"El primer capítulo, titulado “Hacia una conceptualización del humor gráfico”, se propone aportar herramientas conceptuales y teóricas que nos permitan concebir al humor gráfico como un tipo particular de discurso social. El capítulo comienza con un intento de organización conceptual de l
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os campos semánticos relacionados con el llamado humor gráfico (comic, historieta, cartoon, viñeta de humor, tira cómica y tira de humor) y, desde luego, de la categoría de humor gráfico misma, con el objetivo de lograr desprender de los usos habituales de estas categorías (a las que llamaremos categorías nativas) una conceptualización erudita que permita organizar y fundamentar tanto una metodología para la investigación histórica como los criterios que guían la escritura de este libro. El capítulo ofrece, asimismo, un breve mapa conceptual para ubicar al humor gráfico en el marco de la teoría psicoanalítica del humor, y finalmente, algunos lineamientos para caracterizar al humor gráfico como discurso social, a partir del cual podemos abordar tanto la dimensión representacional de la experiencia colectiva como así también el carácter político de estos actos de lenguaje, en los cuales un autor, llamado humorista, toma la palabra. En el segundo capítulo, titulado “El lenguaje del comic y el cartoon”, se ofrece una descripción sistemática de los principales elementos y componentes del género, desarrollada por la semiología estructural, y se incorporan algunos comentarios de desarrollos posteriores en el marco del posestructuralismo. Allí se describen los principales componentes del comic y sus vínculos, prestando especial atención a los mecanismos de producción de sentido en el marco de las viñetas. Los siguientes dos capítulos se abocan a la historización de los géneros vinculados con el humor gráfico. El capítulo 3 aborda la historia del comic focalizando en el desarrollo de la industria periodística estadounidense, en el seno de la cual nació el comic propiamente dicho, aunque se ofrecen también referencias permanentes a los desarrollos de géneros afines en los países europeos. Por su parte, el capítulo 4 se ocupa de la historia del humor gráfico y de la historieta en la Argentina desde el siglo xix hasta avanzado el proceso de la transición democrática. Siguiendo un criterio similar, los siguientes dos capítulos abordan un recorrido por los principales desarrollos académicos vinculados a estos géneros: el capítulo 5 se centra en los portes y debates internacionales; y el capítulo 6, en los estudios sobre el género en la Argentina, incluyendo, en ambos casos, no solo comentarios sobre las producciones académicas o eruditas, sino también sobre los circuitos de producción y circulación extraacadémicos." (Introducción, página 14-15)
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"La presente Guía General de Maestros y Maestras es, ante todo, un documento de apoyo para acompañar a niñas, niños y jóvenes en un viaje por la memoria histórica del conflicto armado colombiano. Para tal efecto, ofrece información clave para que las y los profesores aprovechen al máximo los
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contenidos pedagógicos plasmados en el marco conceptual y los textos dirigidos a los y las estudiantes. Así mismo, expone los objetivos del proyecto y las competencias que se espera desarrollar con el uso de estos materiales, al igual que las herramientas necesarias para alcanzar unos y otras. Ante todo, la ruta de la memoria histórica fomenta: La conexión entre las experiencias y memorias personales de los y las estudiantes; El desarrollo de empatía para escuchar activamente a las víctimas del conflicto armado; El discernimiento moral a partir de sembrar el hábito de medir las posibles consecuencias que nuestras decisiones y acciones pueden desencadenar en nuestras propias vidas, así como sobre la vida de otras personas a partir del planteamiento de dilemas cotidianos; La reflexión y análisis sobre acontecimientos históricos y procesos desde el rigor lógico y metodológico, así como la identificación y el examen de múltiples fuentes desde una perspectiva crítica." (Página 6)
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"This paper provides one of the first studies on the role of social media in articulating individuals’ experiences and memories and (re-)shaping collective memory in contemporary China. It investigates how social media enable and facilitate the participation of ordinary citizens in distributing an
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d accumulating alternative narratives and memories of the past against the authoritarian version by taking the debate over China’s Great Famine – a topic long considered a political taboo – on Sina Weibo, one of the country’s most popular social media sites, as the case study. This study demonstrates that weibo provides people with an alternative communicative sphere for sharing previously suppressed, marginalised, “unofficial” memories as civil disobedience and accumulating them into an alternative collective memory that is relevant to the changing socio-political context of China." (Abstract)
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"The paper analyses articles from the Russian language newspaper “Vesti Segodnya”, which are devoted to the war in Ukraine. The paper consists of two parts. The first part of this paper explains how the conceptualization of the information warfare has evolved during the second half of the 20th c
