Towards an Understanding of Kurdistani Memory Culture: Apostrophic and Phantomic Approaches to a Violent Past (Palgrave Studies in Cultural Heritage and Conflict)

Note on Transcription and Translation
Acknowledgments
Contents
List of Figures
Chapter 1: Introduction: Kurdistani Memory Culture
	1 The KRI’s Memory Struggle
	2 The Apostrophic and the Phantomic
	3 Memory Studies
	4 Trauma Studies
	5 Kurdish Studies
	6 Methodology and Positionality
		6.1 Methodology
		6.2 Fieldwork and Interviews
		6.3 Positionality
	7 Levels of Witnessing
Chapter 2: Master Narratives: Kurdistani Memory Culture and Educational Textbooks
	1 Education and Ideology
	2 Struggles for Identity in the Iraqi Education System
		2.1 Education Policies Before and During the Ba’ath Regime
		2.2 Education and the Hegemony of ‘the’ Arab Identity
		2.3 The Kurdistan Region Education System Between 1991 and 2003
	3 Education After 2003
		3.1 Education Reform and Foreign Donors
		3.2 The Textbook Quality Improvement Programme
	4 Kirmanj’s Analysis
		4.1 The Second Generation of Textbooks
		4.2 ‘Self’ and ‘Other’
		4.3 International Forces
		4.4 Exclusion
	5 Humiliated Silence
		5.1 Halabja and Anfal
		5.2 Forgetfulness
	6 Interlude: The Problematic Position of Jash
	7 Forgetfulness and Reconciliation
		7.1 Disarming the Mind
		7.2 Family and Collectivity
		7.3 Forgiveness and Human Rights
		7.4 Democracy and Future Hope
		7.5 Postmemory
	8 Two Narratives
Chapter 3: Resisting Master Narratives: Kurdistani Memory Culture and Two Literary Texts by Bachtyar Ali
	1 A Utopian Place
	2 Literature and Identity
		2.1 Literature, Oppression and Nationalism
		2.2 Allegorical Approaches to Kurdistani Literature
		2.3 A Novel Telling Us Who the Kurds Are
		2.4 ‘A Hasty Flight to (Allegorical) Meaning’
	3 My Uncle Jamshid Khan
		3.1 A Summary of the Story
		3.2 An Allegorical Reading of JM
		3.3 An Affective Reading of JM
		3.4 Putting Experiences into Words
		3.5 A Plethora of Meanings
		3.6 Art and Escape
	4 The City of White Musicians
		4.1 Mourning and Disappearance
		4.2 Magical Realism
		4.3 Messianic, Biblical and Cyclic Temporalities
		4.4 Third-Time and the Unraveling of the Self
		4.5 Us Versus Them
		4.6 Ghosts and Phantoms
	5 Different Forms of Escapism
Chapter 4: The Apostrophic: Amna Suraka, in Order Not to Forget
	1 No Friends but the Mountains: The Referendum and an Apostrophizing of Kurdistan
	2 The Material
		2.1 Nora’s Three Aspects
		2.2 A Brief History of the Building
		2.3 The Building Itself
		2.4 The Prison Cells
	3 The Functional
		3.1 In Order Not to Forget
		3.2 Interlude: Historical Context
		3.3 Detailing the Anfal Campaign
		3.4 Detailing Rakrdn
		3.5 Mourning and Sharing
		3.6 Recognizing the Present
	4 The Symbolic
		4.1 Kurdistani Culture and Folklore
		4.2 Kurdistani Heroes
	5 An Entwinement of History and Memory
		5.1 ‘Our true history’
		5.2 Manipulation and Appropriation
	6 Material, Functional and Symbolic
Chapter 5: The Phantomic: The Halabja Monument and Peace Museum
	1 The Phantomic
	2 Museums and Prosthetic Memories
		2.1 Holocaustal Events
		2.2 History, Memorial and Memory Museums
		2.3 Prosthetic Memory
		2.4 Milieux and Lieux de Mémoire
	3 The Material
	4 The Functional
		4.1 In Order Not to Repeat
		4.2 In Order to Mourn
		4.3 In Order to Document and Convince
		4.4 Photographs and Dioramas as Prosthetic Memory
		4.5 Prosthetic Memories in a Phantomic Museum
		4.6 A Political Function
		4.7 Politicizing Prosthetic Memories
		4.8 The Prosthetic Replacing the Phantomic
	5 The Symbolic
		5.1 Symbols of Peace and Unity
		5.2 Kurdistani Culture as a Symbol of Strength and Vulnerability
		5.3 The Journalist as a Symbol of Justice and Heroism
		5.4 The Garden: A Continuation of Symbolism
		5.5 Replacing the Functional with the Symbolic
	6 A Struggle for Meaning Haunted by Ghosts from the Past
Chapter 6: Conclusion: Memory as an Agent of Change
	1 Synthesizing Overview
	2 Parki Azadi
	3 Bottom-Up and Top-Down Approaches
	4 A Scholarly Contribution
Works Cited
	Reports
	Textbooks
	Film Material
Index