Pierre Nora

Starting with how Alain Resnais’s and Marguerite Duras’s work influenced the making of H Story, this essay demonstrates that creativity may be triggered in situations of cultural paralysis through the discovery of exterior perspectives. In this case, Hiroshima mon amour allows Nobuhiro Suwa express his perspective on his native town. Two main aspects of the H Story project are examined here. First, how Suwa apprises Resnais’s and Duras’s common views on the impossibility of making a film about Hiroshima. Second, how he focuses on Hiroshima’s identity, and his own, through a representation of the dichotomy at the heart of the city, as represented through his characters’ positions: their questioning of the historical nature of the destroyed space, on one hand, and their celebration of its current modernity, on the other. Past and present are thus indivisible. Pierre Nora’s theory of sites of memory (lieux de mémoire) contributes to the exploration of these questions.

This chapter explores the connection between urban geography and memory, in the Mario Conde detective series by the Cuban writer Leonardo Padura Fuentes. It will endeavor to show how, taking advantages of the social nature of the neopolicial genre and of the use of the urban space as a privileged setting, Padura provides an extremely complex and varied representation of Havana. Using Nora’s concept of the lieux de mémoire, the cityspace will be linked to the remembering process and interpreted as the key to personal and collective memories. The memorial process enacted by the main protagonist: Mario Conde, will be read as a form of voluntary memory that performs a critical function: recalling different historical moments and generational experiences in order to trace the socio-historical development of Cuba in the post-revolutionary and post-Soviet period.

Dissertation submitted in part completion of my BA(Hons) in History from the University of Manchester, and awarded a final mark of 78.

This essay discusses the history of the commemoration of the First World War in the Irish Free State during the inter-war period, and argues against the idea that Irish military contributions within the British Armed Forces were "forgotten" or intentionally ignored as part of a state-enforced policy.

Instead, despite a clear reluctance on the part of the new Irish Free State's government to endorse centralised commemoration efforts its lack of restriction on the local level shows a tacit acceptance of Irish commemoration. By utilising political and social history, alongside an analysis of the material culture of commemoration a more complex picture unfolds concerning commemoration of the First World War in the Irish Free State.

Cette publication présente l'état d'une première année de recherche en Histoire à Sorbonne Université sur le musée de la Défense Sacrée et de la Révolution islamique de Téhéran, et se propose d'introduire les différents points abordés dans cette étude.

TRANSLATION OF THE ARTICLE IN FRENCH:
Ballester, P. (2014). La mémoire des méga-événements comme instrument de la planification urbaine ? Téoros, 33, (1), 8–19.

Starting from a geography of memory, I approach urban planning strategies in relation to the organization, the holding and the balance sheet of the mega-events. Their memory, recollection and manipulation by local elites are part of a long-term urban policy to justify sometimes hazardous or judicious choices. I end up with three corollary results of the form, background and function of mega-events from archival research, a field survey of Olympic venues in Barcelona and a renewed literature review on the subject: a complementarity between the Olympic Games and the World Expositions (world expo) is observed with the importance of the urban palimpsest functioning as an integrating system, a collective memory of the mega-events remains pregnant thanks to the mass tourism and specific tourism, the qualities of the ephemeral of the manifestation are felt in the material and immaterial production forging a collective memory.
Keywords : Olympic Games , World expo, Memory , Planning , Tourism , Barcelona.

https://id.erudit.org/iderudit/1036715ar

Pour Pierre Nora, mémoire et histoire s’opposent par la manière dont les sociétés modernes ordonnent les vestiges de leur passé, et des monuments anciens et nouveaux alimentent un sentiment de continuité historique parfois même alors que la mémoire collective demeure déchirée par le souvenir de terribles événements. Le présent article élargit cette notion pour y inclure l’examen d’une progression de la mémoire. De nouveaux récits mémoriels, les films de Nobuhiro Suwa, H Story (2001) et A Letter from Hiroshima (2002), et le roman Nagasaki (2010) d’Éric Faye, liés à l’affect de générations actuelles, parviennent à exprimer les tabous persistant dans la culture japonaise aujourd’hui et les questions identitaires qu’elles mettent en évidence. Les expériences vécues par les victimes des bombardements et par leurs héritiers ont-elles bien été prises en compte ? L’organisation des traces du passé ne sert-elle pas parfois une politique d’apaisement ? Le passé ne resurgit-il pas dans le présent pour exiger la reconnaissance d’une souffrance étouffée, basée sur une injustice jamais résolue ? Ces questions forment la base de l’argument développé ici.

