Keywords: a Vocabulary of Culture and Society

Trauma and Recovery: The Aftermath of Violence — from Domestic Abuse to Political Terror, Judith Lewis Herman. New York: Basic Books, 1992. 276 pp. $27.00. ISBN 0-465-08765–5.Shattered Assumptions: Toward A New Psychology of Trauma, Ronnie Janoff-Bulman. New York: The Free Press, 1992, 256 pp. $24.95. ISBN 0-02-916015–4.

Trauma and Recovery: The Aftermath of Violence — from Domestic Abuse to Political Terror

Postmemory describes the relationship of the second generation to power- ful, often traumatic, experiences that preceded their births but that were never- theless transmitted to them so deeply as to seem to constitute memories in their own right. Focusing on the remembrance of the Holocaust, this essay elucidates the generation of postmemory and its reliance on photography as a primary medium of transgenerational transmission of trauma. Identifying tropes that most potently mobilize the work of postmemory, it examines the role of the family as a space of transmission and the function of gender as an idiom of remembrance. The guardianship of the Holocaust is being passed on to us. The second genera- tion is the hinge generation in which received, transferred knowledge of events is being transmuted into history, or into myth. It is also the generation in which we can think about certain questions arising from the Shoah with a sense of living

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The Generation of Postmemory

Continuous casting process for the production of hollow ingot using an improved direct chill casting equipment having a molding system comprising a hollow mold and a movable platform, wherein at least one core and a pipe for introducing outer air are provided, said core being made from a refractory material unwettable with a molten metal and having a convergent taper at the side and an air runner for introducing outer air, which is packed with an air-permeable material, at the bottom, and said pipe for introducing outer air extending upwards from the air runner and passing through the core. The continuous casting process comprises continuously pouring a molten metal into a space surrounded with the hollow mold and the core of the above equipment; cooling the molten metal only at the side wall of the hollow mold without cooling at the side of the core; thereby solidifying the molten metal to form an ingot having a hollow, wherein the interface of the frozen metal and the liquid metal is present at the position around the core; and continuously lowering the ingot thus formed while introducing spontaneously outer air into the hollow part via the pipe for introducing outer air and the air runner of the core.

Regarding the Pain of Others

Photovoice is a participatory health promotion strategy in which people use cameras to document their health and work realities. As participants engage in a group process of critical reflection, they may advocate for change in their communities by using the power of their images and stories to communicate with policy makers. In public health initiatives from China to California, community people have used photovoice to carry out participatory needs assessment, conduct participatory evaluation, and reach policy makers to improve community health. This article begins to address ethical issues raised by the use of photovoice: the potential for invasion of privacy and how that may be prevented; issues in recruitment, representation, participation, and advocacy; and specific methodological techniques that should be used to minimize participants' risks and to maximize benefits. The authors describe lessons learned from the large-scale Flint Photovoice involving youth, adults, and policy makers.

Photovoice Ethics: Perspectives from Flint Photovoice

Family photographs, snapshots and portraits, affixed to the refrigerator or displayed in gilded frames, crammed into shoeboxes or catalogued in albums, they preserve ancestral history and perpetuate memories. Indeed, photography has become the family's primary means of self-representation. In this book Marianne Hirsch uncovers both the deception and the power behind this visual record. Hirsch explores the photographic conventions for constructing family relationships and discusses artistic strategies for challenging those constructions. When we capture our family photographically, we are often responding to an idealized image. Contemporary artists and writers, Hirsch shows, have exposed the gap between lived reality and a perceived ideal to witness contradictions that shape visual representations of parents and children, siblings, lovers, or extended families. Exploring fiction, imagetexts, and photographic essays, she elucidates their subversive devices, giving particular attention to literal and metaphorical masks. While permitting false impressions and misreadings, family photos have also proved a means for shaping personal and cultural memory. Hirsch highlights an example: the wide variety of family pictures surviving the Holocaust and the displacements of late-20th-century history. Whether personal treasures, artistic constructions, or museum installations, these images link private memory to collective history.

Family Frames: Photography, Narrative and Postmemory

IntroductionI. Familial Postmemories and Beyond1. The Generation of Postmemory2. What's Wrong With This Picture? with Leo Spitzer3. Marked by MemoryII. Affiliation4. Surviving Images5. Nazi Photographs in Post-Holocaust Art6. Projected Memory7. Testimonial Objects with Leo SpitzerIII. Connective Histories8. Objects of Return9. Postmemory's Archival TurnNotesBibliographyAcknowledgmentsIndex

The Generation of Postmemory: Writing and Visual Culture After the Holocaust

“One’s first encounter with the photographic inventory of ultimate horror is a kind of revelation, the prototypically modern revelation: a negative epiphany. For me, it was photographs of Bergen-Belsen and Dachau that I came across by chance in a bookstore in Santa Monica in July . Nothing I have seen—in photographs or in real life— ever cut me as sharply, deeply, instantaneously. Indeed, it seems plausible to me to divide my life into two parts, before I saw those photographs (I was twelve) and after, though it was several years before I understood fully what they were about.What good was served by seeing them? They were only photographs—of an event I had scarcely heard of and could do nothing to affect, of suffering I could hardly imagine and could do nothing to relieve. When I looked at those photographs, something broke. Some limit had been reached, and not only that of horror; I felt irrevocably grieved, wounded, but a part of my feelings started to tighten; something went dead, something is still crying.”1

Surviving Images: Holocaust Photographs and the Work of Postmemory

Mothers and daughters--the female figures neglected by classic psychoanalysis and submerged in traditional narrative--are at the center of this book. The novels of nineteenth- and twentieth-century women writers from the Western European and North American traditions reveal that the story of motherhood remains the unspeakable plot of Western culture. Focusing on the feminine and, more controversially, on the maternal, this book alters our perception of both the familial structures basic to traditional narrative--the Oedipus story--and the narrative structures basic to traditional representations of the family--Freud's family romance. Confronting psychoanalytic theories of subject-formation with narrative theories, Marianne Hirsch traces the emergence and transformation of female family romance patterns from Jane Austen to Marguerite Duras.

Marianne Hirsch

Papers

Family Frames: Photography, Narrative and Postmemory

The Generation of Postmemory

The Generation of Postmemory: Writing and Visual Culture After the Holocaust

Surviving Images: Holocaust Photographs and the Work of Postmemory

The Mother/Daughter Plot: Narrative, Psychoanalysis, Feminism