Titlebook: Revisiting Holocaust Representation in the Post-Witness Era; Diana I. Popescu,Tanja Schult Book 2015 The Editor(s) (if applicable) and The

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orests can be offset by nearly 30% by N.O emissions from the soils. In northern forests, some sites have been found to be net sources of CO., particularly during warm and dry years..In wetlands, water-saturated soils are conducive to anaerobic decomposition of organic matter and methane production.

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Countermonuments as Spaces for Deep MemoryFrance; and to George-Henri Pingusson’s . (1962) on the ?le de la Cité in Paris. Both were precursors to the ‘counter-monument’ realized so brilliantly by Lin, both articulations of uncompensated loss and absence, represented by carved-out pieces of landscape, as well as by the visitor’s descent downward (and inward) into memory

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Introduction: Memory and Imagination in the Post-Witness Eralties. Structurally very similar, memory and imagination can easily slip into one another, since displacements of the self occur both when one remembers and imagines (Sokolowski, 2000: 71). While imagination relies on memory to reconfigure the present in ways that ensures a certain commitment to rem

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List Mania in Holocaust Commemorationd of the Second World War, they were at first not always considered to be effective as memorials. Lists were rather seen as instrumental, because they gave access to referential information. In the first few decades after the end of the war it was the narrative mode of diaries and testimonies that w

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Acts of Remembering in the Work of Esther Shalev-Gerz — From Embodied to Mediated Memorythout being transformed into abstractions, and in a way in which we, who did not live when they took place, can relate to them? How can that specific past be actualized and re-membered in the present so that we do not forget or simply place the genocide of the European Jews in the archive as complet

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Sites that Matter: Current Developments of Urban Holocaust Commemoration in Berlin and Munichight have recommended. You start your walk at Peter Eisenman’s ., which before its dedication was by Germany’s former chancellor Gerhard Schr?der imagined as ‘Ein Ort, an den man gerne geht’ — ‘A place, one likes to visit’. (as quoted by Jureit, 2010: 36). Sunbathing residents and picture-taking tou

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To Go or Not to Go? Reflections on the Iconic Status of Auschwitz, its Increasing Distance and Preva the artist’s alter ego, is struggling to express his excitement before a planned visit to Auschwitz. Unable to find the right words, he feels a growing reluctance. In the end, he is unable to find a good reason to go or a possible excuse not to.