Este artigo elabora uma análise sobre de que forma alguns estudos sobre memória podem conduzir o consumo do Theatro Municipal de São Paulo em um desfile de moda enquanto lugar de memória de forma a proporcionar um sentimento de identidade e pertencimento social por parte do público do desfile analisado. Partimos dos conceitos referentes aos estudos sobre memória enquanto passados presentes, de Andreas Huyssen, lugares de memórias, de Pierre Nora e memória coletiva, de Maurice Halbwachs. São também abordados os conceitos sobre performance de Paul Zumthor; consumo, de Maria Aparecida Baccega e desfile de moda, de Estel Vilaseca. A reflexão teórica é contextualizada em um estudo de caso: o desfile Ellus Inverno/2014. A metodologia para a concretização deste artigo constitui-se de uma revisão bibliográfica e documental (do vídeo do desfile de moda analisado). Com este trabalho é verificada a associação entre a memória e a performance como viabilizadores de consumo em um desfile de moda.

Pourquoi les politiques de mémoire sont actuellement la réponse privilégiée des États qui cherchent à gérer un passé des crimes commis contre la population ? La subversion passée sous silence est une analyse comparative des politiques de mémoire sur la dictature en Argentine et au Chili qui, en partant de cette question, cherche à analyser le lien entre la mémoire, la politique et l’État.
En effet, se poser cette question implique de s’interroger, tout d’abord, sur les effets des politiques de mémoire, leurs modes de fonctionnement et les manières dont les différents acteurs politiques interagissent dans une politique de mémoire. Ce qui signifie que, dans cette perspective, les politiques de mémoire sont étudiées dans ce livre comme des pratiques étatiques qui répondent à des jeux stratégiques et à des configurations de pouvoir spécifiques, mais qui produisent aussi un cadre d’intelligibilité et de discours faisant référence au passé et aux façons de penser de la communauté. En analysant cette production de politiques de mémoire, nous pouvons, dans cette perspective, proposer une explication de sa montée en puissance actuelle. En second lieu, cette question implique également la prise en compte de la notion de politique de mémoire en soi et, plus précisément, la remise en question de l’objet-mémoire des politiques de mémoire. En d’autres termes, pour expliquer l’importance actuellement accordée aux politiques de mémoire, il faut aussi expliquer cette mémoire et analyser les formes dans lesquelles elle apparaît comme un phénomène, où elle est conceptualisée comme objet d’étude, où elle devient l’objet — énoncé au singulier — des politiques de l’État. Enfin, tenter de répondre à la question de l’importance actuelle des politiques de mémoire, c’est aussi poser des questions sur les autres options qui sont laissées de côté ou auxquelles on accorde moins d’importance, mais qui impliquent aussi des récits et des actions sur le passé, comme la justice ou l’histoire.
D’autre part, la comparaison entre les différentes politiques de mémoire qui ont été employées dans le Cône Sud de l’Amérique latine après les dictatures de la fin du XXe siècle soulève une autre question, celle de la rhétorique utilisée dans différents discours et actions étatiques qui thématisent la mémoire et ses effets. Si, à partir d’Halbwachs et des contributions des sciences sociales, nous considérons que la mémoire a une importance pour la constitution des groupes, nous pouvons, en allant encore plus loin, proposer l’idée que les politiques de mémoire cherchent alors à postuler des manières de penser et d’expérimenter la communauté. Or, quel type de communauté est postulé dans les politiques de mémoire dont la rhétorique est ancrée dans la notion du consensus, comme c’est le cas au Chili ? Quel genre de réflexion sur la politique émerge de cette rhétorique et des actions de l’État qui en découlent ? Quelle communauté cherche-t-on à fonder sur les notions de réconciliation et de pardon ? La philosophie française actuelle conceptualise généralement la politique comme fondée sur le désaccord, le dissensus, la polémique. Pourrions-nous dire que l’établissement de politiques de mémoire n’ayant pas pour horizon d’imposer ou de promouvoir un consensus basé sur la réconciliation et le pardon, ouvrirait l’espace à une forme d’expérience politique de la communauté à partir du désaccord ? Quelle est la place que le dissensus occupe, ou pourrait occuper, dans la conception des politiques étatiques de mémoire ? Que signifie penser une communauté à partir la notion de dissensus ?

