Domesticated Simulacra: The Dialectics of Power in Family Photographic Archives

Review Essay: Enduring Love in the Time of Migration and Fragmentation

Review: <i>The Mass Production of Memory: Travel and Personal Archiving in the Age of the Kodak</i>, by Tammy S. Gordon

In this chapter, the authors take Igor’s family as a revealing case of generational conflicts of interpretation that arise over family photographs. They focuses on Assmann’s distinction between social, political and cultural memory, as well as Hayden White’s notion of ‘emplotment’ to understand the variety of ways in which generational accounts of family history function at the intersection of visual evidence, memory formats and genres of historical narration. His narration of the family archive was refracted through the prism of what Aleida Assmann would term the political, or national memory culture around the Second World War – or, rather, the Great Patriotic War, as it is called in Russia. The ambivalence surrounding Jewish identity among secular urban Soviet Jews has been extensively described by Slezkine as well as others, and it is quite clear here that Igor did not treat this aspect of his father’s identity as one that deserved extensive commentary or a central place in the narrative.

Remembering the Herero-Nama Genocide in Namibia

Dynamic power management (DPM) reduces the power consumption of a computing system when it idles, by switching the system into a low power state for hibernation. When all processors in the system share the same component, e.g., a shared memory, powering off this component during hibernation is only possible when all processors idle at the same time. For a real-time system, the schedulability property has to be guaranteed on every processor, especially if idle intervals are considered to be actively introduced. In this work, we consider real-time systems with hybrid shared-memory architectures, which consist of shared volatile memory (VM) and non-volatile memory (NVM). Energy-efficient execution is achieved by applying DPM to turn off all memories during the hibernation mode. Towards this, we first explore the hybrid memory architectures and suggest a task model, which features configurable hibernation overheads. We propose a multi-processor procrastination algorithm (HEART), based on partitioned earliest-deadline-first (pEDF) scheduling. Our algorithm facilitates reducing the energy consumption by actively enlarging the hibernation time. It enforces all processors to idle simultaneously without violating the schedulability condition, such that the system can enter the hibernation state, where shared memories are turned off. Throughout extensive evaluation of HEART, we demonstrate (1) the increase in potential hibernation time, respectively the decrease in energy consumption, and (2) that our algorithm is not only more general but also has better performance than the state of the art with respect to energy efficiency in most cases.

Beyond Graphic Memoir:Visualizing Third-Generation German Cultural Identity in Nora Krug's Belonging Tammy Clewell (bio) "We are made of the past."—Nora Krug In her 2018 visual memoir Belonging: A German Reckons with History and Home, Nora Krug, a German-born artist in her early forties who has lived in New York for more than two decades, grapples with a personal and collective legacy that she describes as darkly shadowed by the Second World War (2018a). Krug's book—a formally innovative and visually stunning collage of comics, family photographs, journals, letters, and newspaper clippings, along with war memorabilia, official documents, phone books entries, and maps—responds to an unspecified yet trenchant sense of the collective guilt she feels as a German born in 1977, more than three decades after the war's end. In seeking to come to terms with what she describes as "the consequences of another generation's actions" (2018a, p. 16), Krug details her efforts to discover all she can about the wartime activities of her family members, including her maternal grandfather, whom she describes as an "in-between man"—in her words, neither "a resistance fighter nor a major offender" (2018a, p. 191)—and her paternal uncle, who was drafted into the SS and killed in battle at the age of 19.1 In addition to conducting field research and gathering materials from German archives and flea markets, she also questions her mother and father, both of whom were born just after the [End Page 459] war's end, to ascertain whether they countered the widespread culture of silence, denial, and disavowal that persisted at least through the late 1950s by asking their parents and other relatives what they did and did not do during the war. The critical acclaim that Belonging has garnered in the U.S., Germany, and other European countries suggests that Krug's representation of a lasting legacy of collective guilt among the children and grandchildren of the war generation has touched a nerve still sensitive for some and ignited the imagination of others across multiple populations today. Winner of numerous awards, including the American 2018 National Book Critics Circle Award Prize (in autobiography), the British Victoria and Albert Museum's Book Illustration Prize, the German Youth Literature Prize and, also in Germany, the Protestant Book Prize, Krug's memoir begins by exposing what she regards as the incomplete nature of Vergangenheitsbewältigung—Germany's effort to come to terms with the atrocities committed by the Nazi regime. Following Allied initiatives, including the public recognition of war crimes at the 1945 Nuremberg trials and the process of denazification, and after a protracted period of silence and denial, the German struggle to acknowledge and overcome the negative consequences of the past, as was established in the 1960s and reconfirmed in the 1980s, has taken place through official programs of commemoration and, perhaps primarily, through formal education in the schools, where children, starting around the fifth grade, learn about Nazism and typically visit a concentration camp museum. Krug's German education reflects the country's longstanding and deep commitment to publicly acknowledge and reflect on the past; indeed, she remarks that her studies provided her with an understanding of "the scope of the atrocities committed" and "evidence of our collective guilt" (2018a, p. 22). However, this schooling failed her, she reports, in two significant ways. First, her education did not help her move beyond a paralyzing form of collective guilt, one that she describes as being heightened by the fact that she has lived most of her adult life outside Germany and that manifests, for instance, in her anxiety about speaking English on New York subways lest her accent reveal her German identity. In reflecting on her [End Page 460] education, Krug remarks, "Being FEHLERFREI (fault-free) was our universal goal. Our teachers' red pens divided our exercise books into right and wrong, and the red marks felt as reassuring in their clarity as they were forgiving" (2018a, p. 24). However, she concludes that the curriculum, for all its public openness about National Socialism, never encouraged students "to ask about one another's grandparents" (2018a, p. 24) or to inquire "about...

