{"id":58306,"date":"2024-07-22T07:11:50","date_gmt":"2024-07-22T05:11:50","guid":{"rendered":"https:\/\/a-desk.org\/?p=58306"},"modified":"2024-07-16T14:17:15","modified_gmt":"2024-07-16T12:17:15","slug":"nostalgic-archiving-productive-or-monstruous","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/nostalgic-archiving-productive-or-monstruous\/","title":{"rendered":"Arxiu nost\u00e0lgic: Productiu o monstru\u00f3s?"},"content":{"rendered":"<p>Des dels anys noranta del segle passat la difusi\u00f3 de les pr\u00e0ctiques de la mem\u00f2ria en la literatura i l&#8217;art ha estat enorme. Aquestes pr\u00e0ctiques de mem\u00f2ria es manifesten al voltant de temes com el trauma, la guerra, l&#8217;Holocaust o altres genocidis, la migraci\u00f3&#8230; per\u00f2, tamb\u00e9, amb l&#8217;augment de l&#8217;\u00fas de les organitzacions d&#8217;arxiu, han estat combinades amb diferents mitjans i g\u00e8neres com ara la fotografia, el cinema documental o el v\u00eddeo. S&#8217;ha desbocat una aut\u00e8ntica febre arxiv\u00edstica. La q\u00fcesti\u00f3 primordial que planteja aquest floriment de la mem\u00f2ria i de les pr\u00e0ctiques arxiv\u00edstiques, les quals pretenen reanimar coneixements i records perduts o invisibles, \u00e9s si haur\u00edem de veure-ho com una celebraci\u00f3 de la mem\u00f2ria, un <em>fin de si\u00e8cle <\/em>i, alhora, un <em>debut de si\u00e8cle<\/em>, una expressi\u00f3 del desig de mirar enrere, o, per contra, com un s\u00edmptoma d&#8217;una greu crisi de la mem\u00f2ria o de la por a l&#8217;oblit dels or\u00edgens i les tradicions perdudes.<\/p>\n<p>La distinci\u00f3 que acabo d&#8217;assenyalar ressona amb la que elabora Svetlana Boym en el seu fam\u00f3s llibre <em>The Future of Nostalgia<\/em> (<em>El futur de la nost\u00e0lgia<\/em>) de l&#8217;any 2001; aquella que es troba entre la nost\u00e0lgia reparadora i la nost\u00e0lgia reflexiva<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_1');\" onkeypress=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_1');\" ><sup id=\"footnote_plugin_tooltip_58306_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_58306_1_1\" class=\"footnote_tooltip\">Svetlana Boym, <em>The Future of Nostalgia<\/em> (New York: Basic, 2001)<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_58306_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_58306_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Al\u00b7ludir\u00e9 Boym diverses vegades perqu\u00e8 la seva obra \u00e9s la que encara avui dia ofereix la comprensi\u00f3 m\u00e9s completa i rellevant de la nost\u00e0lgia que conec. Boyn defineix la nost\u00e0lgia com l&#8217;enyorament d&#8217;una llar que ja no existeix o que no ha existit mai. \u00c9s un sentiment de p\u00e8rdua i despla\u00e7ament, per\u00f2 tamb\u00e9 \u00e9s un roman\u00e7 amb la fantasia d&#8217;un mateix. Aquest doble vessant de la nost\u00e0lgia ja \u00e9s present en les dues arrels que componen la paraula: <em>\u03bd\u03cc\u03c3\u03c4\u03bf\u03c2, n\u00f3stos<\/em> (&#8220;la tornada a casa&#8221;) y <em>\u1f04\u03bb\u03b3\u03bf\u03c2, \u00e0lgos<\/em> (&#8220;anhel&#8221;).<\/p>\n<p>La nost\u00e0lgia restauradora s&#8217;emfatitza en el <em>n\u00f3stos <\/em>(la llar) i intenta elaborar una reconstrucci\u00f3 transhist\u00f2rica de la llar perduda. La nost\u00e0lgia reflexiva es basa en l&#8217;<em>\u00e0lgos<\/em>, l&#8217;anhel per si mateix, i posposa la tornada a casa \u2014amb enginy, ir\u00f2nicament, desesperadament. Resulta evident que en la tipologia de Boym la nost\u00e0lgia reparadora \u00e9s considerada negativa, i la reflexiva, positiva.