Dissertation•
Le temps du "devoir de mémoire" des années 1970 à nos jours
10 Nov 2014-
TL;DR: The role des medias, des acteurs politiques, ainsi que des militants de la memoire is analyzed in this paper for comprendre la place et les sens de ce referent social qui formalise un nouveau rapport au passe des contemporains.
Abstract: La these est consacree a l’histoire de l’expression « devoir de memoire », des annees 1970 a nos jours. Ce neologisme s’elabore dans le contexte de nouveaux usages du mot « memoire », sans lien avec la memoire de la Shoah, avant de devenir une formulaire du discours social au debut des annees 1990, a l’occasion du debat sur la reconnaissance officielle du role de Vichy dans la persecution et l’extermination des Juifs. Le role des medias, des acteurs politiques, ainsi que des militants de la memoire est analyse pour comprendre la place et les sens de ce referent social qui formalise un nouveau rapport au passe des contemporains. Pour mener ce travail, les sources audiovisuelles, celles de la presse ecrite, du secretariat d’Etat aux Anciens combattants, et des associations ont ete exploitees, completees par de nombreux entretiens.
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Book•
01 Jan 1975
TL;DR: Marker as mentioned in this paper provides a stylistic analysis of one of the American theatre's most fascinating practitioners, Belasco, in the context of the work of the Russian Art Theatre.
Abstract: of his career but also, and more significantly, claiming that here she is providing 'for the first time, a stylistic analysis of one of the American theatre's most fascinating practitioners.' That she has this justification depends, partly at least, on the fact that his plays and productions have commonly been regarded as belonging largely, if not indeed exclusively, to the realm of the popular stage, whereas she seeks to draw them within the orbit of those revolutionary endeavours which in divers European countries sought to establish a new theatrical 'naturalism' both in play composition and in play presentation the avant-garde activities to be found in the work of the Moscow Art Theatre, the Danish Theatre Royal, the French Theatre Libre, and the German Freie Blihne. That her endeavour is indeed fully warranted is demonstrated by the fact that when, for example, the Russian company and its companion organizations visited the United States various critics stressed their belief that its prod uctions 'had nothing new to teach Broadway.' Still more significant is the fact that Stanislavski himself put the seal of his approval on the activities of the American directorplaywright by actually making him an honorary member of the Moscow troupe. No doubt labels in themselves are of little or minor consequence, and no doubt on occasion they can prove misleading: yet it is of importance that we should teach ourselves how properly to interpret and evaluate outstanding achievements such as those manifested by such men as Belasco, and here Mrs Marker's study must be regarded as indeed a most valuable and accomplished textbook, or guidebook, call it which we will (ALLARDYCE NICOLL)
591 citations
249 citations
01 Aug 2011
21 citations
TL;DR: In this paper, a discussion of Italian-Jewish selfrepresentation, evaluating the causes that led to a "repression" and "concealment of the trauma" in the first decades after the war, is presented.
Abstract: example. The UCII then took a pro-active role, seeking and identifying a non-Jewish historian to produce a history of the persecutions that the Committee would underwrite and disseminate. This, then, is the origin ofRenzoDeFelice’s Storia degli ebrei in Italia sotto il fascismo, researched and written in just over one year and first published in 1961. Schwarz sees De Felice’s book as, inevitably, reaffirming the vision of Italy as the ‘victim itself of a racial delirium considered decidedly foreign to its own sensibility and history’ (p. 163); he is more severe regarding De Felice’s defence of this view years later, in subsequent editions. Schwarz devotes the final chapter and conclusion to a discussion of Italian-Jewish selfrepresentation, evaluating the causes that led to a ‘repression’ and ‘concealment of the trauma’ (p. 175) in the first decades after the war. Among these was the need, shared with all Italians, for a ‘reconciliatory memory’. Even more significant in the case of the Jews, according to Schwarz, was their adherence to the pact of emancipation that idealized Italy and reinforced the perspective that Jews should show gratitude and prove worthy of their promotion into society. Only since the 1980s, he contends, have new ways of conceiving citizenship, and the consequences of Israeli politics, worked to dislodge the emancipation paradigm. Schwarz concludes with a reflection on the fragility of a modern Jewish identity grounded too firmly in the Shoah. This is an extremely thoughtful and well-documented work, a must-read for those interested in Italian Jewish history, certainly, but also contemporary Italian history and historiography in general. The English edition is a somewhat modified and expanded version of the original Italian version that appeared in 2004. The translation by Giovanni Noor Mazhar reads extremely well, suffering from only very occasional infelicities of tense or word choice. The book does not present itself in a particularly neat package: a major shift in perspective and sources occurs between Parts 1 and 2; chapters range in length from five to thirty-three pages; and the time period announced in the preface (1943–61) proves misleading by the end, when the concluding discussion extends to the 1980s–1990s and beyond. Because the revision of historiographical and popular perspectives on the Fascist anti-Jewish campaign and the discrediting of the idea of Italian exceptionalism are a crucial endpoint of this story, it would have been helpful if the author had not limited himself to brief references to the recent scholarship in these areas. These remain minor points, however, and what should be emphasized is that Schwarz’s ambitious, probing study substantially advances our understanding of Jewish experience, self-representation and self-understanding after Mussolini.
