, perhaps unavoidably, be on highly personal terms so far as The Wind Rises is concerned.     

Enacting Oblivion

After periods of major political change, incoming regimes have often declared “acts of oblivion” in which courts and sometimes citizens are commanded to forget what happened under the preceding regime. But how are courts and citizens supposed to obey this command? Must they not remember what it is they are commanded to forget? If so, obedience is only possible at the price of disobedience. This paper suggests this paradox raises important issues about the concept of memory. It argues that in order to understand acts of oblivion we need to distinguish between two aspects of memory: the cognitive, concerned with the transmission of information, and the conative, concerned with the transmission of will and affect. This distinction provides a way of avoiding the more overtly paradoxical features of acts of oblivion. However, there remain significant difficulties facing the political project of forgetting.