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Репрезентация культурной травмы: музеефикация холокоста
The article analyzes the problem of the representation of one of the greatest cultural traumas of the twentieth century — the Holocaust — in various Jewish museums (Washington, Berlin, Moscow). They are united by the important social function of perpetuating and edification, but each museum has its own context and creates its own form of representation, rhetoric and measure of the performance and memory about the events of Jewish history. Concepts and exposure of these museums are immersed in a context of general social debate about the trauma, its principal expressibility, mediatization and visualization. The research field of trauma contains an internal contradiction. This contradiction is inherent, on the one hand, the idea of which came from the psychoanalysis of inexpressible injury (T.Adorno, Jean-François Lyotard, Sh.Felman, D. Laub, Caruth C. et al.), and, on the other hand, the opinion of globalization and mediatization injury (V.Kansteiner, E.Kaplan, J.Aleksander, A.Hyussen). The discourse about the Holocaust is globalized, but the memory of the Holocaust victims is functioning glocal, taking into account the specific local context of traumatic events. As a consequence, museumfication of Holocaust generates diverse field of aesthetic representations. The article stresses the peculiarity of these museums focus on sensual work with the past called for the exchange of experiences and emotions in addition to rational knowledge, an invitation to identify. In comparison of museums, it becomes evident that modern museum exhibitions and performances to varying degrees provoke the visitor to identify with the collective subject of history through a simulated experience of the suffering of others, which is impossible without emotions, sympathy and working memory. But the therapeutically simulated traumatization through acquaintance with the phenomenon of the Holocaust is not justified in any socio-political and cultural context