Trains of Workers, Trains of Death: Some Reflections after the March 11 Attacks in Madrid

Sánchez-Carretero, Cristina

doi:10.1007/978-1-137-12021-2_16

Cited by 14 publications

(8 citation statements)

References 2 publications

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“…By his use of 'nation' (nasjon) and 'country' (land), the writer furthermore indicates a possible dissolution of the division between 'us' and 'them', which was noted in messages collected after the Madrid train bombs in 2004, where immigrants used expressions such as 'we are one' and 'we are all on the same train' when writing about the victims but 'they' and 'them' when writing about Spain (Sánchez-Carretero 2006).…”

Section: Civic Conceptionmentioning

confidence: 92%

”It’s Difficult to be a Norwegian”: <i>Minority Voices in the Memorial Messages after the Terror Attacks in Norway 2011</i>

Lödén

2018

Nordic Journal of Migration Research

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The terror attacks in Norway 2011, targeting what the perpetrator described as proponents of immigration and multicultural society, created exceptional circumstances for people to reflect on issues of belonging. In this kind of situation, it is assumed that people emphasise their affinity with the affected country. This, in turn, makes the problematisation of the affinities displayed particularly interesting since the act of expressing them even in a very taxing situation indicates their importance. Texts by individuals from ethnic minorities, written soon after the attacks, are analysed in terms of conceptions of 'Norwegianness'. Results show explicit support for civic values but also multiple expressions of not feeling recognised as part of majority society also from individuals obviously acculturated to Norwegian lifestyles and cultural codes. These expressions are explained in terms of whiteness -non-whiteness and religion.

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Section: Civic Conceptionmentioning

confidence: 92%

”It’s Difficult to be a Norwegian”: <i>Minority Voices in the Memorial Messages after the Terror Attacks in Norway 2011</i>

Lödén

2018

Nordic Journal of Migration Research

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“…In Madrid, the sad wait for the identification of the dead and the injured was shorter than it had been in New York, but the citizens’ memorializing intent led to demonstrations of mourning at the sites of the massacre. Almost right after the injured were rescued and the bodies of the dead were recovered, people began placing candles, flowers, and notes (with messages of mourning, but also of peace and solidarity) on small improvised memorials on the platforms or the entrance hallways at the railway stations in Santa Eugenia, El Pozo, and Atocha, as well as in other areas in Madrid and in the neighboring towns where some of the victims came from (Sánchez‐Carretero ) (Figures and ).…”

Section: Grassroots Memorialsmentioning

confidence: 99%

Pictures That Save, Pictures That Soothe: Photographs at the Grassroots Memorials to the Victims of theMarch 11, 2004MadridBombings

García¹

2013

Visual Anthropology Review

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This article examines the various roles played by photographers and photographic images in the grassroots memorials to the victims of the March 11, 2004 Madrid bombings, as spontaneously displayed by anonymous citizens in public spaces. For purposes of comparison, parallels are drawn with similar memorials to the victims of the September 11, 2001 attacks in New York. Although photographic depictions of the pain and suffering caused by the massacres seem to predominate in both cases, photographs served another—and at least in local terms—socially significant purpose, as this article will try to show, through its material anchoring in collective remembrance photographs contributed to the public memorialization of the events.

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“…Esto impide que sean borrados de la memoria. Véase Sánchez-Carretero (2006 protesta que ya expresaban en clave al cantar "Tatuaje". Siguen demostrando que recuerdan, siguen buscando, fieles a la memoria de las víctimas.…”

Section: León/ Valerio/quirogaunclassified

Copla y supervivencia: Conchita Piquer, “Tatuaje”, y el duelo de los vencidos

Sieburth¹

2011

Rev. Dialectol. Trad. Popul.

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RESUMENEl presente estudio es una lectura de "Tatuaje" (1941), la copla más emblemática de Conchita Piquer, a la sombra de las fosas comunes del terror franquista. Numerosos intelectuales que crecieron durante la posguerra han dejado elocuente testimonio de la pasión con que los vencidos cantaban esta canción. Valiéndome de los recientes documentales que recogen el testimonio de los superviventes del terror franquista sobre el sufrimiento psicológico que supuso la prohibición de enterrar a sus familiares ni llevar a cabo ningún ritual de duelo por ellos, sostengo que "Tatuaje" tuvo tanto impacto porque funcionaba durante toda la posguerra como un ritual clandestino de duelo, un duelo bajo la clave de la historia de la mujer del puerto y su marinero. Interpreto la canción como una representación de, y terapia contra, el llamado "duelo complicado." Y argumento que "Tatuaje" también ayudó a los vencidos a resolver un problema existencial: el de ser fantasmas de una época anterior, de no tener papel en la "España nueva" franquista.

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Trains of Workers, Trains of Death: Some Reflections after the March 11 Attacks in Madrid

Cited by 14 publications

References 2 publications

”It’s Difficult to be a Norwegian”: <i>Minority Voices in the Memorial Messages after the Terror Attacks in Norway 2011</i>

”It’s Difficult to be a Norwegian”: <i>Minority Voices in the Memorial Messages after the Terror Attacks in Norway 2011</i>

Pictures That Save, Pictures That Soothe: Photographs at the Grassroots Memorials to the Victims of theMarch 11, 2004MadridBombings

Copla y supervivencia: Conchita Piquer, “Tatuaje”, y el duelo de los vencidos

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