Suchergebnisse

This essay examines the disruption of linear time in experimental forms of "history painting" as represented by Dierk Schmidt's SIEV-X—On a Case of Intensified Refugee Politics (2001-2005). It analyses how the aesthetics of heterochronoia—multiple temporalities—play a crucial role in the development of a new understanding of the politics of "history painting." As Schmidt's work reveals, a radical conception of history exists outside the "singular moment," and in dialogue with heterogenous visual cultures (news media, art history, advertising). In attempting to understand the import of Schmidt's work, this essay considers his methodologies for creating a heterochronous mode of history painting, particularly his anachronistic engagement with the work of Theodore Géricault and the iconic history painting, The Raft of the Medusa. Unlike previous critical responses to Schmidt's work, this paper argues that (after Géricault) the artist's use of investigative "journalistic" methodologies for SIEV-X—On a Case of Intensified Refugee Politics do not generate an aesthetics of exposé but rather an aesthetics of "fictionalization." This aesthetic is defined by the recalibration of documentary and speculative data as a means to reconceive thelandscape of the perceptual. The findings of this research demonstrate that the use ofdisparate fragments—or data—to visualize otherwise diminishing historical events underpins contemporary history painting's capacity for advancing a distinct economy of affect that circumvents the limitations of the news media and its "monopoly on reality."

This article reflects upon objects and actions of counter-memory activism in Brazil in the wake of anticolonial demonumentalizations. Initially, it focuses on statues symbolizing colonial and traumatic pasts, notably the Borba Gato statue in São Paulo, dedicated to a colonial explorer. The monument was set ablaze in July 2021, sparking widespread debate. The discussion deepens with the commemoration of Marielle Franco, a councilwoman and human rights advocate who was murdered in 2018. The interplay between memory initiatives and political activism is examined, with tributes analyzed as collective authorship by black and feminist movements. Ethnographic data from Rio de Janeiro and digital environments inform this analysis. Events related to monuments and other objects are viewed as political rituals in the struggle against forgetting. Statues, street signs, graffiti, posters, and other forms of counter-memory supports are identified as focal points for understanding the relationship between objects, artistic-political practices, and public life.

1. A counter-archival sensibility : picking up Hannah Arendt's 'Reflections on Little Rock' / Jennifer L. Culbert -- 2. Listening to the archive : failing to hear / Jill Stauffer -- 3. (Un)remembering : countering law's archive : improvisation as social practice / Sara Ramshaw and Paul Stapleton -- 4. Animating the archive : artefacts of law / Trish Luker -- 5. The file as hypertext : documents, files and the many worlds of the paper state / Mayur Suresh -- 6. Counter-archive as staging dissensus / Karin Van Marle -- 7. Constitutions are not enough : museums as law's counter-archive / Stacy Douglas -- 8. Archiving victimhood : practices of inscription in international criminal law / Sara Kendall -- 9. The conspiracy archive : Turkey's 'deep state' on trial / Basak Ertur -- 10. Making a treaty archive : indigenous rights on the Canadian development frontier / Miranda Johnson -- 11. Schmitt's Weisheit der Zelle : rethinking the concept of the political / Jacques De Ville.

In the course of the so-called 'economic and financial crisis' from 2008 onwards, there has been a fierce debate about the role and purpose of the European Union. It was led in politics and the media just as in academia. The economic usefulness of the Euro has been discussed, and the political implications of a fostered European unification. Most often, the state of Europeanization has been presented as being without alternatives: no Europe without Greece; no Euro without Greece; no way back to the nation state in its old form. As a result, the debate on Europe was largely narrowed down to the very questions of the immediate crisis, namely economics and fi nance. Only a few voices held that the crisis in fact was one of politics, not of economics. And only late did politicians mention again that Europe is more than the EU. Alternative views of Europe, however, were scarce and often presented full of consequences. It thus came without much surprise that the lacking imaginative power of politicians as well as intellectuals was criticized. The idea for this volume sprang from that situation. The editors invited scholars from various disciplines to present them with ways of imagining Europe that go beyond the rather limited view of EU institutions. How was, how is Europe imagined? Which memories are evoked, which visions explicated? Which counter-narratives to prominent discourses are there?

