By Liedeke Plate
This quantity pursues a brand new line of study in cultural reminiscence reviews via figuring out reminiscence as a performative act in artwork and pop culture. The authors take their cue from the remark that paintings and pop culture enact reminiscence and generate methods of reminiscence. They do reminiscence, and during this doing of reminiscence new questions about the cultural dimensions of reminiscence come up: How do artwork gadgets and creative practices practice the earlier within the current? what's their courting to the archive? Does the previous communicate within the played previous (or will we converse to it)? To what objective do gadgets ''recall''? And for whom do they keep in mind?
Here authors mix a methodological specialize in reminiscence as functionality with a theoretical specialise in paintings and pop culture as practices of remembrance. The essays within the ebook hence examine what's at stake within the advanced tactics of remembering and forgetting, of recollecting and disremembering, of amnesia and anamnesis, that make up cultural reminiscence.
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Additional info for Performing memory in art and popular culture
If not viewed principally as a work of autobiography, achieves its historical signiocance for its distillation of the experiences of Jews in prewar Germany. Understood as staging a ‘drama of assimilation’ (Schmetterling, 2006, p. 140), that takes place in the ‘hybrid space’, Homi Bhabha’s ‘third space’, ‘the space between Jewishness and Germanness’ (Schmetterling, 2006, p. 147), Life? or Theatre? is also seen to offer a window into the ‘rich if ultimately the tragic complexities of German Jewish life during and after Weimar but before Auschwitz’ (Bohm-Duchen, 2006, p.
The images of my metropolitan childhood perhaps are capable, at their core, of preforming later historical experience. I hope they will at least suggest 26 Lisa Saltzman how thoroughly the person spoken of here would later dispense with the security allotted his childhood. (Benjamin, 2006, pp. 37–38) Words written by Walter Benjamin while abroad from a small town on the Mediterranean and offered as an antidote to an anxiously anticipated future in exile, they introduce a remarkable autobiographical book project dedicated to the remembrance of a childhood in Berlin.
We glimpse the pleasures of a privileged, assimilated, urban, modern childhood replete with tennis and opera and trips to the sea and structured by an education at both a gymnasium and an art school. We also register the sadness and confusion of a child forced to contend with a very difocult set of familial experiences, precipitated most explicitly by the death of her mother (explained at the time to Salomon not as a suicide but as a case of inquenza) but also catalysed by the subsequent remarriage of her father to an opera singer, whose teacher becomes an Life or Theatre, Diary or Drama 29 object of great fascination (both intellectual and libidinal) for the adolescent Salomon and whose aesthetic theories are considered a signiocant source for and inquence on Salomon’s later work.