This paper examines the phenomena of ‘postmemory’ as a mode of possession that responds to experiences of suffering. As such, the hyper-connectivity it is concerned with is not that of the digitalisation of contemporary life but is rather ‘vertical’ hyper-connectivity indicating the disturbance of past injustices that have neither been mourned nor remedied and so keep returning to haunt the present and the future.

Drawing on 10 years of activism in Turkey’s trans movement and seven months of fieldwork in Istanbul on mutually formed mother and daughter relationship among trans women, this article looks at alternative understandings of ‘inter-generational’ transmission of memory. How can we engage alternative family making processes and non-normative formations of time with memory transmission rather than merely identify ‘inter-generational’ memory in advance with pre-established non-normative systems? Or can we talk about ‘inter-generational’ memories without knowing what ‘generation’ really means? Inspired by (...) these questions, Marianne Hirsch’s work on postmemory and narratives of self-identified trans mothers and daughters, in this article the author discusses the conceptualization of ‘queer postmemory’ in order to think critically on unmarked temporal and familial dimensions in the study of collective and personal memory. While refusing to position memory as an outcome of predetermined temporal frameworks within normative understandings of family, the author looks at strangely remembered things through glimpses of other types of time, other types of relationalities and other types of inheritability. (shrink)

This paper deals with the possible ways of understanding the relation between the reconstruction of history and literary fiction. The transmission of memory across generations – postmemory, and the composition of literary works out of the place of the origin – ectopic literature – facilitate the formation of historical discourse, which is inevitably accompanied by modern interpretation. As interpretation is understanding reality in a subjective manner, literary fiction takes its place in the reconstruction of historical events. And ectopic literature (...) is one of the main narratives, which helps to understand the relation between facts and fantasy. (shrink)

Marianne Hirsch’s influential concept of postmemory articulates the ethical significance of representing trauma in art and literature. Postmemory, for Hirsch, “describes the relationship of children of survivors of cultural or collective trauma to the experiences of their parents, experiences that they ‘remember’ only as the narratives and images with which they grew up, but that are so powerful, so monumental, as to constitute memories in their own right”. Through appeal to recent philosophical work on memory, the ethics of (...) remembering, and Peter Goldie’s discussion of empathy, I explore the virtues and limitations of Hirsch’s concept of postmemory. I take particular issue with her recent attempt to place author W.G. Sebald in league with the postmemory generation. (shrink)

The article focuses on Kurt Vonnegut’s lesser-known and underappreciated 1987 novel Bluebeard, which is analyzed and interpreted in the light of Marianne Hirsch’s seminal theory of postmemory. Even though it was published prior to Hirsch’s formulation of the concept, Vonnegut’s novel intuitively anticipates it, problematizing the implications of inherited, second-hand memory. To further complicate matters, Rabo Karabekian, the protagonist-narrator of Bluebeard, a World War II veteran, amalgamates his direct, painful memories with those of his parents, survivors of the Armenian (...) Genocide. Both the novel and the theory applied to it centre on the problematics of historical and personal trauma, engendered by two genocides which are often the object of comparative analyses: the Armenian Genocide, also referred to as the Armenian Holocaust, and the Jewish Holocaust. The latter is central to Hirsch’s interdisciplinary work in the field of memory studies, encompassing literature, the visual arts and gender studies. In Bluebeard, Vonnegut holds to account a humanity responsible for the atrocities of twentieth-century history: two world wars and two genocides for which they respectively established the context. The article examines the American writer’s reflection on death and violence, man’s destructive impulse and annihilation. In a world overshadowed by memories of mass extermination, Vonnegut interrogates the possibility of a new beginning, pointing to women as agents of renewal and sociopolitical change. He also identifies the role that art plays in the process of potential reconstruction, the story of Karabekian, a failed artist and highly successful art collector, being a Künstlerroman with a feminist edge. (shrink)

Using the concept of postmemory—coined by Mariane Hirsch—this paper explores the role of photographs in recalling past trauma in two families who participated in the anticommunist armed resistance in Romania. Members of these families were executed and the survivors had to endure further persecution. The interviews revealed that some pictures offer the frame for remembering suppressed memories. The images have peculiar meanings for different generations of the same family. For the participants in this study, seeing the photographs equates to (...) reliving a past trauma and giving a new meaning to it. Pictures function as realms of encounter and reconciliation between present and past generations of the same family. The first outcome of the process is memory recovery; in this, people also recover their identity and the result is transgenerational healing. Some of the interviews discussed in this paper were done with members of my family. (shrink)

The category of « postmemory » has been invoked by Marianne Hirsch to refer to a traumatic past which is not directly remembered in first person, but is handed down to later generations and is recalled through the mediation of narratives and images which become “prostheses” for a lack of direct memory. But how is it that these prosthetic recollections do not simply substitute for what lacks but seem to shape the very events they are meant to reproduce ? (...) How come an event continues to haunt the memories of the present, even when no immediate remembrance of it is left ? How to think of an “afterimage” of something that was never seen in the first place? It is only quite recently that the role of prosthetic images has been more widely acknowledged in the construction and creation of memories of collective trauma. The paper will focus on the role of photographic images played in remembrance of the Armenian genocide. It shall be shown how the few pictures that were taken by witnesses of the deportations had an afterlife of their own, being reframed and receiving specific interpretations. In particular, the paper will discuss the case of Armin T. Wegner, a German voluntary serving as Sanitary Officer in the Turkish army who, during his fieldwork in 1915/16 in Anatolia and on the Euphrates in Syria, documented the final stages of deportation, taking pictures of the camps at the desert’s fringes. His photos, which are among the most important visual testimonies of the extermination, only belatedly later made Wegner aware of what he had been witnessing, turning him into a witness après coup and to a defender of the Armenian cause. (shrink)