<\/p>\n<p>La nost\u00e0lgia reparadora s&#8217;expressa en termes ver\u00eddics sobre els or\u00edgens i la tradici\u00f3. \u00c9s mortalment seriosa i, sovint, fan\u00e0tica. Es desplega en dues branques narratives diferents: la primera \u00e9s el retorn als or\u00edgens, i la segona, la conspiraci\u00f3 com a explicaci\u00f3 del present. La cerca dels or\u00edgens i tradicions perduts pot ser considerada com una definici\u00f3 de l&#8217;extrema dreta a Israel, Pa\u00efsos Baixos, Fran\u00e7a, Estats Units i, probablement, a tot el m\u00f3n. Rebutgen esdeveniments contemporanis com ara la globalitzaci\u00f3 i la migraci\u00f3, i enyoren un passat imaginari en el qual aquests fen\u00f2mens no existien encara. Malgrat que la migraci\u00f3 no \u00e9s un concepte nounat, ja que va sorgir amb la implantaci\u00f3 del capitalisme i la colonitzaci\u00f3, l&#8217;extrema dreta ignora aquesta part de la hist\u00f2ria i enyora l&#8217;\u00e8poca premoderna en qu\u00e8 la gent s&#8217;empla\u00e7ava en la seva pr\u00f2pia petita, homog\u00e8nia i tranquil\u00b7la comunitat.<\/p>\n<p>No t\u00e9 gaire sentit considerar que l&#8217;apogeu de l&#8217;extrema dreta s\u2019ha produ\u00eft a causa de la recent febre pels arxius o, a la inversa, que la febre pels arxius ha provocat l&#8217;apogeu de l&#8217;extrema dreta. Aquesta mena de causalitats simplistes defineixen la teoria de la conspiraci\u00f3 de la qual sol fer \u00fas l&#8217;extrema dreta. Hem d&#8217;intentar comprendre el rol negatiu i conservador de la nost\u00e0lgia restauradora i com en defineix determinades pr\u00e0ctiques arxiv\u00edstiques. Permeteu-me citar Svetlana Boym un cop m\u00e9s per entendre millor la pol\u00edtica de l&#8217;extrema dreta:<\/p>\n<blockquote><p>la nost\u00e0lgia no \u00e9s sempre retrospectiva; tamb\u00e9 pot ser prospectiva. Les fantasies del passat determinades per les necessitats del present causen un impacte directe en les realitats del futur. Prendre en consideraci\u00f3 el futur ens fa assumir la responsabilitat dels nostres relats nost\u00e0lgics. A difer\u00e8ncia de la malenconia, limitada al pla de la consci\u00e8ncia individual, la nost\u00e0lgia consisteix en la relaci\u00f3 entre la biografia individual i la biografia de grup o de naci\u00f3, entre la mem\u00f2ria personal i la col\u00b7lectiva. Tot i que les utopies futuristes ja han passat de moda, la nost\u00e0lgia presenta una dimensi\u00f3 ut\u00f2pica, amb la difer\u00e8ncia de qu\u00e8 ja no apunta cap al futur. De vegades tampoc apunta cap al passat sin\u00f3, m\u00e9s aviat, als cantons. Els individus nost\u00e0lgics se senten sufocats dins dels confins convencionals del temps i de l&#8217;espai<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_2');\" onkeypress=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_2');\" ><sup id=\"footnote_plugin_tooltip_58306_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_58306_1_2\" class=\"footnote_tooltip\">Svetlana Boym, \u201cNostalgia and Its Discontents, en: <em>Atlas of Transformation<\/em>, <a href=\"http:\/\/monumenttotransformation.org\/atlas-of-transformation\/html\/n\/nostalgia\/nostalgia-svetlana-boym.html\" target=\"_blank\" rel=\"noopener\">Nostalgia | Svetlana Boym (monumenttotransformation.org)<\/a><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_58306_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_58306_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p><\/blockquote>\n<p>Durant la d\u00e8cada dels noranta les meves publicacions acad\u00e8miques i la meva activitat docent es van centrar principalment en el trauma i la mem\u00f2ria de l&#8217;Holocaust. Fins i tot vaig ser acceptat a la comunitat d&#8217;estudis de l&#8217;Holocaust com a &#8220;jueu honorari&#8221;. Tanmateix, cada cop em sentia m\u00e9s inc\u00f2mode per la forma en qu\u00e8 la mem\u00f2ria de l&#8217;Holocaust era utilitzada pels pol\u00edtics de dretes d&#8217;Israel per projectar un Israel futur<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_3');\" onkeypress=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_3');\" ><sup id=\"footnote_plugin_tooltip_58306_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_58306_1_3\" class=\"footnote_tooltip\">Vegeu per ex. els meus llibres Caught by History: Holocaust Effects in Contemporary Art, Literature, and Theory (Stanford UP 1997), and Art in Mind. How Contemporary Images Shape Thought. (University&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_3');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_58306_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_58306_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Per tant, al segle XXI vaig decidir no contribuir-hi m\u00e9s en aquest camp d\u2019estudis. I ara, els anys 2023 i 2024, els meus pitjors malsons sobre futur monstru\u00f3s s&#8217;han fet realitat amb les pr\u00e0ctiques arxiv\u00edstiques i genocides que es produeixen a Gaza i a Cisjord\u00e0nia.