sexta-feira, 4 de fevereiro de 2011

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“Postmemory is the term I came to on the basis of my autobiographical readings of works by second generation writers and visual artists. The “post” in “postmemory” signals more than a temporal delay and more than a location in an aftermath. Postmodern, for example, inscribes both a critical distance and a profound interrelation with the modern; postcolonial does not mean the end of the colonial but its troubling continuity, though, in contrast, postfeminist has been used to mark a sequel to feminism. We certainly are, still, in the era of “posts,” which continue to proliferate: “post-secular,” “post-human,” “postcolony,” “post-white.” Postmemory shares the layering of these other “posts” and their belatedness, aligning itself with the practice of citation and mediation that characterize them, marking a particular end-of-century/turn-of-century moment of looking backward rather than ahead and of defining the present in relation to a troubled past rather than initiating new paradigms. Like them, it reflects an uneasy oscillation between continuity and rupture. And yet postmemory is not a movement, method, or idea; I see it, rather, as a structure of inter- and trans-generational transmission of traumatic knowledge and experience. It is a consequence of traumatic recall but (unlike posttraumatic stress disorder) at a generational remove” (HIRSH, Marianne, “The Generation of Postmemory”, in Poetics Today, 2008 (retirado da internet), p. 106)

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