This article aims to analyse one specific type of memorial site that furnishes an indexical link to past traumatic events which took place in precisely these places. Such memorials will be defined here as trauma sites. It will be shown how the semiotic trait of indexicality produces unique meaning effects, forcing a reframing of the issue of representation, with all its aesthetic and ethic dimensions. In contrast to other forms of memorial site, trauma sites exist factually as material testimonies of the violence and horror that took place there. The fact they still exist, more or less as they were, implies a precise choice on the part of post-conflict societies regarding which traces of the past ought to be preserved and in which ways. In other words, a decision is made about what politics of memory to adopt in each case. Trauma sites thus become unique, privileged observatories that allow us to understand better the emergence of post-conflict societies. The various forms of conservation, transformation, memorialization of places where slaughter, torture and horror have been carried out are key clues to better understandings of the relationship between memory and history in each post-conflict society studied. This article presents a close reading of three very different trauma sites: the Tuol Sleng Museum of the Crimes of Genocide in Phnom Penh, Cambodia, Villa Grimaldi in Santiago, Chile, and a third, more recent, museum: The Ustica Memorial Museum (Museo per la Memoria di Ustica) in Bologna, Italy. These memorials represent instances of three very different traumatic memory politics: in Tuol Sleng, visitors are relocated in the trauma space, in a sort of ‘frozen past; in Villa Grimaldi, a process of attenuation is at work, the traces of the past are less evident, and their emotional effects weaker. The Ustica Museum represents yet one more, different, option, a movement towards an artistic and creative reinterpretation of the traumatic event itself.
P. Violi (2012). Trauma Site Museums and Politics of Memory. Tuol Sleng, Villa Grimaldi and the Bologna Ustica Museum. THEORY CULTURE & SOCIETY, 20 (1), 36-75 [10.1177/0263276411423035].
Trauma Site Museums and Politics of Memory. Tuol Sleng, Villa Grimaldi and the Bologna Ustica Museum
VIOLI, MARIA PATRIZIA
2012
Abstract
This article aims to analyse one specific type of memorial site that furnishes an indexical link to past traumatic events which took place in precisely these places. Such memorials will be defined here as trauma sites. It will be shown how the semiotic trait of indexicality produces unique meaning effects, forcing a reframing of the issue of representation, with all its aesthetic and ethic dimensions. In contrast to other forms of memorial site, trauma sites exist factually as material testimonies of the violence and horror that took place there. The fact they still exist, more or less as they were, implies a precise choice on the part of post-conflict societies regarding which traces of the past ought to be preserved and in which ways. In other words, a decision is made about what politics of memory to adopt in each case. Trauma sites thus become unique, privileged observatories that allow us to understand better the emergence of post-conflict societies. The various forms of conservation, transformation, memorialization of places where slaughter, torture and horror have been carried out are key clues to better understandings of the relationship between memory and history in each post-conflict society studied. This article presents a close reading of three very different trauma sites: the Tuol Sleng Museum of the Crimes of Genocide in Phnom Penh, Cambodia, Villa Grimaldi in Santiago, Chile, and a third, more recent, museum: The Ustica Memorial Museum (Museo per la Memoria di Ustica) in Bologna, Italy. These memorials represent instances of three very different traumatic memory politics: in Tuol Sleng, visitors are relocated in the trauma space, in a sort of ‘frozen past; in Villa Grimaldi, a process of attenuation is at work, the traces of the past are less evident, and their emotional effects weaker. The Ustica Museum represents yet one more, different, option, a movement towards an artistic and creative reinterpretation of the traumatic event itself.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