Este trabalho tem a intenção de analisar as percepções que são desenvolvidas em torno da rua, ambiente urbano no qual são estabelecidas importantes relações sociais, políticas, econômicas e culturais. Pretende-se aqui empregar a teoria do historiador francês Pierre Nora (1931-) a respeito dos lugares de memória, ou seja, dos ambientes e objetos que constroem identidades e evocam lembranças, sendo, ao mesmo tempo, experiência concreta e elaboração abstrata. Adotando a reflexão de Nora, a hipótese central do presente estudo é que a rua constitui efetivamente um lugar de memória, por ser um espaço urbano – portanto, uma realidade concreta – em torno do qual é construído um imaginário – ou seja, uma construção abstrata-pelas pessoas e instituições sociais. Esse imaginário, por sua vez, traduz as vivências e experiências diversas ocorridas na rua. A fim de averiguar essa hipótese, são tomadas aqui como exemplo duas ruas que marcam a memória e a história da cidade de São Paulo: a Estrada das Lágrimas, localizada no bairro do Sacomã, e a emblemática rua Maria Antônia, situada no bairro da Consolação. A primeira entrou para a memória paulistana como local de despedida, e a segunda, como um local de acontecimentos culturais.

Este estudo tem como objetivo principal discutir qual o lugar da memória nas pesquisas históricas empreendidas pelo filósofo francês Michel Foucault, o qual foi responsável pelo desenvolvimento de duas frentes metodológicas de trabalho: a arqueologia do saber e a genealogia do poder, conhecidas hoje como arqueogenealogia foucaultiana. Ao longo de mais de 30 anos dedicados a estas pesquisas, Michel Foucault ganhou projeção nacional e internacional pela sua inquietante forma de aliar a militância política com o trabalho acadêmico, demonstrando, com isso, qual era o papel do intelectual frente aos desafios e demandas no mundo do pós-guerra. Recebeu a maior honraria no mundo da intelectualidade francesa ao ser eleito professor do célebre Collège de France, assumindo, por mais de uma década, a cátedra história dos sistemas de pensamentos. Em uma de suas últimas entrevistas, declarou que todos os seus gestos tinham como principal objetivo: criar a história como os seres humanos se tornam sujeitos em nossa cultura. Esta declaração deixa evidente qual o lugar que a história ocupa em sua obra, mas qual seria o lugar da memória nesses seus empreendimentos? Por que a história aparece em seu trabalho como lugar privilegiado enquanto a memória tem um lugar de coadjuvante? São estas as reflexões iniciais que buscamos realizar neste nosso trabalho. Para tanto, utilizamos a mesma abordagem arqueogenealógica foucaultiana para evidenciar a importância da memória nas pesquisas realizadas por Foucault. A nossa tese é: a memória tem uma dimensão maior do que aquela que aparece visivelmente na obra de Foucault. Um desses indícios está na Arqueologia do Saber e n'As Palavras e as coisas, obras publicas nos anos de 1960. Esse nosso gesto é uma homenagem que fazemos pela passagem dos 30 anos de ausência física de Foucault na presença de seu espírito inquietante e pirotécnico.

Texto publicado na Revista Brasileira de História, set.92/ago.93.
Resumo: Apontando aspectos teóricos da relação memória/história, o artigo discute a relação entre as transformações historiográficas nas últimas décadas e a importância dos estudos sobre a memória, tal como discutido por Halbwachs e Nora.

Pointing at theoretical aspects of the questions of historical memory, the article analyses of the last decades and growing importance of memory's studies.

The triadic baptismal formula in Mt 28.19 stands uniquely in the New Testament as the only logion of Jesus directly related to the form of Christian baptism that has prevailed for 18 centuries. While the manuscript tradition unanimously supports the presence of the triadic formula in the earliest recoverable text, nevertheless many assume that the text reflects a later liturgical formula that entered the textual tradition at a later stage than the composition and circulation of the preceding gospel. Due to the paucity of comparative textual evidence, other than the Didache, arguments for or against the text’s origin in Jesus tradition suffer from a chicken–egg conundrum, and must rely on conjecture. However, if one accepts an Antiochene or Syrian provenance to Matthew and the Didache, the social situation of the Jewish–Gentile table fellowship conflict may provide a background that would explain the social memory of this Jesus tradition exclusively in the communities surrounding the composition of Matthew and the Didache. After examining the external textual support of the canonical text of Mt. 28.19, this paper will use internal evidence within Matthew and socio-theological coherence between Matthew and the Didache to demonstrate the possibility that the conflict over Jewish–Gentile table fellowship might have provided the unique impetus for the social memory of Jesus tradition containing baptism “in the name of the Father, and of the Son, and of the Holy Spirit.”