12 citations
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607 citations
Book•
01 Jan 1975
TL;DR: Marker as mentioned in this paper provides a stylistic analysis of one of the American theatre's most fascinating practitioners, Belasco, in the context of the work of the Russian Art Theatre.
Abstract: of his career but also, and more significantly, claiming that here she is providing 'for the first time, a stylistic analysis of one of the American theatre's most fascinating practitioners.' That she has this justification depends, partly at least, on the fact that his plays and productions have commonly been regarded as belonging largely, if not indeed exclusively, to the realm of the popular stage, whereas she seeks to draw them within the orbit of those revolutionary endeavours which in divers European countries sought to establish a new theatrical 'naturalism' both in play composition and in play presentation the avant-garde activities to be found in the work of the Moscow Art Theatre, the Danish Theatre Royal, the French Theatre Libre, and the German Freie Blihne. That her endeavour is indeed fully warranted is demonstrated by the fact that when, for example, the Russian company and its companion organizations visited the United States various critics stressed their belief that its prod uctions 'had nothing new to teach Broadway.' Still more significant is the fact that Stanislavski himself put the seal of his approval on the activities of the American directorplaywright by actually making him an honorary member of the Moscow troupe. No doubt labels in themselves are of little or minor consequence, and no doubt on occasion they can prove misleading: yet it is of importance that we should teach ourselves how properly to interpret and evaluate outstanding achievements such as those manifested by such men as Belasco, and here Mrs Marker's study must be regarded as indeed a most valuable and accomplished textbook, or guidebook, call it which we will (ALLARDYCE NICOLL)
591 citations
TL;DR: The history and memory industry has been a hot topic in the last few decades as discussed by the authors, with a renewed interest in memorization as an object of study in the field of history and history.
Abstract: WELCOME TO THE MEMORY INDUSTRY. In the grand scheme ofthings, the memory industry ranges from the museum trade to the legal battles over repressed memory and on to the market for academic books and articles that invoke memory as key word. Our scholarly fascination with things memorable is quite new. As Jeffrey K. Olick and Joyce Robbins have noted, "collective memory" emerged as an object of scholarly inquiry only in the early twentieth century, contemporaneous with the so-called crisis of historicism. Hugo von Hofmannsthal used the phrase "collective memory" in 1902, and in 1925 Maurice Halbwachs's The Social Frameworks of Memory argued, against Henri Bergson and Sigmund Freud, that memory is a specifically social phenomenon. But outside of experimental psychology and clinical psychoanalysis, few academics paid much attention to memory until the great swell of popular interest in autobiographical literature, family genealogy, and museums that marked the seventies. 1 The scholarly boom began in the 1980s with two literary events: Yosef Yerushalmi's Zakhor: jewish History and jewish Memory (1982) and Pierre Nora's "Between Memory and History," the introduction to an anthology, Lieux de me'moire (1984). Each of these texts identified memory as a primitive or sacred form opposed to modern historical consciousness. For Yerushalmi, the Jews were the archetypal people of memory who had adopted history only recently and then only in part, for "modern Jewish historiography can never replace an eroded group memory." For Nora, memory was an archaic mode of being that had been devastated by rationalization: "We speak so much of memory because there is so little of it left." Despite or perhaps because of their elegiac tone and accounts of memory as antihistorical discourse, these works found an amazing popularity and were quickly joined by others. In 1989 the translation of Nora's influential essay in a special issue of this journal and the founding of History and Memory, based in Tel Aviv and Los Angeles, showed the crystallization of a self-conscious memory discourse. A decade later the scholarly literature brims with such titles as "Sites of Memory" or "Cultural Memory" or "The Politics of Memory. "2 The emergence of memory as a key word marks a dramatic change in linguistic practice. We might be tempted to imagine the increasing use of memor as the natural result of an increased scholarly interest in the ways that popular and folk cultures
559 citations
531 citations