<\/p>\n<p>Com he argumentat en el meu llibre <em>Caught By History<\/em> (<em>Atrapats per la hist\u00f2ria<\/em>), els genocidis moderns com l&#8217;Holocaust s\u00f3n arxiv\u00edstics: no maten a la gent arbitr\u00e0riament, sin\u00f3 sobre la base d&#8217;unes categories fixes, normalment \u00e8tniques o religioses, que tamb\u00e9 s\u00f3n utilitzades per altres organitzacions arxiv\u00edstiques. I en l&#8217;Holocaust no nom\u00e9s van ser arxivats \u00e9ssers humans (jueus, roman\u00eds, homosexuals&#8230;), sin\u00f3 tamb\u00e9 les seves pertinences; els magatzems d&#8217;Auschwitz, eufem\u00edsticament anomenats &#8220;Canad\u00e0&#8221;, mostren els esgarrifosos resultats d&#8217;aquesta pr\u00e0ctica. El rol de la nost\u00e0lgia restauradora en aquesta pr\u00e0ctica arxiv\u00edstica figura, novament, ben descrita a l&#8217;obra de Boym:<\/p>\n<blockquote><p>El perill de la nost\u00e0lgia \u00e9s que tendeix a confondre la llar real amb una d\u2019imagin\u00e0ria. En casos extrems pot crear una p\u00e0tria fantasma, per la qual quelcom est\u00e0 disposat a morir o matar. La nost\u00e0lgia irreflexiva engendra monstres. Tanmateix, el sentiment <em>per se<\/em>, el dol pel despla\u00e7ament i la irreversibilitat temporal es troba al mateix nucli de la condici\u00f3 moderna<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_4');\" onkeypress=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_4');\" ><sup id=\"footnote_plugin_tooltip_58306_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_58306_1_4\" class=\"footnote_tooltip\">Svetlana Boym, \u201cNostalgia and Its Discontents, en: <em>Atlas of Transformation<\/em>, <a href=\"http:\/\/monumenttotransformation.org\/atlas-of-transformation\/html\/n\/nostalgia\/nostalgia-svetlana-boym.html\" target=\"_blank\" rel=\"noopener\">Nostalgia | Svetlana Boym (monumenttotransformation.org)<\/a><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_58306_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_58306_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p><\/blockquote>\n<p>El genocidi actual a Gaza \u00e9s el resultat de la nost\u00e0lgia reparadora, l&#8217;anhel per tornar a una mem\u00f2ria col\u00b7lectiva de l&#8217;\u00e8poca en qu\u00e8 nom\u00e9s els jueus vivien a Palestina. Tanmateix, aquesta mai ha estat la realitat, ja que la zona estava poblada per diferents comunitats \u00e8tniques. \u00c9s una p\u00e0tria fantasma. Per\u00f2 quan es pren la ficci\u00f3 (la veritat il\u00b7lus\u00f2ria) de l&#8217;Antic Testament com a text hist\u00f2ric, pot comen\u00e7ar a ser utilitzat com a origen d&#8217;una nost\u00e0lgia reparadora. Perqu\u00e8 quan Palestina \u00e9s pels jueus una llar imagin\u00e0ria, &#8220;mai ha existit realment&#8221;, utilitzant un cop m\u00e9s les paraules de Boym, \u00e9s m\u00e9s important que mai comprendre el rol productiu de la nost\u00e0lgia reflexiva.<\/p>\n<p>Boym considera la nost\u00e0lgia com un producte secundari de la modernitat. Aquesta consideraci\u00f3 no fa que la modernitat <em>per se<\/em> sigui problem\u00e0tica, perqu\u00e8 tamb\u00e9 existeix una tradici\u00f3 de reflexi\u00f3 cr\u00edtica sobre la condici\u00f3 moderna que incorpora la nost\u00e0lgia. Ella la denomina \u201coff-moderna\u201d. L\u2019adverbi \u201coff\u201d ens desorienta; \u201cens fa explorar les ombres laterals i els carrerons posteriors en lloc de continuar el cam\u00ed recte del progr\u00e9s; ens permet prendre un desviament de la narrativa determinista de la hist\u00f2ria del segle XX. L\u2019off-modernisme oferia una cr\u00edtica tant a la fascinaci\u00f3 moderna per all\u00f2 nou com a la no menys moderna reinvenci\u00f3 de la tradici\u00f3. En la tradici\u00f3 off-moderna, reflexi\u00f3 i enyorament, distanciaci\u00f3 i afecte van agafats de mans\u201d.