La Conquista de México es uno de los temas que están presentes en el cuento de Elena Garro “La culpa es de los tlaxcaltecas”; desde el título tenemos anticipada la referencia a ese pasado histórico de México y al estigma social de la “traición” del pueblo de Tlaxcala en la decisiva participación para la caída de Tenochtitlan, misma que estará íntimamente ligada a la trama principal del cuento. Sin embargo, la narración no sigue una verdad histórica ni geográfica de la Conquista de México pese a la referencia directa a Bernal Díaz del Castillo y a la Historia verdadera de la Conquista de la Nueva España. Garro toma la Conquista y la relación de los tlaxcaltecas como motivo para hablar de la traición, vinculando de manera artística dos polos que se encuentran en continua discusión: la memoria íntima y la historia nacional.
El nexo con esta traición no es la documental, sino la onírica, es decir, la que se vincula a un mecanismo de memoria. Más allá de una homogenización, hay una vinculación de la memoria íntima con la historia que Garro logra a través de la protagonista del cuento, Laura: simbolizar de manera profunda el sentido de la “traición” cultural de los tlaxcaltecas unida a la traición de la mujer a través del miedo y la violencia.

Artigo apresentado no VI EPHIS de 2017 no simpósio temático número 13 e mandado para publicação nos Anais do evento.
Este artigo tem como finalidade uma análise sobre memória, história e cinema. Relacionando a parcialidade da memória, a memória coletiva e a clandestinidade do cinema como forma de ação para reafirmação de uma memória em disputa. Com base no filme documentário "Acta General do Chile" (1986) realizado por Miguel Littín em seis semanas de 1985 de forma clandestina no Chile em plena ditadura de Pinochet (1973–1990), e no livro-reportagem de Gabriel García Márquez "As Aventuras de Miguel Littín clandestino no Chile", para revermos os caminhos sinuosos da memória e do cinema como fontes importantes para os historiadores.

In Late Antiquity, churches appeared as alternatives to earlier public places in Rome. They became the new civic and political focal points, and dedications, self-representation and the like could now be performed here. As was the case of the Basilica of St. Peter, which took over political and ideological functions, occasionally even becoming a part of the imperial adventus and triumphal representation, hereby rivaling the fora.
Based on archaeological, epigraphic and literary evidence this paper will examine the basilica, focusing on the transition of political and social functions from the fora of Rome to the church. Furthermore, the basilica will be examined as a place of collective memory and Roman identity. A place for continuing the traditions previously upheld in the fora, but also a place of innovations. Furthermore, the basilica will be examined as a part of a new Christian narrative: By manipulating the Roman collective memory, cleverly using the churches, the bishop, emperor, and Christian aristocracy were moving the political center of the city from the fora to the churches and rewriting the story of Roma Aeterna as Roma Cristiana.

Profession  historians are familiar with traditional, academic norms  within their discipline, which generally eschew historical analogy in favor of mapping out the few empirically traceable continuities between past and present. A more common project of contemporary Western historiography is to emphasize the abundant breaks, ruptures, and divergence in historical patterns. In the aftermath of 9/11, leading Crusade historians did not issue condemnations against each other  within a community with shared stan­dards; rather, they imposed academic standards on non-historians making analogical comparisons between the Crusades and the War on Terror.

The academic historians discussed in this essay questioned the popular notion that 9/11 and the subsequent War on Terror could, or should, be perceived as a "new Crusade" a cultural memory being remembered as if the Crusades and their medieval animosity lingered, ready to be relived be­tween the "East" and the "West." In the face of such contentions, historians drew a line that echoes Pierre Nora's canonical distinction between history and memory, arguing that the Crusades should be considered inanimate history, not a living memory, and as such should be relevant to the present only through antiquarian or professional interest, not for presentist social or political purposes.

As this essay shows, the social and communicative functions of contemporary metaphors and metaphorical language have the capacity  to breathe new life into seemingly "dead" histories. Just as memory scholars have conceptualized cultural memories as "dead" or "living" memories, the­orists of metaphor also examine living versus dead, flattened, or inanimate metaphors. By combining these perspectives, "metaphorical memories" contrast "literal histories" by demanding their relevance to contemporary sociopolitical realities. In terms of transmediality, contemporary metaphor­ical  memories often take advantage of the capacity for narratives to travel media landscapes, seeking out particular media affordances like audience agency, interaction, participant interpretation, and remediation.