Memory Shot Through With Holes

Raczymow, Henri; Astro, Alan

doi:10.2307/2930067

Cited by 67 publications

(14 citation statements)

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“…Hirsch contrasts her term to Nadine Fresco's (1984) notion of ''absent memory'' and affiliates it to Henri Raczymow's (1994) ''mémoire trouée'' (memory shot through with holes). But this indiscriminate use of the term memory leads to a potential contradiction: Hirsch wants to use the term because of the children's close personal connection with the parents while at the same time speaking of a memory that is indirect and dis-connected.…”

Section: Postmemory As Wishful Thinkingmentioning

confidence: 90%

Second-Generation Testimony, Transmission of Trauma, and Postmemory

Alphen¹

2006

Poetics Today

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In discussions of second-and third-generation Holocaust literature and testimony, it is an accepted idea that the trauma of Holocaust survivors is often transmitted from the first to the second and later generations. This article analyzes the ''problems'' of survivors' children in order to see if they can be understood by reference to the trauma of the parents. This will be done on the basis of literary testimonies, namely, Eva Hoffman's After Such Knowledge: Memory, History, and the Legacy of the Holocaust and Carl Friedman's Nightfather.

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Section: Postmemory As Wishful Thinkingmentioning

confidence: 90%

Second-Generation Testimony, Transmission of Trauma, and Postmemory

Alphen¹

2006

Poetics Today

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“…This transmission creates an 'inherited memory' (Lury 1998), which Marianne Hirsch calls 'postmemory' and other authors describe as 'memory shot through with holes' (Raczymow and Astro 1994), 'vicarious memory' (Young 2000) or 'prosthetic memory' (Landsberg 2004).…”

Section: Postmemory Of the Civil Warmentioning

confidence: 98%

Postmemory of the Spanish Civil War: Cinematographic constructions of the conflict in the twenty-first century

Ruiz

2016

Catalan Journal of Communication &Amp; Cultural Studies

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The Spanish Civil War has been the most frequently portrayed conflict on the large screen in Spanish cinema. It has been narrated from the points of view of both winners and losers and of those who experienced the war directly and indirectly. Most audiovisual works about this topic have been feature-length films that narrate the memory of those who lived through the conflict. However, in the twenty-first century, young film-makers have chosen to narrate their vision of the war through a different cinematographic format and language: the short film. This article analyses how a generation of film-makers born in democracy narrates the Civil War through the genre of the short film, a format that, oriented towards a young audience, shares its new codes, style and audio-visual language. This article will analyse short films, set between 1936 and 1939, that were produced in Spain in the last decade.

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“…Marianne Hirsch spricht in diesem Zusammenhang von Postmemory und charakterisiert damit eine Erfahrung, welche diejenigen machen, die mit dominanten Narrativen über die kollektiv-historischen und traumatisierenden Ereignisse der Shoah aufgewachsen sind, und deren eigene Geschichte davon maßgeblich beeinflusst ist. Sie charakterisiert Postmemory als "generational structure of transmission" (Hirsch 2008, S. 114), die sich nicht aus der unmittelbaren leiblichemotionalen Erfahrung speist, sondern sich in generationaler Distanz zur erlebten Vergangenheit der ersten Generation konstituiert, als "memory shot through with holes" (Raczymow 1994, zit. n. Hirsch 2002.…”

Section: Zwei Empirische Ereignisseunclassified

In Worten erinnern, in Bildern sprechen. Zum Unterschied zwischen visuellen und mündlichen Erinnerungspraktiken

Pohn-Lauggas¹

2016

ZQF

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In Worten erinnern, in Bildern sprechen Zum Unterschied zwischen visuellen und mündlichen Erinnerungspraktiken Remembering in Words, Speaking in Images The difference between visual and verbal practices of remembering Zusammenfassung: Der Beitrag diskutiert anhand eines Fallbeispiels, in welcher Weise Fotographien eine eigenständige Erinnerungspraktik ermöglichen, die sich von mündlichen Formen abhebt. Hierfür wird die biographische Fallrekonstruktion nach Rosenthal mit der Analyse von Bildern und Bildersammlungen nach Breckner verbunden. Im Anschluss an die Darstellung dieses methodischen Vorgehens und der Erhebungsgeschichte des Fallbeispiels wird der Frage nachgegangen, warum bestimmte biographische Themen, die in der mündlichen Erzählung in den Hintergrund rücken, mit Fotographien darstellbar werden, und andererseits bestimmte dominante Erzählmomente keine Aufnahme in die visuelle Darstellung finden. Dabei wird gezeigt, dass die Rekonstruktion biographischer Strukturen wesentliche Beiträge zum Verstehen visueller Erinnerungspraktiken liefert, wie umgekehrt auch Fotographien und die Art ihrer Präsentation zur Verdeutlichung biographischer Wendepunkte beitragen.

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Memory Shot Through With Holes

Cited by 67 publications

References 0 publications

Second-Generation Testimony, Transmission of Trauma, and Postmemory

Second-Generation Testimony, Transmission of Trauma, and Postmemory

Postmemory of the Spanish Civil War: Cinematographic constructions of the conflict in the twenty-first century

In Worten erinnern, in Bildern sprechen. Zum Unterschied zwischen visuellen und mündlichen Erinnerungspraktiken

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