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Copyrighted material – 9781137343512 after the violence: memory / 11 of them still unmapped—are the archeological sites of the multilayered and fractured ground of history. They also symbolize the palimpsest of memory with its fading traces and constant rewriting. The exhumation process faces many hurdles and is subject to its own shortcomings, biases, and limitations. As anamnesis of the present, the archeological inquiry and its modes of remembrance remain a process without end, and this volume seeks to become part of that process. Notes 1. “Ces sols fêlés, fracassés par l’histoire, ces sols à crier,” Georges Didi- Huberman, Écorces (Paris: Minuit, 2011), 27. 2. On the notion of “cosmopolitization” as a process of “internal globalization” in which “global concerns provide a political and moral frame of reference for local experiences,” see Daniel Levy and Natan Sznaider, The Holocaust and Memory in the Global Age, trans. Assenka Oksiloff (Philadelphia: Temple University Press, 2006), 2–3. 3. Michael Rothberg, Multidirectional Memory. Remembering the Holocaust in the Age of Decolonization (Stanford: Stanford University Press, 2009). 4. In the context of the Holocaust David Bathrick notices that visual representations “have proved to be an absolutely integral but also highly contested means by which to understand and remember the Nazi atrocities of the Second World War,” in Visualizing the Holocaust: Documents, Aesthetics, Memory, ed. David Bathrick, Brad Prager, and Michael D. Richardson (Rochester, NY: Camden House, 2008), 1. 5. Robert Musil, “Monuments,” in Selected Writings, ed. and trans. Burton Pike (New York: Continuum, 1985), 323. 6. See James E. Young, “The Counter-Monument: Memory against Itself in Germany Today,” Critical Inquiry 18 (Winter 1992): 272; and idem, The Texture of Memory: Holocaust Memorials and Meaning (New Haven: Yale University Press, 1993). 7. Andreas Huyssen, “Monument and Memory in a Postmodern Age,” in The Art of Memory: Holocaust Memorials in History, ed. James E. Young (New York: Prestel, 1994), 12. 8. “Here more than anywhere else walls lie: once in the block I cannot see any longer what a block is. Everything has been ‘reorganized’ into an exhibit space.” Didi-Huberman, Écorces, 24 (our translation). “Ici plus qu’ailleurs les murs mentent: une fois dans le block je ne peux plus rien voir de ce qu’est un block, tout ayant été ‘réaménagé’ en espace d’exposition.” 9. Richard Terdiman, Present Past: Modernity and the Memory Crisis (Ithaca: Cornell University Press, 1993), 7. 10. Ariella Azoulay, The Civil Contract of Photography, trans. Rela Mazali and Ruvik Danieli (New York: Zone Books, 2008). 11. Didi-Huberman, Écorces, 64. English translation from Walter Benjamin, Selected Writings 2: 1927–1934, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, trans. Rodney Livingstone (Cambridge, MA: Harvard University Press, 1999), 576. Copyrighted material – 9781137343512
Copyrighted material – 9781137343512 Index 9/11 Memorial, New York City, 157, 219 Abuladze, Tengiz Pokajanie (Repentance), 38 Adorno, Theodor W., 181, 192, 193, 213, 218 African National Congress (ANC), 137 Algerian Liberation Movement (Front de Libération Nationale, FLN), 203 Anderson, Benedict, 137–8 Anwja, Nadja, 151 Apartheid Museum, Johannesburg, 158, 161 Arad, Michael, 219 “archival revolution” in former Soviet Union, 35–6, 38–9 Arendt, Hannah, 35 Armenian genocide, French recognition of, 206 Assmann, Aleida, 53–4, 74 Assmann, Jan, 220 Association for the Recovery of Historical Memory (ARMH), 132 Auschwitz forensic claims, 165 medial representations of, 72 mediated interaction and embodied identification, 75 narrative revision of, 7, 98–9 objects as metonyms, 165 socialist appropriation of, 97–8 as symbol of the Holocaust, 4, 72 Trial, Poland (1947), 72 Auschwitz State Museum, 72, 75, 95–8 antifascist appropriation of Holocaust, 97 “autogenocide,” 32, 33 Azoulay, Ariella, 8, 122 See also civil contract of photography Badiou, Alain, 189, 191–2 Baillie, Britt, 85 Baines, Gary, 141, 144 Balkan War, 72, 87 See also Yugoslav War Barbie, Klaus, 204 Barthes, Roland, 121, 125, 134 Camera Lucida, 119–20 Bauer, Yehuda, 202 Belgrade Genocide Museum, 81 Beneš decrees, 216 Benjamin, Walter, 10, 187, 218 Bergen-Belsen education center, 223 Betlejewski, Rafał “Burning Barn” performance, 7, 107–9 “I Miss You, Jew,” 7, 103–6 Binet, Laurent HHhH, 9, 210 Bisesero Memorial Site, Rwanda, 169 Bleiburg, Austria Croatian Ustaša commemoration site, 81, 85–6 “Europeanized” museum, 82 Blokhin, Vasili, 34 Copyrighted material – 9781137343512
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