Aan de hand van het werk van de Duitse romancier W.G. Sebald breekt Mark Anderson een lans voor een herwaardering van de melancholie, als enig mogelijke houding om de last van het verleden die we moeten dragen, te kunnen torsen. De kunsten zijn het aangewezen instrument voor deze ‘daad van verzet’ ‘tegen de krachten van vernietiging en vergeten in het menselijk leven’. Het werk van Sebald, achtervolgd door de ‘postmemory’ aan het Duitse oorlogsgeweld dat hij zelf alleen indirect had (...) meegemaakt, is hiervan een veelzeggende illustratie. (shrink)

Further to the recent handover of the Naval School of Mechanics (ESMA), Argentina’s most notorious centre for the clandestine torture and assassination of leftist militants under the dictatorship of 1976–83, to the city of Buenos Aires, in order to create on the premises a ‘Space for Memory’, debates on the proper commemoration of the recent past have gained momentum. In the course of these, it has become clear that there is currently no consensus among the human rights organizations, let alone (...) Argentine society at large, on how the former sites of state terrorism can be adequately ‘recovered’, or what the purpose and function of such a recovery might be. Rather than as a shortcoming, however, this impossibility of closure, and of the monumentalization of a social consensus about the past in museal forms, might be taken as an opportunity to problematize some of the politics and material poetics underpinning the contemporary ‘memorial museum’. The article therefore analyses the principal arguments and positions voiced in the debate about ESMA with a view to their attitudes (explicit or implicit) towards the museum-form as such, and the conclusions that might be derived from these in the context of contemporary debates about ‘postmemory’, ‘secondary witnessing’ and the politics of empathy at the museum. (shrink)

In The Sound and the Fury William Faulkner writes: “Time is dead as long as it is being clicked off by little wheels; only when the clock stops, does time come to life.” The following words relate to the role of memory frames in human life. They also begin the analysis of the ideas of twentieth and twenty-first century philosophers such as Henri Bergson, Martin Heidegger, Paul Ricoeur and David Farrell Krell. Even though there is a strict reference to the (...) Modernist thinkers, the author goes slightly deeper, reminding earlier concepts of Plato, Socrates, Aristotle and Protagoras. The second part of the article has been devoted to the notions connected with time frames and memory such as experiencing of the passage of time, reminding, forgetting, forgiving as well as postmemory. (shrink)

In The Sound and the Fury William Faulkner writes: “Time is dead as long as it is being clicked off by little wheels; only when the clock stops, does time come to life.” The following words relate to the role of memory frames in human life. They also begin the analysis of the ideas of twentieth and twenty-first century philosophers such as Henri Bergson, Martin Heidegger, Paul Ricoeur and David Farrell Krell. Even though there is a strict reference to the (...) Modernist thinkers, the author goes slightly deeper, reminding earlier concepts of Plato, Socrates, Aristotle and Protagoras. The second part of the article has been devoted to the notions connected with time frames and memory such as experiencing of the passage of time, reminding, forgetting, forgiving as well as postmemory. (shrink)

This essay places the recent academic fascination with trauma and victimhood in a psycho‐social context within which identifications with pure victimhood hold sway. The essay takes as its starting point Freud's description, in Civilisation and its Discontents, of the formation of the super‐ego via the small child's negotiation of ambivalence towards its first authority figure. It is argued that this process lacks secondary re‐inforcement in western urban postmodernity, where authority has become diffuse, all‐pervasive and unavailable as a point of identification. (...) In this context, aggression becomes harder to acknowledge and manage resulting in a tendency towards Manicheanism and the attenuation of ambivalence. Taking as its case‐study Marianne Hirsch's writings on the ethical aesthetics of postmemorial photography, the essay concludes that recent work on trauma and testimony fails to acknowledge that identifications may straddle victimhood and perpetration. This acknowledgement is only possible where some containment of aggression feels possible. (shrink)

The first issue this essay examines is the articulation of the cinema of the body, the feminine gestus, and the ‘political cinema’, which begins with the philosophical shout, ‘Give me a body, then!’ and ends with the ‘Third World Cinema’ as a cinema of memory. How is this Deleuzian concept in tension with the one proposed here of ‘missing body’? The second issue concerns the importance of the body for theory and practice within feminist film theory and queer theory. The (...) question of the body is introduced in-between these two lines in the context of a series of Latin American documentaries. The final problem is then how to see and show a body that is missing, like an outside of the body image, and of a certain regime of the visible and the audible that tends to be fixed in topics by the production of technologies of memory. (shrink)

1. Transmodernity, in the words of Irena Ateljevic, is “an umbrella term that connotes the emerging socio-cultural, economic, political and philosophical shift” which we are experiencing in the era...

Askold Melnyczuk’s novel Ambassador of the Dead narrates the process through which a second-generation, assimilated American learns to comprehend the Ukrainian historical experience of his family and their generation. This article argues that the novel is centrally concerned with Nick’s learning process: as he begins to better understand his parents’ generation, he transforms his own identity. As a child, Nick is unable to see Ada — his friend’s mother, who is haunted by traumatic experiences — as anything other than an (...) unchanging, incomprehensible enigma: “Old World Syndrome.” Eventually, Nick comes to follow the example of Anton, a displaced Ukrainian who narrates a story-within-the-novel that returns Ada’s experiences to their historical and cultural contexts, while using magical realism to place her Ukrainian experience on a historical scale. Through Anton’s example, Nick learns how to see both Ada and his parents as complex historical actors in world history. Understanding the past then enables him to see himself as Ukrainian and claim an identity that is both Ukrainian and American. (shrink)