In the course of the so-called 'economic and financial crisis' from 2008 onwards, there has been a fierce debate about the role and purpose of the European Union. It was led in politics and the media just as in academia. The economic usefulness of the Euro has been discussed, and the political implications of a fostered European unification. Most often, the state of Europeanization has been presented as being without alternatives: no Europe without Greece; no Euro without Greece; no way back to the nation state in its old form. As a result, the debate on Europe was largely narrowed down to the very questions of the immediate crisis, namely economics and fi nance. Only a few voices held that the crisis in fact was one of politics, not of economics. And only late did politicians mention again that Europe is more than the EU. Alternative views of Europe, however, were scarce and often presented full of consequences. It thus came without much surprise that the lacking imaginative power of politicians as well as intellectuals was criticized. The idea for this volume sprang from that situation. The editors invited scholars from various disciplines to present them with ways of imagining Europe that go beyond the rather limited view of EU institutions. How was, how is Europe imagined? Which memories are evoked, which visions explicated? Which counter-narratives to prominent discourses are there?

Abstract: Two public memorials dedicated to Emma Goldman (1869–1940), a radical early feminist, are examined within a broader discussion about the preservation of feminist collective memory. Goldman was a prominent anarchist and advocate for women's rights, labour rights, and freedom of speech, who was in conversation with the American women's suffrage movement throughout her life—and was one of the rare critical voices pushing the movement toward ever more progressive positions from the left. Contrasting traditional forms of commemoration with the "counter-monuments" designed by artists and spontaneously erected by her admirers allows us to explore the effects of such memorials on the forms public memory can take and the stakes involved in those formal choices. Abstract: Deux lieux de commémoration publics dédiés à Emma Goldman (1869-1940), une féministe radicale et pionnière, sont examinés dans le cadre d'une discussion plus large sur la préservation de la mémoire collective féministe. Goldman était une anarchiste de renom qui défendait les droits des femmes, les droits des travailleurs et la liberté d'expression. Tout au long de sa vie, elle s'est entretenue avec le mouvement américain pour le droit de vote des femmes —et a été l'une des rares voix critiques à pousser le mouvement vers des positions toujours plus progressistes émanant de la gauche. La mise en contraste des formes traditionnelles de commémoration et des « contre-monuments » conçus par des artistes et érigés spontanément par ses admirateurs nous permet d'explorer les effets de ces lieux commémoratifs sur les formes que peut prendre la mémoire publique et sur les enjeux liés à ces choix formels.

Deux lieux de commémoration publics dédiés à Emma Goldman (1869-1940), une féministe radicale et pionnière, sont examinés dans le cadre d'une discussion plus large sur la préservation de la mémoire collective féministe. Goldman était une anarchiste de renom qui défendait les droits des femmes, les droits des travailleurs et la liberté d'expression. Tout au long de sa vie, elle s'est entretenue avec le mouvement américain pour le droit de vote des femmes — et a été l'une des rares voix critiques à pousser le mouvement vers des positions toujours plus progressistes émanant de la gauche. La mise en contraste des formes traditionnelles de commémoration et des « contre-monuments » conçus par des artistes et érigés spontanément par ses admirateurs nous permet d'explorer les effets de ces lieux commémoratifs sur les formes que peut prendre la mémoire publique et sur les
enjeux liés à ces choix formels.

THE PERSON WHO DID THE MOST TO CRUSH THE 1863 INSURRECTION IN THE NORTHWEST (LITHUANIAN AND BELARUSIAN) PROVINCES, COUNT M.N. MURAVIEV, IS A CONTROVERSIAL FIGURE, PRAISED BY CONSERVATIVE RUSSIANS AND DEMONIZED BY POLES, LITHUANIANS, AND LIBERALS OF ALL NATIONALITIES. THIS ARTICLE EXAMINES THE MOTIVES AND RHETORIC OF THOSE RUSSIAN PATRIOTS WHO TOOK IT UPON THEMSELVES TO PAY HOMAGE TO THE DEEDS AND MEMORY OF M.N. MURAVIEV BY ERECTING A LAVISH MONUMENT IN 1898 TO THE COUNT'S MEMORY. THIS MONUMENT IS LOCATED IN THE MAINLY POLISH-JEWISH TOWN OF VILNA (TODAY'S VILNIUS). THE CONSTRUCTION OF THIS MONUMENT SERVES AS A SYMBOL OF THE RUSSIAN CAUSE IN THIS REGION OF MIXED NATIONALITY AND IS PROOF THAT THE CITY OF VILNA MUST BE CONSIDERED AS RUSSIAN.

