In the absence of that contextualization, singular perspectives are perpetuated, and orthogonal discourses which might open the way to productive new interpretations are banished. When objective events in history are contextualized in a larger normative assessment, we are invited to question the authority of those voices which dictate our interpretations of significant events in collective historical memory.
What does this suggest about the historiographical claims being made by these different texts? In other words, how does a discussion of justification - or lack thereof - shift the narrative of these traumatic moments in human history? At a fundamental level, this presence or lack of discussion either opens or closes the door to recognizing multiplicities of perspective. Furthermore, while half of the texts in which this discussion is present offer significant coverage of this topic, the remaining appear to devote only a couple of sentences to this. texts considered here, and of those, only a handful. This discussion of justification appears to be present in only U.S. When we are unsure of whether we are observing the same thing, visualization can guide our attention to the tensions and friction between the narratives we build and assure us that the materiality of that friction is the seed of dialogue. For this very reason, visualization can thus also operate as a medium for reconciliation, honoring the complexities of narrative when understood as an intersubjective act between designer and user. By acknowledging the constructedness of knowledge and its representation, visualization invites opportunities to recognize the ways in which the experiences and identities of both user and designer alike are fundamentally implicated in the creative and interpretative acts. But in its primary capacity of directing our attention to specific composed spaces around us, it is also a powerful aesthetic for representing the manifold nature of narrative expressed in other forms. But in fact, once the expediency and ethics of dropping the atomic bombs became entangled in the larger question of who owns history and retains memory, and as the bitter charges by veterans and politicians against scholars and curators deemed unpatriotic made frontpage news, both the large crowds on the mall and the ongoing recriminations about what has happened to the stories we tell about ourselves were guaranteed.Information visualization offers a way of building new narratives, and indeed, it appears in countless places, behaviors, and routines of our daily lives. World War 11 seemed to have been put to rest already by Ronald Reaganâs laying of a wreath at Bitburg a decade earlier. This clash between American history and American memory was taken u p by the media to an extent that few predicted. These events, which stand, if not securely, in the American imagination as one of our finest hours, seemed in danger in the summer of 1995 of being turned into a rout of our claims to moral as well as military certitude. This thesis focuses on the controversies emerging around three separate war- related exhibits/memorials: the Vietnam Veterans Memorial, the Enola Gay. intent on revising our understanding of events half a century ago. Positions 5:3 0 1997 by Duke University Press. positions asia critique Duke University Press Like talismans, the words history and memory were to be found everywhere in 1995,and not only in the academic journals that for some time have made La bomba de plutoni té un disseny més complicat. But in fact, once the expediency and ethics of dropping the atomic bombs became entangled in the larger question of who owns history and retains memory, and as the bitter charges by veterans and politicians against scholars and curators deemed unpatriotic made frontpage news, both the large crowds on the mall and the ongoing recriminations about what has happened to the stories we tell about ourselves were guaranteed.
These events, which stand, if not securely, in the American imagination as one of our finest hours, seemed in danger in the summer of 1995 of being turned into a rout of our claims to moral as well as military certitude.
The Enola Gay on Display: Hiroshima and American Memory The Enola Gay on Display: Hiroshima and American Memory