The ubiquity of social media platforms allows individuals to easily share and curate their personal lives with friends, family, and the world. The selective nature of sharing one’s personal life may reinforce the memories and details of the shared experiences while simultaneously inducing the forgetting of related, unshared memories/experiences. This is a well-established psychological phenomenon known as retrieval-induced forgetting (RIF, Anderson et al.). To examine this phenomenon in the context of social media, two experiments were conducted using an adapted version of the RIF paradigm in which participants either shared experimenter-contrived (Study 1) or personal photographs (Study 2) on social media platforms. Study 1 revealed that participants had more accurate recall of the details surrounding the shared photographs as well as enhanced recognition of the shared photographs. Study 2 revealed that participants had more consistent recall of event details captured in the shared photographs than details captured or uncaptured in the unshared photographs. These results suggest that selectively sharing photographs on social media may specifically enhance the recollection of event details associated with the shared photographs. The novel and ecologically embedded methods provide fodder for future research to better understand the important role of social media in shaping how individuals remember their personal experiences.

By examining various literary and visual representations of rivers, this article addresses meaning-making processes related to memory, identity, and belonging in post-war Bosnia and Herzegovina. Focusing on representations of the border rivers – the Drina, the Sava, and the Una – this article explores how postwar social transformations, including coming to terms with war-time loss, displacement, and destabilized meanings of homeland, are understood when the narrative focus shifts from landscapes to riverscapes. Concurrently, this article also contributes to scholarly discussions on representations of posttraumatic landscapes by redirecting attention from wounded landscapes, where the impact of violent human interventions is evident, to wounded waterscapes, which elude such identification. Generally, rivers symbolize steady and uninterrupted historical progress in nation-building narratives and the formation of national identities. In the Balkans, rivers are usually appropriated by nationalistic narratives tied to territorial claims, which resurface during times of crisis. Following the Bosnian War of the 1990s, in literature, cinema and arts rivers have become sites of multiple and overlapping meanings, suggesting a possible new emotional geography of the country beyond the exclusionary ideas of homeland and belonging.

The award-winning picture book Sagashite imasu (2012) was published in response to 3/11. It combines dynamic poetics with poignant photographs of relics from the Hiroshima Peace Museum to evoke emotions about extended suffering from radioactive fallout. I argue that the work plays an activist role in prompting an empathetic response which raises an ethical consciousness, and that this kind of response in turn generates a broader “recognition” of the dangers of using nuclear power in (and beyond) Japan after the Fukushima disaster.

Articles in this special issue re-examine Asia-Pacific War memories by taking a longer and broader view, geographically, temporally, and spatially. A diverse, global team of thirteen authors highlights subjects across a wide geographical area spanning the Asia-Pacific region especially. In the process, articles question common assumptions and narratives surrounding Asia-Pacific War memories by highlighting crucial, in-between spaces and remembrances. These range from Japanese military cemeteries in Malaysia, to the experiences of Filipino residents living near a Japanese POW camp, and to Japanese veterans' personal narratives of guilt, trauma, and heroism. Articles also draw attention to the ongoing significance of Asia-Pacific war memories, partly as personal struggles to confront and to find meaning in the past, and partly through memory's political instrumentalization in Cold War and post-Cold War power struggles.

On October 26, 1967, John McCain (1936-2018), the naval aviator who later became a US Senator from Arizona was shot down while flying over Hanoi, Vietnam. McCain then became a war prisoner for five and a half years until his release in March 1973. Where McCain was captured became the site of a memorial, depicting a soldier kneeling with two arms raised in surrender. Originally intended to celebrate the Vietnamese victory, the memorial later turned into a symbol of McCain's relationship with Vietnam and the US's relationship to the country. McCain himself visited, as well as recent US leaders, including President Joe Biden and Vice President Kamala Harris. Upon McCain's passing, both Vietnamese people and American expats brought flowers to the memorial to pay their respects. This commentary discusses how the memorial became an instrument of diplomacy, serving the present rhetoric of friendship the US has fostered with Vietnam and demonstrating both peoples' desires for an amiable future. By honouring the memorial, the Americans and the Vietnamese have engaged in what we argue is strategic remembering, reconfiguring the meaning of a war artifact and making it not only a testament to the past but also a marker of renewed reality in the present.

The Second Sino-Japanese War (1937-1945) occupies an integral position in the memory politics of the People's Republic of China (PRC). In recent years, dominant representations of the war create a memory discourse which portrays the heroic triumph of the Chinese people led by the Chinese Communist Party (CCP) over Japan. This article shows how the war has been remembered from the victory of the Communist revolution in 1949 to the present in the PRC. It contributes to the debate on the effectiveness and limitations of the monopoly of war memory by the CCP.

Borrowing from Judith Butler's notion of the ethics of plural and heterogeneous cohabitation, this essay reads two of Tsushima Yūko's novels in light of how they negotiate proximity and distance in forging ethical connections that constitutes such cohabitation; the first is her autobiographical work of mourning, On Grieving (2017). The second is the historical time-travel novel, Laughing Wolf (2000), crowded with humans and animals both spectral and real. The essay argues that reading these two modes of writing together can enhance the felt connection between the personal and the historical by turning thin relations into thick ones through the act of remembering.

For almost 150 years, the Yūshūkan military museum on the grounds of Yasukuni Shrine has been one of the most prominent tourist sites in Tokyo. Opened in 1882 as Japan's first Western-style museum, the Yūshūkan is often seen as the emblem of the so-called “Yasukuni view of history, ” which downplays Japanese militarism and imperialism and is at the heart of tensions with other nations. This study is the first dedicated treatment of the long history of the Yūshūkan from its conceptualization in the 1870s to its place in Japan and the world in the 2020s. It argues that the origins of the Yūshūkan should be seen in the context of the global spread of the military museum as an institution in the late nineteenth century. Over the past 140 years, the Yūshūkan has gone from appealing to an emerging global standard to claiming a Japanese uniqueness as justification for its existence and has always been closely intertwined with global discourses on war, commemoration, and Japan's place in the world.

This edited transcript of conversations among a group of scholars and practitioners is the culmination of a multi-year, multi-platform dialogue intended to capture the work and motivations of memory activists towards addressing both historical justice and current social and political needs of Asian American communities.