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Editorial: On the circulation of swastikas (Philippe Mesnard)

Agenda

Logbook

• Le musée juif et le centre pour la tolérance de Moscou [The Jewish Museum and Tolerance Centre in Moscow] (Ewa Bérard)
• « Ce qu’il est beau ce triste monde » [“How beautiful this sad world is”] (Isabelle Galichon)
• Les fosses, les fouilles et l'archéologue []
• Ida, ou nous irons tous au paradis [Ida, or we’ll all go to heaven] (Gabriel Raichman)
• De quoi l’image est-elle témoin ? Entretien avec Christophe Cognet [The image as testimony or as document. Interview with Christophe Cognet] (Luba Jurgenson and Paul Bernard-Nouraud)
• Danser le réel [Dancing The Real] (Isabelle Galichon)
• Mémorandum théâtral [A memorial on stage] (Isabelle Galichon)
• Le carnaval des ombres (Daniel Weyssow)
• La Passagère, un opéra [The Passenger, an opera] (Jean-Christophe Le Toquin for ResMusica)

Close-up: 1914-1918: Mémoire de… guerre, de civils, de victimes, d’historiens [Remembering 14-18. The Great War through the eyes of victims, civilians and historians]

• Tragédie vs. catastrophe. Entretien avec Annette Becker [Catastrophe vs. tragedy. Interview with Annette Becker] (Luba Jurgenson and Philippe Mesnard)
• Au-delà des légendes. Entretien avec Sophie De Schaepdrijver [Between fact and fiction. Interview with Sophie De Schaepdrijver] (Philippe Mesnard and Anneleen Spiessens)
• La Grande Guerre : du témoin à l’historien, de la mémoire à l’histoire ? [The Great War: from witnesses to historians, from memory to history?] (Nicolas Beaupré)

Portfolio: Mémoire en stand by, les anciens camps d'extermination en Pologne [Memory stand by: the former extermination camps in Poland]

Interview: Joshua Oppenheimer, “The aim of all genuine art is always engaged” (Anneleen Spiessens)

Dossier: Au nom des victimes. Dictature et terreur d'État en Argentine, Chili et Uruguay [In the name of the victims. Dictatorship and State terror in Argentina, Chile and Uruguay]

• Présentation
  
  
• Quand la victime est introuvable. À propos des détenus disparus au Chili et des parents qui les ont cherchés pendant et après la dictature [When the victim is nowhere to be found. Chile’s “disappeared” and the families that have been searching for them during and after the dictatorship] (Antonia García Castro)
  This article deals with the Chilean association of Families of Detained Disappeared. It examines issues related to the qualification of victims during and after the dictatorship (1973-1989). Particular emphasis is laid on the actions of the families and the way they consider themselves as the representatives of a third party which, for them, is first and foremost a political actor.
  
  
• Familles et victimes. Quelle place pour les citoyens ? [Victims, their families and the citizens. The struggle for legitimacy] (Elizabeth Jelin)
  In the Argentine experience, the visibility and legitimacy of the voices anchored, in first place, in family loss and latter in corporal experience of the repression and the close participation in political militancy during the 1970s, seems to delineate a political scenario that defines the notions of “victims” and “citizens” as antagonic, with prominence given to the first one. The present article enquires the centrality of the role of familism and the testimonial voice during the last military dictatorship in Argentina (1976-1983).
  
  
• La Noche de los lápices et les victimes-innocentes. La construction de récits autour des lycéens disparus [The story of the ‘Noche de los lápices’. Disappeared school pupils as innocent victims] (Sandra Raggio)
  During Argentina's transition to democracy, many stories about the military dictatorship repressive actions became known on a massive scale, told by the survivors or by the “desaparecidos” relatives. One of those stories was called “La Noche de los Lápices” (night of the pencils), which became an iconic event that had great social repercussions: a book written about the subject had more than ten editions and a movie that it is still widely seen. This article analyzes the reasons for such repercussion, centering on the figure of “the innocent victim”.
  
  
• “Subversifs”, “torturés”, “NN”. Comment la presse argentine de la transition a-t-elle nommé les victimes de la terreur d’État ? [“Subversive”, “tortured”, “NN”: victims of state terrorism in the Argentinian press] (Claudia Feld)
  In 1984, during the first months of the democratic transition in Argentina, the media started to deal with, mainly, the disappeared and the clandestine repression. Within the context of the media “destape” (uncovering) which first occurred in the uncensored press, such media treatment, far from uncovering clear information about the state’s terrorism, produced a gruesome and sensationalist picture that some observers dubbed the “horror show”. This paper examines the way in which the figure of the “victim” of forced disappearance was elaborated in the Argentinian press between the months of January and May 1984. Instead of using the notion of “victims” or “innocent victims”, the media referred to the disappeared persons as “subversives”, “tortured” or “NN”. The analysis allows us to present some hypotheses in relation to “memory conflicts” at the beginning of the transition.
  