How does the traveling museum exhibition 1001 Inventions design memories of the Golden Age of Islam to counter Islamophobia in the modern world? The Golden Age of Islam occurred centuries ago but is still a potent rhetorical force; I seek to understand how counter-memories of this era have been used to re-shape current image of Islam, particularly in the West. I also examine the role perspective plays in the rhetorical construction and circulation of countermemory. With American politicians pushing a ban on Muslim immigration, European nations closing their borders to Muslim refugees, and struggles within the Muslim community over the true nature of Islam, it is crucial that rhetoricians examine how different memories have been used to legitimate various ideologies about Islam. To answer this question, I analyze the 1001 Inventions exhibit and its companion book using the concept of perspective as used by Kenneth Burke and Donna Haraway, as well as Michel Foucault's idea of counter-memory. I explain how 1001 Inventions designs memories of the Golden Age to depict Islam as scientific and tolerant. My analysis shows how the exhibit uses Burkean metaphor, metonymy, and synecdoche to display a situated, embodied perspective on the Golden Age. It also shows how the exhibit counters anti-Islam discourse and what Bruno Latour would call a "modern" viewpoint by merging past and present, Islam and the West, and religion and science. However, because it emphasizes merger over division, this exhibit reifies a Western narrative of progress and essentializes Islam. These mergers create rhetorical footholds for critics to maintain a sharp divide between past and present, Islam and the West, and religion and science. I conclude that had the exhibit been designed using Burkean irony, offering a perspective of perspectives on the Golden Age, it would have inoculated itself against Islamophobic pushback, blunted criticism, and presented a more robust counter-memorial account of an historical era worth remembering.

Juan Gabriel Vásquez's narrative approaches the 20th century political Colombian history. He tracks the latent past that he transforms into a vehement desire of prominent figures to forget the painful past, and abolish what they have lived. This characteristic is defined as counter memory, a hermeneutic term. The counter-image corresponds to the different negative aspects that people show. Both novels in this study, "The sound of things falling" and "The reputations" become two possible interpretations of the official history. The author studies in depth the past and the need to understand it. As a consequence, the characters find themselves in unexpected contexts in diverse situations. ; Juan Gabriel Vásquez en su narrativa aborda la historia política colombiana del siglo XX a través de un rastreo de un pasado latente que él transforma en un deseo vehemente de los personajes por no recordar un pasado doloroso, abolir lo vivido, lo cual en términos hermenéuticos se denomina antimemoria. La Contra imagen corresponde a las diferentes facetas y por lo general negativas que se perciben en las personas. Las dos novelas de estudio, El ruido de las cosas al caer y Las reputaciones, se convierten en otras posibles interpretaciones de una historia oficial. El autor profundiza en temas como la indagación reiterativa del pasado y la infinita necesidad de comprenderlo, esto conlleva a cambios inesperados en los diversos contextos en los que se desenvuelven sus personajes.

Ernest Renan argued over a century ago that belonging to a nation entails forgetting just as much as it required remembering past events. Certainly this is the case in East Central Europe, where not infrequently different nationalities create out of a single historical event utterly opposing historical memories. In the western borderlands of the Russian Empire, one historical event that has been variously interpreted by different nationalities is the Insurrection of 1863. To simplify somewhat, prerevolutionary Russian historians generally interpreted this key event as a mutiny against the established legal order—the term miatezh (mutiny) was always used in such accounts—while the Poles interpreted the uprising as perhaps naive and foolish, but in any case a noble attempt to regain rights usurped by the Russian occupiers. With such a sharply opposed memory of the uprising as a whole, it comes as no surprise that the figure who did the most to crush the insurrection in the Northwest (Lithuanian and Belarusian) provinces, Count M. N. Muraviev, should also be a controversial figure, praised by conservative Russians and demonized by Poles, Lithuanians, and liberals of all nationalities.

In their third book together, Adam B. Seligman and Robert P. Weller address a seemingly simple question: What counts as the same? Given the myriad differences that divide one individual from another, why do we recognize anyone as somehow sharing a common fate with us? For that matter, how do we live in harmony with groups who may not share the sense of a common fate? Such relationships lie at the heart of the problems of pluralism that increasingly face so much of the world today. Note that "counting as" the same differs from "being" the same. Counting as the same is not an empirical question about how much or how little one person shares with another or one event shares with a previous event. Nothing is actually the same. That is why, as humans, we construct sameness all the time. In the process, of course, we also construct difference. Creating sameness and difference leaves us with the perennial problem of how to live with difference instead of seeing it as a threat. How Things Count as the Same suggests that there are multiple ways in which we can count things as the same, and that each of them fosters different kinds of group dynamics and different sets of benefits and risks for the creation of plural societies. While there might be many ways to understand how people construct sameness, three stand out as especially important and form the focus of the book's analysis: Memory, Mimesis, and Metaphor. --

Focusing on the work of such artists as Tania Bruguera, Isaac Julien, Rosemary Laing, Dierk Schmidt, Hito Steyerl, Lyndell Brown and Charles Green, Veronica Tello argues that their practices represent an emergent paradigm of contemporary .