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Rémi Korman

Representations of Rwanda have been shaped by the display of bodies and bones at Tutsi genocide memorial sites. This phenomenon is most often only studied from the perspective of moral dimensions. This article aims in contrast to cover the issues related to the treatment of human remains in Rwanda for commemorative purposes from a historical perspective. To this end, it is based on the archives of the commissions in charge of genocide memory in Rwanda, as well as interviews with key memorial actors. This study shows the evolution of memorial practices since 1994 and the hypermateriality of bodies in their use as symbols, as well as their demobilisation for the purposes of reconciliation policies.

Human Remains and Violence: An Interdisciplinary Journal
Bryce Lease

the historical policies pursued by the main political parties in their competition for power and control over the national symbols of memory. Unlike an institution such as the Muzeum Powstania Warszawskiego (Warsaw Uprising Museum), opened in 2004, that openly celebrates patriotic spirit while marginalizing non-ethnic Polish suffering, the new historical dramas have overtly challenged ‘official’ versions of the past, offering a recalibration of national histories rather than their veneration. One of the most significant examples of this new historical drama was

in After ’89
Moving normative structures
Todd W. Reeser

, the potential for death is communal, not a fate reserved for the woman: Hugo and Théo both admit that they are responsible for not using a condom, with no single person to blame, unlike Orpheus who unambiguously is to blame for looking back. In a notable image in the hospital, Théo takes pills to prevent viral transmission and the medical kit includes a madeleine, the Proustian symbol of memory, to

in Queer cinema in contemporary France