These personal diaries kept by Astrid Lindgren, author of the world famous Pippi Longstocking books, chronicle the horrors of World War II. Before she became internationally known for her Pippi Longstocking books, Astrid Lindgren was an aspiring author living in Stockholm with her family at the outbreak of the Second World War. The diaries she kept throughout the hostilities offer a civilian's, a mother's, and an aspiring writer’s unique account of the devastating conflict. She emerges as a morally courageous critic of violence and war, as well as a deeply sensitive and astute observer of world affairs. We hear her thoughts about rationing, blackouts, the Soviet invasion of Finland, and the nature of evil, as well as of her personal heartbreaks, financial struggles, and trials as a mother and writer. Posthumously published in Sweden to great international acclaim, these diaries were called in the Swedish press an “unparalleled war narrative,” “unprecedented.” and a “shocking history lesson.” Illustrated with family photographs, newspaper clippings, and facsimile pages, Lindgren’s diaries provide an intensely personal and vivid account of Europe during the war.

PurposeThrough an account of the layout, operations, and four main product lines of a small Chicago bookstore between 1938 and 1947, the purpose of this paper is to show how a neighborhood retail establishment reacted to the sweeping events of the Great Depression and World War II.Design/methodology/approachThe research is based upon multiple primary data sources including store financial records, family photographs, representative artifacts and ephemera, oral history interviews, and period retailing literature.FindingsLocated in an area of Chicago heavily populated by Polish and Jewish immigrants and their children, General Book Store was a traditional mom and pop operation. The mix of its product lines – books and magazines, model kits, greeting cards, and camera supplies and photo‐finishing – evolved over time while always connecting customers to the national experience. The store afforded its owners a modest, but upwardly mobile middle‐class life style.Originality/valueAlthough much has been written on large‐scale retailing, marketing historians have conducted very little research on small‐scale retailing in the USA. This study documents the intermingling of a business and a household economy and how the management of merchandise assortments and maintenance of customer relationships depended upon both owner interests and the opportunities and constraints presented by environmental forces.

Photomontage was used in real, studio portraits as well (the examples I have are Spanish, French, Belgian, Dutch, Russian and Italian) to unite couples and familles separated by emigration, military service, imprisonment or death. For separation is an intimation of death, death once removed. In the composite photographs we see an emulation, whether on the part of the studio photographers, their clients, or both, of the commercial cards centering on presence and absence. Indeed, in the case of...

The growing interest in archaeologies of the recent past has included attempts to link archaeology with memory in its various forms but has lacked a coherent theoretical and methodological approach. This paper outlines a model for engaging with memory in the archaeology of the Second World War, drawing on recent work in memory studies and oral history. One of the principal pitfalls in memory work is the conflation and confusion of individual and social memory: in this paper I attempt to identify and outline different forms or scales of memory: individual memory, group narratives, and social memorialisation. If we distinguish between these models in relation to Second World War archaeological sites we can assess their accuracy and usefulness and begin to trace the intricate power relations implicit in memory work. The sites in question, a Nazi prison in Berlin and a Prisoner of War camp in Poland, illustrate the contested and highly politicised nature of memory-based work and archaeological studies of this period. By opening up such sites to the popular gaze, archaeologists have the power to bring these debates into the public sphere, potentially undermining the hegemony of officially sanctioned memory and making the production of meaningful pasts a more inclusive process.

