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To Bear Witness After the Era of the Witness

The Projects of Christophe Boltanski and Ivan Jablonka

Donald Reid

Abstract

This essay examines how two French individuals in the third generation of Holocaust victims/survivors, Christophe Boltanski and Ivan Jablonka, research and present their grandparents and how they challenge contemporary memory culture. Their works differ in their ambitions and the strategies used to achieve them, but both Boltanski and Jablonka take the most disrespected of historical genres, the history of the author’s family, and reveal its potential in an arena where the duty to remember what was done to Jews as a group can obscure the complex individuals who were victims. These forgotten selves and what they reveal about the societies in which they lived are the subject of Boltanski’s and Jablonka’s work. Particular attention is devoted to the Communist parties in Poland and France and the relations of their grandparents to them.

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Conal McCarthy and Sandra H. Dudley

After special issues of Museum Worlds: Advances in Research in 2016 and 2017, Volume 6 (2018) is an open issue. In the last two years, the journal has canvassed issues to do with museum archeology, repatriation, and engaging anthropological legacies, as well as with its annual scan of books, exhibitions, conferences, and other events around the museum world, not just in the Anglophone North Atlantic but also in Africa, Asia, the Americas, and the Pacific.

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Exhibition Review

Venenum, un Monde Empoisonné, Musée des Confluences

Mariana Françozo

The Musée des Confluences in Lyon, France, recently organized a remarkable exhibition: Venenum, un Monde Empoisonné. It ran from April 2017 to April 2018 and was located in one of the museum’s five large temporary exhibition spaces. Venenum did justice to the multidisciplinary and multi-thematic nature of this newly founded museum, bringing together objects otherwise classified separately as natural history, art, ethnography, or history.

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Stefan Berger, Anna Cento Bull, Cristian Cercel, Nina Parish, Małgorzata A. Quinkenstein, Eleanor Rowley, Zofia Wóycicka, Jocelyn Dodd, and Sarah Plumb

War Museums and Agonistic Memory

Within the EU-Horizon-2020-funded project Unsettling Remembering and Social Cohesion in Transnational Europe (UNREST),1 one work package (WP4) analyzed the memorial regimes of museums related to the history of World War I and World War II in Europe. An article by Anna Cento Bull and Hans Lauge Hansen (2016) entitled “Agonistic Memory” provided the theoretical framework for the analysis. Drawing on Chantal Mouffe’s work (2005, 2013), the authors distinguish three memorial regimes: antagonistic, cosmopolitan, and agonistic.

Unexpected Encounters: Museums Nurturing Living and Ageing Well

As the world’s population ages, how can museums nurture living and aging well? The conference Unexpected Encounters: Museums Nurturing Living and Ageing Well, organized by the Research Centre for Museums and Galleries (RCMG) from the School of Museum Studies, University of Leicester, set out to interrogate this question, and invited conference delegates to consider how museums unconsciously make assumptions about older people and perpetuate the dominant societal view of aging as a “problem.”

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Elizabeth Macknight, Brian Newsome, and Vivian Berghahn

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Peter Merriman

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Editorial

Ism Concepts in Science and Politics

Jani Marjanen

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Introduction

Politics and Power After the 2017 Bundestag Election

Eric Langenbacher

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Sercan Çınar and Francisca de Haan

Open access

Black October

Comics, Memory, and Cultural Representations of 17 October 1961

Claire Gorrara

Abstract

The brutal police repression of the demonstration of 17 October 1961 stands as a stark reminder of the violence of French colonialism. A continuing official reluctance to acknowledge these traumatic events has led individuals and groups to seek alternative routes for recognition. This article explores one of these alternative routes: the comic book, and specifically Octobre Noir, a collaboration between writer Didier Daeninckx and graphic artist Mako. By analyzing the reframing of 17 October 1961 within the comic form, this article argues that Octobre noir offers a site for interrogating the relationship between history and memory. This is achieved by exchanging a cultural narrative of police brutality and Algerian victimization for a narrative of legitimate protest and Algerian political agency. Octobre noir exemplifies the value of the comic book as a vector of memory able to represent the past in ways that enrich historical analysis and inter disciplinary debate.