Memorial meshwork: the making of the commemorative space of the Hyde Park 7/7 memorial

How do memorials act to transmit memory through the organization of space? In this paper we contrast a ‘preservation’ model of the endurance of encoded memory with a ‘meshwork’ model which treats memory as emergent on the perdurance of the memorial site. Developing a theoretical framework from Tim Ingold’s (2011; 2013) work, we describe how memorialization receives its spatial form through a collective work of braiding together multiple threads of activities and material flows. To illustrate, we examine the spatial and temporal organization of the Hyde Park 7/7 memorial from its initial designs, through to installation and contemporary use. We draw on interview data featuring various stakeholders in the 7/7 memorial project to analyse the relationship between memorial space and material relations. We develop an approach to organizational space as an unfinished meshwork that folds together wanted and unwanted memory, making the historical a matter of ongoing live concern but with the absence of a permanent guiding narrative

Hierarchies of Pain

Trauma has become a pervasive cultural model for representing individual and collective injuries and suffering. This process has produced what may be called a trauma aesthetic, a set of recognizable tropes in widespread use in trauma narratives. This chapter examines the adoption of this aesthetic in graphic narratives, focusing on the special capacities of the form. Familiar tropes, such as dissociation and the somatic trace, are presented in complex combinations of visual and textual components, often exploiting the differential appearance of text and image to introduce a dynamic of belatedness or disarticulation. This chapter analyses five works ordered according to their diminishing reliance on ‘trauma’. The trauma aesthetic is used, though not explicitly, in Catherine Meurisse’s La Légèreté (2016) about the Charlie Hebdo attack, Jean-Philip Stassen’s Déogratias (2000/2006) about the genocide in Rwanda, and Emmanuel Lepage’s Un printemps à Tchernobyl (2012) about the aftermath of the Chernobyl nuclear disaster. By contrast, it is absent from Mazen Kerbaj’s Beirut Won’t Cry (2007/2017) about the Israel-Hezbollah conflict and Josh Neufeld’s A.D. about Hurricane Katrina (2009). These works’ reliance on formalized and sanctioned trauma tropes not only is influenced by narrative characteristics, such as temporal distance from the event or the presence of a single narrator-protagonist but may also be motivated by the prestige conferred by trauma as recognized suffering, affecting the canonization and translatability of the graphic narratives in question

Communism and the Meaning of Social Memory: Towards a Critical-Interpretive Approach

This article was published in the journal, Integrative Psychological and Behavioral Science [© Springer Verlag] and the definitive version is available at: http://dx.doi.org/10.1007/s12124-012-9207-xUsing a case study of representations of communism in Romania, the paper offers a sketch of a critical-interpretive approach for exploring and engaging with the social memory of communism. When one considers the various contemporary appraisals, responses to and positions towards the communist period one identifies and one is obliged to deal with a series of personal and collective moral/political quandaries. In their attempt to bring about historical justice, political elites create a world that conforms more to their needs and desires than to the diversity of meanings of communism, experiences and dilemmas of lay people. This paper argues that one needs to study formal aspects of social memory as well as "lived", often conflicting, attitudinal and mnemonic stances and interpretive frameworks. One needs to strive to find the meaning of the social memory of communism in the sometimes contradictory, paradoxical attitudes and meanings that members of society communicate, endorse and debate. Many of the ethical quandaries and dilemmas of collective memory and recent history can be better understood by describing the discursive and sociocultural processes of meaning-making and meaning-interpretation carried out by members of a polity

‘Broadcast to mark Holocaust Memorial Day’: Mass-mediated Holocaust commemoration on British television and radio

This paper was published in the journal European Journal of Communication and the definitive published version is available at https://doi.org/10.1177/0267323118763919.This article examines the various programmes that British television and radio broadcast to mark Holocaust Memorial Day (HMD), between 2002 and 2016. Adopting a content analytic methodology, I quantified the broadcast schedules of 15 successive HMDs, as recorded in archived copies of the Radio Times. My analysis reveals significant variations in mass-mediated Holocaust commemoration. Principally, I found: a decrease in programming, despite a significant increase in the number of television channels; a tendency towards ‘anniversarism’ in the form and frequency of broadcast programmes; a stress on Auschwitz, as metonym of the Holocaust, and on survivors, children and music; and that commercial channels were significantly more likely to broadcast documentaries (and repeats) than the BBC’s more varied and original outputs. These variations appear to be the result of three interlinked factors: first, a sense that the audience had grown weary of World War II commemoration, following saturation broadcasting of anniversaries in 2004-2005; changes in the management and programming priorities of key broadcasters, particularly the BBC; and that HMD has not yet become an established day for broadcasters in the nation’s commemorative calendar