Commemorating traumatic events means attempting to activate collective memory. By examining images, metonymic invocations, built environments and digital outreach interventions, this book establishes some of the cognitive and emotional responses that make us incorporate the past suffering of others as a painful legacy of our own.
Commemorating traumatic events means attempting to activate collective memory. By examining images, metonymic invocations, built environments and digital outreach interventions, this book establishes some of the cognitive and emotional responses that make us incorporate the past suffering of others as a painful legacy of our own.
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Autorenporträt
Margarita Saona is Associate Professor of Latin American Literature and Culture at the University of Illinois at Chicago, USA. She is the author of Novelas Familiares: Figuraciones de la nación en la novela latinoamericana contemporánea and numerous articles on gender, memory, and national identity.
Inhaltsangabe
List of Illustrations Preface Acknowledgements List of Acronyms PART I: INTRODUCTION: PERUVIAN MEMORY MATTERS 1. The Mandate to Remember 2. Remembering the Pain of Others PART II: SEEING, KNOWING, FEELING: CONVEYING TRUTH AND EMOTION THROUGH IMAGES 1. Yuyanapaq: Using Images in Order to Remember 2. Images, Photography, and Truth 3. Photography, Memory, and the Ethics and Aesthetics of Witnessing 4. Imagining the Memories of Others PART III: PLAIN THINGS AND NAMES 1. Naming the Victims: The Controversies Surrounding El ojo que llora 2. The Things they Carried: Embodied Evocation in 'Si no vuelvo, búsquenme en Putis.' PART IV: PLACES TO REMEMBER 1. Creating Sites of Memory 2. Here 3. Dislocating Memory Afterword Notes References Index
List of Illustrations Preface Acknowledgements List of Acronyms PART I: INTRODUCTION: PERUVIAN MEMORY MATTERS 1. The Mandate to Remember 2. Remembering the Pain of Others PART II: SEEING, KNOWING, FEELING: CONVEYING TRUTH AND EMOTION THROUGH IMAGES 1. Yuyanapaq: Using Images in Order to Remember 2. Images, Photography, and Truth 3. Photography, Memory, and the Ethics and Aesthetics of Witnessing 4. Imagining the Memories of Others PART III: PLAIN THINGS AND NAMES 1. Naming the Victims: The Controversies Surrounding El ojo que llora 2. The Things they Carried: Embodied Evocation in 'Si no vuelvo, búsquenme en Putis.' PART IV: PLACES TO REMEMBER 1. Creating Sites of Memory 2. Here 3. Dislocating Memory Afterword Notes References Index
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