Essays exploring the importance of archives as artifacts of culture

Calling attention to the unseen mediation and re-mediation of life narratives in online and physical spaces, this ground-breaking exploration uncovers the ever-changing strategies that authors, artists, publishers, curators, archivists and social media corporations adopt to shape, control or resist the auto/biographical in these texts. Concentrating on contemporary life texts found in the material book, museums, on social media and archives that present perceptions of individuality and autonomy, Reading Mediated Life Narratives exposes the traces of personal, cultural, technological, and political mediation that must be considered when developing reading strategies for such life narratives. Amy Carlson asks such questions as what agents act upon these narratives; what do the text, the creator, and the audience gain, and what do they lose; how do constantly evolving technologies shape or stymie the auto/biographical “I”; and finally, how do the mediations affect larger issues of social and collective memory? An examination of the range of sites at which vulnerability and intervention can occur, Carlson does not condemn but stages an intercession, showing us how it is increasingly necessary to register mediated agents and processes modifying the witnessing or recuperation of original texts that could condition our reception. With careful thought on how we remember, how we create and control our pictures, voices, words, and records, Reading Mediated Life Narratives reveals how we construct and negotiate our social identities and memories, but also what systems control us.

The essays in this collection shed light on how tactical archival practices can decenter, reshape, and unsettle traditional archival methodologies. Contributors include established scholars, emerging scholars, doctoral candidates, and critical archival scholars.

This 37th volume of the Yearbook of Women's History focuses on the meaning and potential of archiving for enhancing gender equality and the position of women worldwide. More than just storehouses of knowledge, archives offer new ways for understanding the past, debating the present and creating the future. Focusing on both traditional and non-traditional archival practices, in various parts of the world, the Yearbook of Women’s History explores the meaning of archiving for women and women’s history. Besides investigating the feminist potential of the archive, it also examines questions of erasure and forgetting. While archives may have emancipatory or democratizing potential, practices of discarding equally shape the histories that can be written, and the stories that can be told. The articles in this volume are alternated with descriptions of collections and institutes, and the topics addressed cover a full range of archival theory and practice. This volume has been produced by the editorial board of the Yearbook of Women's History in collaboration with Atria, institute on gender equality and women's history in Amsterdam, the Netherlands.

Explores how the USHMM and other museums and memorials both displace and disturb the memories that they are trying to commemorate. Figures of Memory examines how the United States Holocaust Memorial Museum (USHMM) in Washington, DC, uses its space and the design of its exhibits to “move” its visitors to memory. From the objects and their placement to the architectural design of the building and the floor plan, the USHMM was meant to teach visitors about the Holocaust. But what Michael Bernard-Donals found is that while they learn, and remember, the Holocaust, visitors also call to mind other, sometimes unrelated memories. Partly this is because memory itself works in multidirectional ways, but partly it’s because of decisions made in the planning that led to the creation of the museum. Drawing on material from the USHMM’s institutional archive, including meeting minutes, architectural renderings, visitor surveys, and comments left by visitors, Figures of Memory is both a theoretical exploration of memory—its relation to identity, space, and ethics—and a practical analysis of one of the most discussed memorials in the United States. The book also extends recent discussions of the rhetoric of memorial sites and museums by arguing that sites like the USHMM don’t so much “make a case for” events through the act of memorialization, but actually displace memory, disturbing it—and the museum visitor—so much so that they call it into question. Memory, like rhetorical figures, moves, and the USHMM moves its visitors, figuratively and literally, both to and beyond the events the museum is meant to commemorate.

Newly revised and updated to more thoroughly address our increasingly digital world, including integration of digital records and audiovisual records into each chapter, it remains the clearest and most comprehensive guide to the discipline.