Dotyczy m. in. Polski.

How should Germany commemorate the mass murder of Jews once committed in its name? In 1997, James E. Young was invited to join a German commission appointed to find an appropriate design for a national memorial in Berlin to the European Jews killed in World War II. As the only foreigner and only Jew on the panel, Young gained a unique perspective on Germany's fraught efforts to memorialize the Holocaust. In this book, he tells for the first time the inside story of Germany's national Holocaust memorial and his own role in it. In exploring Germany's memorial crisis, Young also asks the more general question of how a generation of contemporary artists can remember an event like the Holocaust, which it never knew directly. Young examines the works of a number of vanguard artists in America and Europe--including Art Spiegelman, Shimon Attie, David Levinthal, and Rachel Whiteread--all born after the Holocaust but indelibly shaped by its memory as passed down through memoirs, film, photographs, and museums. In the context of the moral and aesthetic questions raised by these avant-garde projects, Young offers fascinating insights into the controversy surrounding Berlin's newly opened Jewish museum, designed by Daniel Libeskind, as well as Germany's soon-to-be-built national Holocaust memorial, designed by Peter Eisenman. Illustrated with striking images in color and black-and-white, At Memory's Edge is the first book in any language to chronicle these projects and to show how we remember the Holocaust in the after-images of its history.

Explores Holocaust monuments and museums in Europe, Israel, and America and observes that every nation remembers the Holocaust according to that region's own traditions, ideals, and experiences.

Introduction. The memorial's vernacular arc between Berlin's Denkmal and New York City's 9/11 Memorial -- The stages of memory at Ground Zero: the National 9/11 Memorial process -- Daniel Libeskind and the houses of Jewish memory: what is Jewish architecture? -- Regarding the pain of women: gender and the arts of holocaust memory -- The terrible beauty of Nazi aesthetics -- Looking into the mirrors of evil: Nazi imagery in contemporary art at the Jewish Museum in New York -- The contemporary arts of memory in the works of Esther Shalev-Gerz, Miroslaw Balka, Tobi Kahn, and Komar and Melamid -- Utøya and Norway's July 22 memorial: the memory of political terror.

Dora Apel analyzes the ways in which artists born after the Holocaust-whom she calls secondary witnesses-represent a history they did not experience first hand. She demonstrates that contemporary artists confront these atrocities in order to bear witness not to the Holocaust directly, but to its "memory effects" and to the implications of those effects for the present and future. Drawing on projects that employ a variety of unorthodox artistic strategies, the author provides a unique understanding of contemporary representations of the Holocaust. She demonstrates how these artists frame the past within the conditions of the present, the subversive use of documentary and the archive, the effects of the Jewish genocide on issues of difference and identity, and the use of representation as a form of resistance to historical closure.

In this electric speculative YA sci/fi novel, the world treats memories like currency, so dreams can be a complicated business. Perfect for fans of Neal Stephenson and Philip K. Dick. In an alternative 1987, a disease ravages human memories. There is no cure, only artificial recall. The lucky ones—the recollectors—need the treatment only once a day. Freya Izquierdo isn’t lucky. The high school senior is a “degen” who needs artificial recall several times a day. Plagued by blinding half-memories that take her to her knees, she’s desperate to remember everything that will help her investigate her father’s violent death. When her sleuthing almost lands her in jail, a shadowy school dean selects her to attend his Foxtail Academy, where five hundred students will trial a new tech said to make artificial recall obsolete. She’s the only degen on campus. Why was she chosen? Freya is nothing like the other students, not even her new friends Ollie, Chase, and the alluring Fletcher Cohen. Definitely not at all like the students who start to vanish, one by one. And nothing like the mysterious Dean Mendelsohn, who has a bunker deep in the woods behind the school. Nothing can prepare Freya and her friends for the truth of what that bunker holds. And what kind of memories she’ll have to access to survive it. “Vaca’s debut is a thrilling and often unsettling examination of the elusive nature of memory and truth. The Memory Index will leave you breathlessly turning pages until its satisfying conclusion.” —Jonathan Evison, New York Times bestselling author of Small World Get hooked on The Memory Index Duology: Book 1: The Memory Index Book 2: The Recall Paradox (coming Spring 2023)

Analyzing the ways U.S. culture has been formed and transformed in the 80s and 90s by its response to the Vietnam War and the AIDS epidemic, Marita Sturken argues that each has disrupted our conventional notions of community, nation, consensus, and "American culture." She examines the relationship of camera images to the production of cultural memory, the mixing of fantasy and reenactment in memory, the role of trauma and survivors in creating cultural comfort, and how discourses of healing can smooth over the tensions of political events. Sturken's discussion encompasses a brilliant comparison of the Vietnam Veterans Memorial and the AIDS Quilt; her profound reading of the Memorial as a national wailing wall—one whose emphasis on the veterans and war dead has allowed the discourse of heroes, sacrifice, and honor to resurface at the same time that it is an implicit condemnation of war—is particularly compelling. The book also includes discussions of the Kennedy assassination, the Persian Gulf War, the Challenger explosion, and the Rodney King beating. While debunking the image of the United States as a culture of amnesia, Sturken also shows how remembering itself is a form of forgetting, and how exclusion is a vital part of memory formation.