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_5');\" onkeypress=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_5');\" ><sup id=\"footnote_plugin_tooltip_58306_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_58306_1_5\" class=\"footnote_tooltip\">Svetlana Boym, \u201cNostalgia and Its Discontents, en: <em>Atlas of Transformation<\/em>, <a href=\"http:\/\/monumenttotransformation.org\/atlas-of-transformation\/html\/n\/nostalgia\/nostalgia-svetlana-boym.html\" target=\"_blank\" rel=\"noopener\">Nostalgia | Svetlana Boym (monumenttotransformation.org)<\/a><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_58306_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_58306_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p>La <a href=\"https:\/\/a-desk.org\/en\/tema-del-mes\/productive-nostalgia\/\" target=\"_blank\" rel=\"noopener\">nost\u00e0lgia<\/a>, com a producte secundari de la modernitat, \u00e9s paradoxal perqu\u00e8 cont\u00e9 alhora la nost\u00e0lgia reflexiva i la nost\u00e0lgia reparadora. Aix\u00f2 significa que la universalitat de la nost\u00e0lgia pot augmentar la nostra empatia envers els nostres iguals;<\/p>\n<blockquote><p>tanmateix, en el moment en qu\u00e8 intentem reparar la &#8220;nost\u00e0lgia&#8221; mitjan\u00e7ant una &#8220;pertinen\u00e7a&#8221; particular \u2014la presa de la p\u00e8rdua amb un redescobriment de la identitat i, especialment, d&#8217;una comunitat nacional i d&#8217;una p\u00e0tria \u00fanica i pura\u2014 sovint ens separem i posem fi a la comprensi\u00f3 m\u00fatua. L\u2019<em>\u00e0lgos <\/em>(l&#8217;anhel) \u00e9s el que compartim, per\u00f2 el <em>n\u00f3stos <\/em>(la tornada a casa) \u00e9s el que ens separa<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_6');\" onkeypress=\"footnote_moveToReference_58306_1('footnote_plugin_reference_58306_1_6');\" ><sup id=\"footnote_plugin_tooltip_58306_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_58306_1_6\" class=\"footnote_tooltip\">Svetlana Boym, \u201cNostalgia and Its Discontents, en: <em>Atlas of Transformation<\/em>, <a href=\"http:\/\/monumenttotransformation.org\/atlas-of-transformation\/html\/n\/nostalgia\/nostalgia-svetlana-boym.html\" target=\"_blank\" rel=\"noopener\">Nostalgia | Svetlana Boym (monumenttotransformation.org)<\/a><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_58306_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_58306_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p><\/blockquote>\n<p>Quines conclusions podem treure ara sobre els arxius nost\u00e0lgics? La resposta dependr\u00e0 de com s&#8217;estiguin elaborant o utilitzant els arxius i de quin tipus de pr\u00e0ctica arxiv\u00edstica s&#8217;estigui realitzant. L&#8217;arxiu pot emprar-se amb una finalitat nost\u00e0lgica restauradora; el resultat d&#8217;aquesta pr\u00e0ctica pot ser monstru\u00f3s, com es demostra actualment a Palestina. Per\u00f2 el mateix arxiu tamb\u00e9 pot utilitzar-se amb un enfocament reflexiu; de manera que comprenem l&#8217;anhel sense el seu objecte: una p\u00e0tria \u00fanica i pura. Malgrat aix\u00f2, nom\u00e9s quan Israel i els seus aliats comencin a utilitzar-lo d&#8217;aquesta manera podem imaginar un possible nou futur per a Israel i Palestina.<\/p>\n<div id=\"attachment_58291\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-58291\" decoding=\"async\" class=\"wp-image-58291 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2024\/07\/Archivo-nostalgico-Verwoest-Huis-Gaza07.jpeg\" alt=\"Image of a destroyed house from Marjan Teeuwen. From the series \u201cDestroyed House Gaza\u201d (2017)\" width=\"1000\" height=\"917\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2024\/07\/Archivo-nostalgico-Verwoest-Huis-Gaza07.jpeg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2024\/07\/Archivo-nostalgico-Verwoest-Huis-Gaza07-436x400.jpeg 436w, https:\/\/a-desk.org\/wp-content\/uploads\/2024\/07\/Archivo-nostalgico-Verwoest-Huis-Gaza07-768x704.