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entury and how the term “information warfare” is defined in Russia. Then, by looking at the theoretical foundations of collective memory, it demonstrates how collective memory has been incorporated into news stories to create resonance with current events in Ukraine. It is concluded that the usage of collective memory can be identified in articles devoted to the war in Ukraine to resonate with conflict in eastern Ukraine." (Abstract)
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"This collection of essays and interviews offers perspectives on traumatic experience from the social and public side of the equation. Like other books in the Palgrave Macmillan Memory Studies Series, it is concerned with redressing the balance of public memory through a focus on what has been negle
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cted or excluded, but traumatic memory poses special problems in this regard. Andrew Hoskins and John Sutton, the series editors, suggest that the question of how we remember has become central to historical enquiry, but the question itself is fraught with complexity. Generational change and new technologies of memory are reshaping the ways in which memory works, and the influence of trauma narratives is a factor in this. They pose another question: ‘What is “memory” under such conditions?’ Here, we focus on the distance between traumatic narratives in the public domain, and the experience of traumatic recall in the mind of a person who has been directly affected by extreme events." (Introduction, page 1)
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"Despite the growing field of media memory studies, the impact from film and media studies has been scarce within memory studies. This unique study offers new theorizations of three crucial concepts for media memory studies: remediation, transculturality and the archive. This book takes a closer loo
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k at the media specificity of archival footage and how it is adapted, translated and appropriated. In its original approach this work reflects upon the role of documentary film images for the construction of memory. By merging film and media studies with memory studies the work offers multiple theoretical and methodological approaches for everyone interested in the heritage of audiovisual media: film and media scholars, memory scholars, historians, art historians, social scientists, librarians or archivists, curators and festival programmers alike." (Publisher description)
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"Welche Bilder prägen unser Gedächtnis? Bilder nehmen im „visuellen Zeitalter“ eine herausragende Bedeutung für europäische Identität, Geschichtsbewusstsein und Geschichtskultur ein. 14 Bildquellen – Gemälde und Fotografien –, die in den aktuellen Schulgeschichtsbüchern europäischer
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Staaten am häufigsten abgebildet werden und sich über dieses Medium europaweit im visuellen Gedächtnis von Kindern und Jugendlichen verankert haben, werden in diesem Band vorgestellt. Die Bildwerke werden gemäß den Standards der fachspezifischen „visual literacy“ von Expertinnen und Experten erschlossen und aufbereitet. Viele der Bilder, wie beispielsweise die fotografische Darstellung der Konferenz von Jalta, waren bislang nie Gegenstand von Analysen. Auch die Grundlagen zur „visual literacy“-Kompetenz im Umgang mit Bildikonen und dem kulturwissenschaftlichen Zugang zum Bild kommen in dem neuen Band nicht zu kurz. Sie werden in drei grundlegenden Beiträgen zugänglich gemacht. Das Buch ist ein Gewinn für alle, die den Beitrag der Schule zur Bildung einer europäischen Identität ernst nehmen und ihn weiterentwickeln wollen." (Verlagsbeschreibung)
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"This book approaches the memory sharing of groups, communities and societies as inevitable struggles over the interpretation of, and authority over, particular stories. Coming to terms with the past in memory work, alone or with others, is always unsteady ground and the activation of memory will al
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ways relay imaginations of futures we want to shape and inhabit. The contributors all explore in different ways how citizens can actualize a public and how citizens and groups struggle with their pasts and presents - and other group's understandings - in their work for futures they dream of, or envision. This implies an engagement with the notion of social justice, which in turn entails trial and revision of ideas and procedures of how to share the world. But to share also requires some kind of common ground and distributed power. The anthology thus engages with a range of cases that bring views and voices back in public, demanding justice, recognition, sometimes literally triggering new trials. Some of the memory work is done strategically, in the context of communication for development and social change interventions where NGOs, community-based organizations, governments or UN agencies pursue not just voice and views, but also very material demands for social justice and social change." (Publisher description)
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"Culture of Memory in South Asia reconfigures European representations of India as a paradigmatic extension of a classical reading, which posits the relation between text and context in a determined way. It explores the South Asian cultural response to European “textual” inheritances. The main a
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rgument of this work is that the reflective and generative nodes of Indian cultural formations are located in the configurations of memory, the body and idiom (verbal and visual), where the body or the body complex becomes the performative effect and medium of articulated memories. This work advances its arguments by engaging with mnemocultures-cultures of memory that survive and proliferate in speech and gesture. Drawing on Sanskrit and Telugu reflective sources, this work emphasizes the need to engage with cultural memory and the compositional modes of Indian reflective traditions." (Publisher description)
