Memory, History, and Nostalgia in Berlin’s Jewish Museum

Sodaro, Amy

doi:10.1007/s10767-013-9139-6

Cited by 20 publications

(14 citation statements)

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“…Hist. Educ., 21, e148 2021 processos de identificação; constrói, porque os espaços culturais tornam-se um lugar onde grupos sociais podem representar-se como gostariam de ser vistos (Sodaro, 2013).…”

Section: Reserva Técnica Administração Banheiro Socialunclassified

“…Isso mostra como, por meio da narrativa museal, responsável pelo compartilhamento de saberes, práticas e experiências, determinados grupos sociais se esforçam em preservar uma memória cultural 7 que os singularizam e que geram 6 Nostalgia vem do grego νόστος, regresso, volta ao lar após um período de ausência, e ἄλγις, dor, pena, aflição, de acordo com o dicionário de grego-espanhol, http://dge.cchs.csic.es. Sodaro (2013) argumenta que a nostalgia consiste numa aspiração afetiva por uma comunidade com uma memória coletiva, anseio por uma continuidade em um mundo fragmentado; ele acrescenta que a nostalgia aparece como mecanismo de defesa em tempos de ritmos acelerados da vida e convulsões históricas.…”

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Educação museal e produção de memórias

Júnior¹

2020

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O artigo discorre sobre a construção de memórias construídas pelo público-visitante a partir da narrativa museal, produzida pelo Museu Ozildo Albano (Picos/Piauí) e seus possíveis usos para o ensino de história. Para isso, faremos uso, de um lado, das representações sobre o passado veiculadas por essa instituição cultural; de outro, analisaremos as percepções de estudantes universitários que o visitaram. Sob esta ótica, relacionaremos o papel do museu ao âmbito da memória cultural, por meio da qual enfatizaremos a constituição da ‘memória protética’, tal como idealizada por Alison Landsberg (2009).

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Section: Reserva Técnica Administração Banheiro Socialunclassified

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Educação museal e produção de memórias

Júnior¹

2020

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“…Museums, as cultural institutions, respond to this crisis (we leave aside the question of how much influence on social discourse they may have). Whereas in tourism and museum studies authenticity derives its authority from the meticulousness of its attention to detail and its potential to facilitate pedagogy (Gable and Handler, 1996), memorial, historical, and advocacy museums today (Arnold-de Simine, 2013;Dekel & Katriel, 2015;Lehrer, 2016;Sodaro, 2013) follow the tradition of critical museology and devote themselves to a mission that is inherently critical: directed at practising democracy in response to humanitarian breakdowns.…”

Section: Editorialmentioning

confidence: 99%

Editorial

Dekel

Tota

2017

European Journal of Cultural and Political Sociology

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“…While a politics of regret can come to be seen not only as the expression of the negative emotion of regret, but also of the positive emotion of (societal) maturity which rests on the acceptance of accountability (of one's forbearers), the politics of nostalgia is potentially more dangerous, leaving us with a history devoid of guilt (Kammen 1991, p. 668). This tension is perhaps no more alive than in the memoryscape of Berlin (Bach 2013;Sodaro 2013), where the battles over what to remember and how to do so keep the city in a constant wrestle with its past. Bach shows how the urban terrain of the city is sewn and unsewn by the Wall, where both the space of the city and its trajectory through time is bifurcated.…”

Section: Politics Of Regretmentioning

confidence: 99%

Screen Memory

Freeman

Nienass

Melamed

2013

Int J Polit Cult Soc

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The traumas and catastrophes of modernity uprooted and obliterated lands, cultures, and people; and in the wake of these disasters, mnemonic practices and mnemonic communities were disrupted, dismembered, and sometimes destroyed. In response to the assaults on memory, those in the social sciences and the humanities have tried to make sense of the effects of dramatic change and mass trauma on mnemonic communities. Much of the recent scholarship on social memory centers on the globalization of memory-the tendency of some memories to gain widespread purchase transnationally and transculturally-especially those of traumatic events, such as colonial pasts, genocides, state violence, and the Holocaust. An effect of the globalization of memory is the primacy of certain memories over others; popular theoretical paradigms have emerged in recent years to broaden our understanding of the social memory of these events, such as the "politics of regret" by Jeffrey Olick (2007), "mimetic memories" by Kathleen Stewart (1996), "regimes of memory" by Susannah Radstone and Katharine Hodgkin (2003), and "multi-directional memory" by Michael Rothberg (2008) among others. We engage with these concepts and theories, but do so in order to reinvigorate an older concept of memory theory, articulated first by Sigmund Freud at the turn of the twentieth century: screen memory. Here, we argue for the concept of screen memory as a way to both conceptualize and trouble contemporary notions of social memory. In the past, screen memory has been viewed and employed rather one-dimensionally as a memory that obscures other memories by blocking or replacing them (Freud 1901). Freud argued that memories from childhood may be incorrectly recalled or recalled in a way that magnifies or

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Memory, History, and Nostalgia in Berlin’s Jewish Museum

Cited by 20 publications

References 4 publications

Educação museal e produção de memórias

Educação museal e produção de memórias

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Screen Memory

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