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><p id=\"caption-attachment-58291\" class=\"wp-caption-text\">Imatge de portada i sobre aquestes l\u00ednies: Marjan Teeuwen. De la serie \u00abDestroyed House Gaza\u00bb (2017)<\/p><\/div>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_58306_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_58306_1();\">[<a id=\"footnote_reference_container_collapse_button_58306_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_58306_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_58306_1('footnote_plugin_tooltip_58306_1_1');\"><a id=\"footnote_plugin_reference_58306_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">Svetlana Boym, <em>The Future of Nostalgia<\/em> (New York: Basic, 2001)<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi\" ><a id=\"footnote_plugin_reference_58306_1_2\" class=\"footnote_backlink\" onclick=\"footnote_moveToAnchor_58306_1('footnote_plugin_tooltip_58306_1_2');\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2,<\/a> <a id=\"footnote_plugin_reference_58306_1_4\" class=\"footnote_backlink\" onclick=\"footnote_moveToAnchor_58306_1('footnote_plugin_tooltip_58306_1_4');\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4,<\/a> <a id=\"footnote_plugin_reference_58306_1_5\" class=\"footnote_backlink\" onclick=\"footnote_moveToAnchor_58306_1('footnote_plugin_tooltip_58306_1_5');\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5,<\/a> <a id=\"footnote_plugin_reference_58306_1_6\" class=\"footnote_backlink\" onclick=\"footnote_moveToAnchor_58306_1('footnote_plugin_tooltip_58306_1_6');\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\">Svetlana Boym, \u201cNostalgia and Its Discontents, en: <em>Atlas of Transformation<\/em>, <a href=\"http:\/\/monumenttotransformation.org\/atlas-of-transformation\/html\/n\/nostalgia\/nostalgia-svetlana-boym.html\" target=\"_blank\" rel=\"noopener\">Nostalgia | Svetlana Boym (monumenttotransformation.org)<\/a><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_58306_1('footnote_plugin_tooltip_58306_1_3');\"><a id=\"footnote_plugin_reference_58306_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Vegeu per ex. els meus llibres <em>Caught by History: Holocaust Effects in Contemporary Art, Literature, and Theory<\/em> (Stanford UP 1997), and <em>Art in Mind. How Contemporary Images Shape Thought<\/em>. (University of Chicago Press, 2005)<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_58306_1() { jQuery('#footnote_references_container_58306_1').show(); jQuery('#footnote_reference_container_collapse_button_58306_1').text('\u2212'); } function footnote_collapse_reference_container_58306_1() { jQuery('#footnote_references_container_58306_1').hide(); jQuery('#footnote_reference_container_collapse_button_58306_1').text('+'); } function footnote_expand_collapse_reference_container_58306_1() { if (jQuery('#footnote_references_container_58306_1').is(':hidden')) { footnote_expand_reference_container_58306_1(); } else { footnote_collapse_reference_container_58306_1(); } } function footnote_moveToReference_58306_1(p_str_TargetID) { footnote_expand_reference_container_58306_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_58306_1(p_str_TargetID) { footnote_expand_reference_container_58306_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>Des dels anys noranta del segle passat la difusi\u00f3 de les pr\u00e0ctiques de la mem\u00f2ria en la literatura i l&#8217;art ha estat enorme. Aquestes pr\u00e0ctiques de mem\u00f2ria es manifesten al&#8230;<\/p>\n","protected":false},"author":2880,"featured_media":58288,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6952],"tags":[],"coauthors":[6962],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Arxiu nost\u00e0lgic: Productiu o monstru\u00f3s? per Ernst van Alphen<\/title>\n<meta name=\"description\" content=\"Arxiu nost\u00e0lgic: Productiu o monstru\u00f3s? per Ernst van Alphen. 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