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对众多非大屠杀（holocaust）纪念馆进行缜密的考察之后写成的颇具阐释性的书籍。二三四章从展品、图像和地理位置等物质（material）和视觉（visual）的角度解读这些实体本身和实体的陈列和建造方式所可能隐含的意义。这种解读往往不是具体的展品演绎，而是概括性的理论升华。五六七章从政治、个体身份和历史等抽象（abstract）概念中找寻纪念馆叙事的策略选择和存在的哲学价值，是对之前三章的进一步强化，让人深思所有这些是否依然与话语和权力相关联。难能可贵的是，整本书条理十分清晰，有提纲挈领的导论和完善收尾的结论，中间两大部分的分野也很容易接受和衔接，每章最后更是有结论性的段落进行总结，可见作者的学术写作素养。

The twentieth century of violence, trauma and shame spurred the rise of memorial mania at the century after. The spread of memorial museums is by any means necessary. Yet, this seemingly civilized collective retrospection has to be vigilant of what WB warns “there is no document of civilization that is not at the same time a document of barbarism.”

对众多非大屠杀（holocaust）纪念馆进行缜密的考察之后写成的颇具阐释性的书籍。二三四章从展品、图像和地理位置等物质（material）和视觉（visual）的角度解读这些实体本身和实体的陈列和建造方式所可能隐含的意义。这种解读往往不是具体的展品演绎，而是概括性的理论升华。五六七章从政治、个体身份和历史等抽象（abstract）概念中找寻纪念馆叙事的策略选择和存在的哲学价值，是对之前三章的进一步强化，让人深思所有这些是否依然与话语和权力相关联。难能可贵的是，整本书条理十分清晰，有提纲挈领的导论和完善收尾的结论，中间两大部分的分野也很容易接受和衔接，每章最后更是有结论性的段落进行总结，可见作者的学术写作素养。

The twentieth century of violence, trauma and shame spurred the rise of memorial mania at the century after. The spread of memorial museums is by any means necessary. Yet, this seemingly civilized collective retrospection has to be vigilant of what WB warns “there is no document of civilization that is not at the same time a document of barbarism.”

The twentieth century of violence, trauma and shame spurred the rise of memorial mania at the century after. The spread of memorial museums is by any means necessary. Yet, this seemingly civilized collective retrospection has to be vigilant of what WB warns “there is no document of civilization that is not at the same time a document of barbarism.”