Anouche Kunth

Braving the Ottoman‘s ban on capturing any images of the persecuted Armenians, witnesses dodged censorship and photographed pictures that would later be branded as proofat the Paris Peace Conference in 1919–20. Despite the challenge of these images to representations of the Armenian genocide, they were soon forgotten after the 1923 Treaty of Lausanne erased the Armenian Question, while time took care of destroying the corpses abandoned in the desert. This article will examine the image-disappearance dialectic through distinct temporalities of remembrance,and commemoration, each of which mobilises its own specific, iconographical semantics. In response to contemporary challenges, the repertoire of images has not remained sealed; over the last decade it has been reopened through depictions of bare landscapes and stretches of desert and bones,that suddenly pierce through the earth. The article will show how these images implicitly speak of the disappearance and seek meaning through emptiness.

Human Remains and Violence: An Interdisciplinary Journal
Where and when does the violence end?
David M. Anderson and Paul J. Lane

curatorial standards. 56 L. Hughes, ‘Truth be told:  some problems with historical revisionism in Kenya’, African Studies, 70:2 (2011), 182–​201; M. Karega-​Mũnene, ‘Museums in Kenya: spaces for selecting, ordering and erasing memories of identity and nationhood’, African Studies, 70:2 (2011), 224–​45. 57 The NMK’s curatorial staff are well aware of the contentious history that surrounds these human remains, fully recognising the ‘wickedness’ of the problem they have inherited from the museum’s colonial past, but they hold divergent views on what should be the ultimate

in Human remains in society
Open Access (free)
Jeffrey Pence

videotape salesman, is initially moved by guilt over his sadistic treatment of his first wife, whom he drove to abandon the family; but his guilt has been taped over to the point that he no longer knows its origins, as when he fails to recognise his mother-in-law, whom he earlier institutionalised as part of his effort to erase memory. Whereas these characters use technology to avoid the

in Memory and popular film