Of performance and the persistent temporality of trauma: Memory, art, and visions

Positions

Volumn 16, Issue 1, 2008, Pages

  Ly, Boreth ^a  

^a UNIVERSITY OF UTAH   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 57749132360     PISSN: 10679847     EISSN: 15278271     Source Type: Journal    
DOI: 10.1215/10679847-2007-013     Document Type: Article

References (21)

1. Raymond Williams, "Structures of Feeling," in his Marxism and Literature (Oxford: Oxford University Press, 1977), 128
2. The title of my subheading is deliberately chosen to reference Virginia Woolf's seminal essay on feminism, "A Room of One's Own." My essay was written in a tiny room I rented while I was a graduate student at the University of California, Berkeley, and it is from within the interiority of this room and thus my interiority that I wrote the essay "Devastated Vision(s)." See Virginia Woolf, "A Room of One's Own," in The Virginia Woolf Reader, ed. Mitchell A. Leask (New York: Harcourt Brace Jovanovich, 1984), 168 -88
3. Gunther Stuhlmann, ed., The Diary of Anaïs Nin (1931 -1934) (New York: Swallow, 1974), 1:192
4. See the full coverage of the trial in the Phnom Penh Post, April 14-27, 2000
5. and less thorough coverage in the New York Times, January 5, 1999
6. David Chandler, Voices from S-21: Terror and History in Pol Pot's Secret Prison (Berkeley: University of California Press, 1999), vii
7. Chea Soheacheath, "Keeping the New Year Ghosts Happy," Phnom Penh Post, April 13-29, 1999
8. Paul Verlaine, One Hundred and One Poems, trans. Norman R. Shapiro (Chicago: University of Chicago Press, 1999), 78. "Il pleure dans mon coeur / Comme il pleut sur la ville" ("It weeps in my heart/ like it rains in the city") is from "Romances san paroles" (my translation from the French)
9. Vann Nath, A Cambodian Prison Portrait: One Year in the Khmer Rouge's S-21 (Bangkok: White Lotus, 1998), 24-26
10. The term scopic regime is borrowed from Martin Jay's essay, "Scopic Regimes of Modernity," in Vision and Visuality, ed. Hal Foster (Seattle: Bay, 1988), 3-28
11. John Marston, "Metaphors of the Khmer Rouge," in Cambodian Culture since 1975: Homeland and Exile, ed. May M. Ehibara, Carol A. Mortland, and Judy Ledgerwood (Ithaca, NY: Cornell University Press, 1994), 107
12. Ingrid Muan and Daravuth Ly, The Legacy of Absence: A Cambodian Story (Phnom Penh: Reyum Gallery Press, 2000), 13
13. Sara Colma, David Chandler, and Vann Nath, "Arrest," in The Killing Fields, ed. Chris Riley and Douglas Niven (Santa Fe, NM: Twin Palms, 1996), 94-101
14. Allan DeSouza, Dinh Q. Lê: The Headless Buddha (Los Angeles: Center for Photographic Studies, 1998), 4
15. Also see Riley and Niven, The Killing Fields
16. Alec Wilkinson, "A Changed Vision of God," New Yorker, January 24, 1994, 52-68
17. See also Irene Small, "Blind Spot: The Video Art of Tran T. Kim-Trang," Art Asia Pacific, no. 30 (2001): 52-57
18. Dinh Q. Lê was born in 1969 in Ha Tien, on the border between Vietnam and Cambodia. He experienced the Khmer Rouge invasion of his village in 1979. See Moira Roth, "Obdurate History: Dinh Q. Lê, the Vietnam War, Photography, and Memory," Art Journal 60, no. 2 (2001): 38-53
19. The annual day of remembrance is May 20. See Annette Marcher and Yin Soeum, "Will They Find Peace?" Phnom Penh Post, March 17-30, 2000
20. Sharon May, "Beyond Words: An Interview with Soth Polin," in In the Shadow of Angkor: Contemporary Writing from Cambodia, ed. Frank Stewart and Sharon May (Honolulu: University of Hawaii Press, 2002), 16-17
21. Susan J. Brison, "Trauma Narratives and the Remaking of the Self," in Act of Memory: Cultural Recall in the Present, ed. Mieke Bal, Jonathan Crewe, and Leo Spitzer (Dartmouth, NH: Dartmouth College, 2000), 40