Making sense of Australia's war memorials

War memorials are an important part of the Australian landscape and culture. This essay suggests five possible explanations for this: a) imperial loyalty, at least initially; b) the warrior cult; c) guilt at the loss of so many young people in a seemingly senseless fashion; d) the demise of formal religion, and; e) the insecure nature of Australian nationalism.

The gate of remembrance;

Mode of access: Internet.

Commemorative observances for Days of remembrance /

Mode of access: Internet.

The gate of remembrance; the story of the psychological experiment which resulted in the discovery of the Edgar Chapel at Glastonbury.

Mode of access: Internet.

The Titanic : (an ode of immortality) /

Bound in tan paper wrappers; printed in black.

National civic commemoration of the days of remembrance : Wednesday, April 6, 1994, noon, United States Capitol Rotunda, Washington, D.C. : dedicated to the Hungarian Jewish community decimated in the Holocaust, remembering the gypsy communities that were ravaged by Nazi Germany in 1944.

Shipping list no.: 94-0122-P.

The dialectic of silence and remembrance in Lily Brett’s ''Things could be worse''

The dynamics of silence and remembrance in Australian writer Lily Brett’s autobiographic fiction Things Could Be Worse reflects the crisis of memory and understanding experienced by both first and second-generation Holocaust survivors within the diasporic space of contemporary Australia. It leads to issues of handling traumatic and transgenerational memory, the latter also known as postmemory (M. Hirsch), in the long aftermath of atrocities, and problematises the role of forgetting in shielding displaced identities against total dissolution of the self. This paper explores the mechanisms of remembrance and forgetting in L. Brett’s narrative by mainly focusing on two female characters, mother and daughter, whose coming to terms with (the necessary) silence, on the one hand, and articulated memories, on the other, reflects different modes of comprehending and eventually coping with individual trauma. By differentiating between several types of silence encountered in Brett’s prose (that of the voiceless victims, of survivors and their offspring, respectively), I argue that silence can equally voice and hush traumatic experience, that it is never empty, but invested with individual and collective meaning. Essentially, I contend that beside the (self-)damaging effects of silence, there are also beneficial consequences of it, in that it plays a crucial role in emplacing the displaced, rebuilding their shattered self, and contributing to their reintegration, survival and even partial healing.

Farewelling the regent: Considering 'festival memory' in the face of innovation and change

The rapid expansion of the international film festival circuit has included the loss of smaller, but well established festivals, often due to the perceived need for constant innovation and change. The Brisbane International Film Festival was founded in 1992. After considerable disruption to the festival’s leadership, programme and location due to economic and socio-political changes, it was held for the last time in 2013. Nafus and Anderson cite the term ‘lieux de memoire’, meaning ‘sites of memory’, as a place of “remembrance that exist(s) in a social world that constantly seeks to get ahead of itself, to “innovate” (Nafus and Anderson in Cefkin 2009, 141). The concept of ‘festival memory’ has not yet been explored in any depth, but such significant shifts in festivals such as BIFF are arguably sites where festival histories and identities, and film knowledge itself, can be irretrievably lost.

A (dis)play of traces : trauma, witnessing, and the poetics of implication

Cette thèse se propose de fournir une analyse comparative de la poétique de la rétrospective traumatique et les dispositifs littéraires que trois textes - Fugitive Pieces d’Anne Michaels, Solar Storms de Linda Hogan, et Beloved de Toni Morrison - utilisent pour signifier la nécessité du recul, d'un regard rétrospectif, sur le passé atroce. La thèse étudie les façons dont chaque texte négocie la fragmentation qui caractérise la suite traumatique, notamment en raison du caractère incomplet de l'histoire traumatique inscrite comme l'absence de savoir. La thèse explore également le positionnement d'un tel passé, dans un contexte intersubjectif, qui va au-delà du simple sort individuel pour essayer de comprendre la nécessité d'être un agent moralement responsable de la sauvegarde de la mémoire dans le présent. Cette étude met ainsi l'accent sur la façon dont la mémoire et le témoignage sont intimement liés aux outils langagiers, qui, par implosion poétique, offrent la possibilité de concilier l’intervention imaginative avec le référentiel (oblique).