  
• Victimes du souvenir et de l’oubli. Oblivion et la possibilité de déconstruire les processus de victimisation [Victims of remembrance and forgetfulness: deconstructing processes of victimization in Oblivion] (Susana Draper)
  In this article, I approach how the figure of the victim emerges in feminine textual space as a form of resistance to the ways in which the category itself has been stereotyped around two nuclei: on the one hand, that of the militant heroes, who remember or are remembered from within the perspective of a (masculinized) brave epic; and, on the other hand, that of the defenseless victims who remember or are remembered from within a (feminized) subjectivist logic of pain and impotency. Analyzing a specific text, Oblivion, written by former Uruguayan political prisoner Edda Fabbri, I interrogate the moments in which such polarity (hero-victim) is deconstructed, and I state that resistance to this dichotomy structures the way in which Fabbri sees the possibility of thinking about the past differently.
  
  
• Entre innocence et héroïsme. Politiques mémorielles et tensions liées à la qualification des victimes [Between the innocence and the heroism: tensions in the victim’s qualification in the politics of memory] (Luciana Messina)
  This articles proposes to reflect on the tensions that go through the category of “victim” in the politics of memory related to the establishing of memorials of State terrorism in Argentina. How are the victims qualified and presented in the places and locations of memory in Buenos Aires City? Which identities are brought into play? We will take as material analysis an event that took place in the former clandestine detention center Olimpo. Specificaly, we will highlight divergent and conflictive meanings around the category of victim.
  
  
• La place de la victime: deuil et paysage [Sites of victimhood: mourning and the landscape] (Jens Andermann)
  This article proposes to explore the role of the landscape in postdictatorial architecture and cinema from the Southern Cone. Landscape opens within space a threshold where the absence of places for mourning can be both marked and counteracted. Some of the architectural and cinematographic constructions adopt the form of the monument so as to reinscribe the victims in their absence – as emplaced names – into the social geography. Others, on the contrary, open up spaces of itinerancy where mourning becomes a radical aesthetic and political practice of transforming the present.
  
  
• Chronologie [Chronology]
  
  
• Bibliographie/filmographie/sitographie [Biblio-filmo-sitography]

• It happened seventy years ago, in Hungary (Szabolc Szita)
• The Death of Ezequiel Demonty and the End of Human Rights in Argentina (David M. K. Sheinin)
• Mémoire in progress (III) [Memory in progress III] (Philippe Mesnard)

• Jean-Claude Snyders, Secret d’enfance (André Rauch)
• Pierre Bayard, Aurais-je été resistant ou bourreau ? (Michel Enaudeau)
• Deborah Dwork et Robert Jan Van Pelt, Fuir le Reich. Les réfugiés juifs de 1933 à 1946 (Jean-François Forges)
• Sönke Neitzel et Harald Welzer, Soldats. Combattre, tuer, mourir : procès-verbaux de récits de soldats allemands (Robert Khan)
• Alain Kleinberger et Philippe Mesnard, La Shoah. Théâtre et cinema aux limites de la representation (Anne Roche)
• Valentina Pisanty, Abusi di memoria (Frediano Sessi)
• Antoine Vitkine, Mein Kampf, histoire d’un livre (Anne Roche)
• Max Weinreich et Samuel D. Kassow, Hitler et les professeurs (Michel Enaudeau)
• Ivan Jablonka et Annette Wieviorka, Nouvelles perspectives sur la Shoah (Anthony Michel)
• Sharon MacDonald, Memorylands. Heritage and Identity in Europe Today (Dario Miccoli)
• Oscar Guardiola-Rivera, Story of a death foretold: The coup against Salvador Allende, September 11^th, 1973 (Lindsey Churchill)
• Lindsey Churchill, Becoming the Tupamaros: Solidarity and Transnational Revolutionaries in Uruguay and the United States; Federico Finchelstein, The Ideological Origins of the Dirty War: Fascism, Populism, and Dictatorship in Twentieth Century Argentina; Francesca Lessa, Memory and Transitional Justice in Argentina and Uruguay: Against Impunity (David M. K. Sheinin)
• Arnout Hauben & Johanna Spaey, To War. A Journey Along the Front of World War I (Tom Vanassche)
• Christopher Clark, The Sleepwalkers. How Europe Went to War in 1914 (Hanna Teichler)

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