memory

Translated by Assenka Oksiloff.

On June 4, 1989, People's Liberation Army soldiers opened fire on unarmed civilians in Beijing, killing untold hundreds of people. A quarter-century later, this defining event remains buried in China's modern history, successfully expunged from collective memory. In The People's Republic of Amnesia, Louisa Lim charts how the events of June 4th changed China, and how China changed the events of June 4th by rewriting its own history.

From the 1960s until the early 1990s, the South African security police and counterinsurgency units collected over 7,000 photographs of apartheid’s enemies. The political rogue’s gallery was known as the “terrorist album,” copies of which were distributed covertly to police stations throughout the country. Many who appeared in the album were targeted for surveillance. Sometimes the security police tried to turn them; sometimes the goal was elimination.

All wars are fought twice, the first time on the battlefield, the second time in memory. From the author of the Pulitzer Prize–winning novel The Sympathizer comes a searching exploration of the conflict Americans call the Vietnam War and Vietnamese call the American War—a conflict that lives on in the collective memory of both nations.

In this far-ranging and erudite exploration of the South Asian past, Sumit Guha discusses the shaping of social and historical memory in world-historical context. He presents memory as the result of both remembering and forgetting and of the preservation, recovery, and decay of records.

Documentary Testimonies examines documentary films that compel us to bear witness, move us to anger or tears, and possibly mobilize us to action.

Trauma Cinema focuses on a new breed of documentary films and videos that adopt catastrophe as their subject matter and trauma as their aesthetic. Incorporating oral testimony, home-movie footage, and documentary reenactment, these documentaries express the havoc trauma wreaks on history and memory. Janet Walker uses incest and the Holocaust as a double thematic focus and fiction films as a point of comparison.

Photographs of the Holocaust bear a double burden: to act as history lessons for future generations so we will “never forget” and to provide a means of mourning. In Trespassing through Shadows, Andrea Liss examines the inherent difficulties and productive possibilities of using photographs to bear witness, initiating a critical dialogue about the ways the post-Auschwitz generation has employed these documents to represent Holocaust memory and history.

In this unique collection, Yale literary critic Shoshana Felman and psychoanalyst Dori Laub examine the nature and function of memory and the act of witnessing, both in their general relation to the acts of writing and reading, and in their particular relation to the Holocaust. Moving from the literary to the visual, from the artistic to the autobiographical, and from the psychoanalytic to the historical, the book defines for the first time the trauma of the Holocaust as a radical crisis of witnessing "the unprecedented historical occurrence of ...

Triompher du silence : tel est pour Elie Wiesel, témoin et victime de l'Holocauste, le premier acte, peut-être un simple geste de survie, une parole intérieure, secrète, fragile.

Au récit de sa propre expérience succède l'évocation des disparus dont il devient le porte-parole : chants de la mémoire, dialogues avec les ombres toujours présentes des victimes et des combattants dont il dit les angoisses, les interrogations et les rêves.