Supporting Evidence from the DSM and ICD Classifications to Better Understand Traumatic Experiences, PTSD in Law

The present study investigates the notion of trauma as a result of the US-Iraqi War in Brian Turner's poems "Ashbah" and "Illumination Rounds". As a soldier-poet, Turner's poems portray an exceptional standpoint on the mental and emotional outcome of war owing to the examination of such themes as memory, language, and identity in his poetic verses. This article aims to discover the intricacies of trauma representation and the procedure of bearing witness to traumatic experiences in time of war. The study employs Cathy Caruth's theories of trauma and witnessing, as theorized in her two books Trauma: Explorations in Memory (1995) and Unclaimed Experience: Trauma, Narrative, and History (1996), to be the methodological tools for examining Brian Turner's poetry. In light of Cathy Caruth's theories of trauma and witnessing, and by thoroughly inspecting in Turner's usage of language, imagery, and narrative structure in his two poems, the findings demonstrate Turner's mental sufferings as a survivor of political violence. The two poems show the traumatic experiences he has lived with his friends through the US-Iraqi war enduring the effects of war. To conclude, depending on Caruth's notion of trauma, Turner's poetry depicts the lingering, vague nature of war experiences and the weighty impression they have on the mind. In addition, this article contextualizes Turner's poetic expressions in the wider socio-political setting of the US-Iraqi War, underscoring the durable heritage of war on both individual and shared memory.

In this paper, the author conducts a comprehensive exploration of Jane Eyre from the postcolonial perspective. Certain characters are viewed as postcolonial archetypes for analysis: Jane Eyre as a marginalized figure due to her orphan status and mistreatment; Bertha Mason as a colonial woman with dual oppression because of her Creole identity; Mr. Rochester reflecting the era’s power dynamics and racial hierarchies; St. John Rivers embodying the colonizer with his missionary zeal and authoritarian behavior. The research also explores key postcolonial themes underlying the text: racial hierarchies and othering, exposing how these lead to dehumanization; imperial influence on social structures, critiquing how it shaped 19th-century British society; and cultural hegemony and identity formation, showing how it pervades Victorian society and affects Jane Eyre’s journey towards self-identity. This analysis helps understand literature’s reflection of its social and historical context, especially regarding imperial influence and cultural hegemony.

Eric Hobsbawm's account of the fin de siècle of the late nineteenth and early twentieth centuries, and its post-First World War aftermath, raises the questions of how historians place themselves autobiographically in their histories, and how personal history informs their interpretations. A focus on the fin de siècle reveals Hobsbawm exploring a cultural social democracy as an alternative to the market capitalism that provided the turbulent dynamics tipping towards twentieth-century catastrophe. From the past Hobsbawm offered the people of his present potential alternative models of a more politically harmonious and culturally richer future, a story in which he placed himself. Elements of Hobsbawm's life story emerge in his histories and autobiography, highlighting the personal significance of memory and material objects that Hobsbawm retained – family photos, a school atlas, and his copy of Karl Kraus's Last days of humanity – reflecting an enduring presence of the past that Hobsbawm drew attention to in his work, and helping to shape significant narratives in Hobsbawm's response to the lost realm of fin de siècle Vienna; a ‘twilight zone’, in Hobsbawm's description of that pre-war world, ‘still part of us, but no longer quite within our personal reach’.

This article examines a collection of family photographs published in an unusual 1932 anthropological study of ‘Negro‐White families’. In the 1920s Caroline Bond Day, a woman of mixed ancestry herself, gathered family histories and photographs of over 300 ‘Negro‐White families’ for her graduate work at Harvard University under eugenicist Ernest Hooton. Day's subjects, recruited from her circles of friends and acquaintances, shared her goals of African American equality and uplift but were often suspicious of her chosen field. Anthropology has often been referred to as the handmaiden of colonialism and racism, and physical anthropology in the late nineteenth and early twentieth centuries was not generally supportive of African American civil rights movements prior to World War II. Nevertheless, about 350 families submitted family histories and photographs and filled out surveys. Some also allowed themselves to be measured with calipers. The published study included over four hundred photographs, which collectively provide a visual mediation between Day's political goals, her exclusive focus on mixed‐race families and her use of physical anthropology and blood‐quantum language. Day's work remains controversial, but continues to be used by scholars, activists and artists in part because of its unique focus and methods.