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"This volume addresses the tension between loud and often spectacular histories and those forgotten pasts we strain to hear. Employing social and cultural analysis, the essays within examine mnemonic technologies both new and old, and cover subjects as diverse as U.S. internment camps for Japanese A
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mericans in WWII, the Canadian Indian Residential School system, Israeli memorial videos, and thedesaparecidosin Argentina. Through these cases, the contributors argue for a re-interpretation of Guy Debord's notion of the spectacle as a conceptual apparatus through which to examine the contemporary landscape of social memory, arguing that the concept of spectacle might be developed in an age seen as dissatisfied with the present, nervous about the future, and obsessed with the past. Perhaps now "spectacle" can be thought of not as a tool of distraction employed solely by hegemonic powers, but instead as a device used to answer Walter Benjamin's plea to "explode the continuum of history" and bring our attention to now-time." (Publisher description)
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"This edited volume documents the current reflections on the 'Right to be Forgotten' and the interplay between the value of memory and citizen rights about memory. It provides a comprehensive analysis of problems associated with persistence of memory, the definition of identities (legal and social)
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and the issues arising for data management." (Publisher description)
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"Tracking the ways in which journalism and memory mutually support, undermine, repair and challenge each other, this fascinating collection brings together leading scholars in journalism and memory studies to investigate the complicated role that journalism plays in relation to the past." (Publisher
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description)
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"How do memories circulate transnationally and to what effect? How to understand the enduring role of national memories and their simultaneous reconfiguration under globalization? Challenging the methodological nationalism that has until recently dominated the study of memory and heritage, this book
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charts the rich production of memory across and beyond national borders. Arguing for the fruitfulness of a transnational as distinct from a global approach, it places the issues of circulation, articulation and the scales of remembrance at the centre of its inquiry. In the process, it sheds new light on the ways in which mediation, post-coloniality, migration and regional integration affect both the way we remember and the role of memory in contemporary societies. In this interdisciplinary collection, humanities and social science scholars examine a rich sample of cases from the nineteenth century on, stretching across the globe from Vietnam to Europe and the Middle East, to the USA and the Pacific, and involving a wide range of cultural practices from quilting to films, from photography to heritage sites and monuments. In the process, the volume develops a new theoretical framework while proposing new methodological tools and resources for studying collective remembrance beyond the nation-state." (Publisher description)
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"Coming to terms with a country’s political past is closely linked to the mass media, as they are the key to changing public opinion. It is only with their support that a general acceptance of democratic structures, not to mention a new perception of history, can be achieved. In South East Europe,
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this can be seen not only in the way the media deal with the Communist era, but also in their handling of the Yugoslav Wars of the 1990s. There is a need to improve both good quality reporting and critical self-reflection on the part of the media." (Pages 60-61)
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"The first part, “Fiction in the Ibero-American Space”, presents a comparative synthesis of fiction in the Obitel countries. This comparison is made from a quantitative and qualitative perspective that allows to observe the development of fiction in each country, highlighting their main producti
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ons, as well as the topic of the year, herein, “Social Memory and Television Fiction”. The second part, “Fiction in the Obitel Countries”, is composed by twelve chapters (one for each country), with a structure of fixed sections, though some are more specific than others [...] The third part is an “Appendix”, where are collected the top ten TV fictions in the Obitel countries with basic and necessary information about these productions." (Pages 19-20)
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"Because oral history interviews are personal interactions between human beings, they rarely conform to a methodological ideal. These reflections from oral historians provide honest and rigorous analyses of actual oral history practice that address the complexities of a human-centered methodology."
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(Publisher description)
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