Hashtag Holocaust: Negotiating Memory in the Age of Social Media

This study examines the representation of Holocaust memory through photographs on the social media platforms of Flickr and Instagram. It looks at how visitors – armed with digital cameras and smartphones – depicted their experiences at the former concentration camps of Auschwitz-Birkenau, Dachau, Sachsenhausen, and Neuengamme. The study’s arguments are twofold: firstly, social media posts about visits to former concentration camps are a form of Holocaust memory, and secondly, social media allows people from all backgrounds the opportunity to share their memories online. Holocaust memory on social media introduces a new, digital kind of memory called “filtered memory.” This study demonstrates that social media was a form of memory. The photo-based platforms of Flickr and Instagram helped better visualize it: the photographs on these sites were literally and figuratively “filtered.” Users had the ability to select a black and white filter, or ones that lightened or darkened the photographs. Digital cameras and smartphones allowed users to take as many photos as they liked and upload the photo(s) they wished. Figuratively speaking, people chose to present certain parts of their visits on social media platforms. They filtered their experiences and chose the part of their story they wanted to tell. Building from the varied fields of memory studies, history of the Holocaust, visual culture, dark tourism, and public history, this study demonstrates that social media is a digital archive that historians must consider when writing about historical memory in the twenty-first century

Understanding the Baby-Friendly Hospital Initiative: A Multidisciplinary Analysis

In the United States, roughly 1 out of 4 births takes place at a hospital certified as Baby-Friendly. This paper offers a multi-disciplinary perspective on the Baby-Friendly Hospital Initiative (BFHI), including empirical, normative, and historical perspectives. Our analysis is novel in that we trace how medical practices of “quality improvement,” which initially appear to have little to do with breastfeeding, may have shaped the BFHI. Ultimately, we demonstrate that a rich understanding of the BFHI can be obtained by tracing how norms of gender/motherhood interact with, and are supplemented by, other normative, historical, and institutional realities. We conclude with suggestions for practical revisions to the BFHI

Graham Fagen complainte de l'esclave = The slave's lament

This catalog is being published in the wake of the exhibition 'Graham Fagen. The Slave's Lament' showed at Galerie de l'UQAM. It brings together works from the multidisciplinary artist Graham Fagen, who represented Scotland at the 2015 Venice Biennale, on the theme of slavery and Scottish involvement in the fate of African people deported to the Caribbean in the 18th century.The drawings, with the look of masks or portraits, the seascape photographs and the imposing video and music installation shown here explore the tensions and emotions brought about by colonialism and the African slave trade. Today considerable feeling has been mobilized with the aim of reconciliation and redemption for the economic servitude and cultural oppression of peoples -- whether aboriginal, the product of immigration or subject to current insidious forms of servitude. Fagen's questioning of nationality and identity, however, is based on a particularly pertinent critique of the cultural and social heritage. At the invitation of curator Louise Déry, specialist of the arts of the Caribbean Erica Moiah James signs an essay that contextualizes and questions the work of Fagen. Includes bibliographical references