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Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Theology / Roczniki Teologiczne is the property of Towarzystwo Naukowe KUL & Katolicki Uniwersytet Lubelski Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Theology & Morality / Teologia I Moralmosc is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sympozjum is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article is to provide a critical discussion of the USC Shoah Dimensions in Testimony project initiated and implemented by the USC Shoah Foundation. The article specifically focuses on the opportunities and threats presented by the ongoing dynamic development of the foundation’s project. Drawing on Marianne Hirsch’s concept of postmemory, which explores the spatial and temporal distance that separates successive generations from traumatic events, the article examines whether interactive biographies of survivors can be regarded as objects of postmemory that “preserve” (?) witnesses and their stories for future generations. In addition, the article analyzes how such virtual autobiographical identity narratives allow survivor to externalize their experience and transfer memory to the recipients of their testimonies. Ethical considerations regarding the “use” of near-holographic recordings of survivors are also discussed. Based on the collected research material, the article further explores how memory mediated by these objects affects the perception of past events. [ABSTRACT FROM AUTHOR]

Copyright of Zaglada Zydow. Studia i Materialy is the property of Association Polish Center for Holocaust Research / Stowarzyszenie Centrum Badan nad Zaglada Zydow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Holocaust: Studies & Materials is the property of Association Polish Center for Holocaust Research / Stowarzyszenie Centrum Badan nad Zaglada Zydow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Autobiografia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Theology / Roczniki Teologiczne is the property of Towarzystwo Naukowe KUL & Katolicki Uniwersytet Lubelski Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Theology / Roczniki Teologiczne is the property of Towarzystwo Naukowe KUL & Katolicki Uniwersytet Lubelski Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of View: Theories & Practices of Visual Culture / Widok: Teorie I Praktyki Kultury Wizuanlnej is the property of Widok. Fundacja Kultury Wizualnej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sympozjum is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article attempts to analyze the unique testimony "Ant in a glass jar. Chechen diaries of 1994-2004" by Polina Zherebtsova from the point of view of the category of free time. The diary, which is an important supplement of mainly novel and reportage narrations about the war in Chechnya, is at the same time a testimony inscribed in the international circle of war diaries, especially children's ones. From this point of view, the analysis of leisure time conducted from the point of view of everyday practice of recording what is around allows us to confirm the recurrence of certain mechanisms and behaviors in limit situations. In turn, the protractedness of the Russian-Chechen conflict influences the fact that between the periods of intense warfare there are also those when there is relative peace and normality, which translates into limited, but definitely individualized practices of spending leisure time. [ABSTRACT FROM AUTHOR]

The article analyzes the causative, emancipatory potential of the journalistic essay of testimony, which goes beyond its reporting function to become a new form of liberating the voices of the victims of communist regimes and "remémoration" of the past. Svetlana Alexievich's Secondhand Time: The Last of the Soviets and Małgorzata Rejmer's Mud Sweeter than Honey. Voices from Communist Albania generate a space for reckoning with the undemocratic past which makes it possible: to (re)interpret history and regain the experience of its participants, to face up to historical trauma, as well as to restore the identity of the subdued. The discussed essays question the objectivity of history, a homogeneous vision of the past, and thus open historical events up to constant reinterpretation. [ABSTRACT FROM AUTHOR]

Copyright of Er(r)go: Teoria, Literatura, Kultura is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article deals with the problem of representation of the nuclear holocaust in literary theory (in the context of deconstruction theory) and in some literary works (usually dubbed Apocalyptic and Post-Apocalyptic fiction), i.e. John Hersey's Hiroshima, Hara Tamiki's Summer Flowers, Ibuse Masuji's The Crazy Iris, and Stanisław Lem's novel His Master's Voice and his short story Man from Hiroshima. The problem of representing a calamitous event is discussed here in connection with recent debates on the nature and status of testimony (especially Dori Laub's witness and testimony studies). [ABSTRACT FROM AUTHOR]

The aim of the article is to discuss the life story of the survivor, Majer Jesion and the joint work of daughter and father on discovering memory and the past, as well as to analyze the result of this work: the spectacle 121 023 J (dir. Ariel Goldmann, Sao Paulo), including the construction of the history and stage spaces with the usage of props to visualize the difficult past. In 2002, Renata Jesion decided to put on stage the traumatic story of her father in which she embodied him on stage. The theater medium serves her in the intergenerational transmission of the memory of the Holocaust. This monodrama will be analyzed in the light of the theory of post-memory (M. Hirsch), testifying through the medium of the theater (G. Niziołek, F. Rokem), and Self-Revelatory Performance (R. Emunah, A. Volkas). [ABSTRACT FROM AUTHOR]

Copyright of Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Autobiografia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Gdańskie is the property of Gdanskie Seminarium Duchowne, Kuria Metropolitalna Gdanska and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Gdańskie is the property of Gdanskie Seminarium Duchowne, Kuria Metropolitalna Gdanska and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is a review of Arkadiusz Morawiec's book Literatura polska wobec ludobójstwa [Polish Literature and Genocide], the first Polish literary study to address the acts of genocide that occurred before the Holocaust and the ethnic cleansing after World War II. The reviewer recognises the researcher's scholarship and the ethical sensitivity with which he revises his previous theses about the uniqueness of the Holocaust. The book has been composed in a cross-sectional manner, the articles on Holocaust and Genocide Studies are accompanied by analyses informed by poetics and sociology of literature. Thus, the reader becomes acquainted not only with the historical realities of the described conflicts but also with the mechanisms of collective memory, which is shaped by both institutional activities (museums) and the reception of survivors' testimonies. [ABSTRACT FROM AUTHOR]

Copyright of Forum Pedagogiczne / Pedagogical Forum is the property of Uniwersytet Kardynala Stefana Wyszynskiego w Warszawie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Colloquia Humanistica is the property of Polish Academy of Sciences, Institute of Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers a performative and communicative analysis of one scene from Claude Lanzmann's Shoah, in which the director talks with the inhabitants of Chełmno on Ner. I will be particularly interested in the theatrical character of the conversation outside the church. In Lanzmann's film one can find many individual gestures that connect the interlocutors with the described story and place. That is why I will discuss the ways in which they behave, theit gestures and the way they speak about past events and the crime scene in front of which they stand with the survivor Szymon Srebrnik, many years later. Although they seem to form a choir, the individuality of their experience is crucial for the residents of Chełmno, and, what is more important reveals the emotions evoked by the recalled story. [ABSTRACT FROM AUTHOR]

The article discusses testimonies of bystanders as presented in Claude Lanzmann's documentary Shoah. It proposes to apply norms and practices developed in analysis of victims' testimonies within Holocaust studies to the newly-emerging field of bystander studies. The Polish bystanders' utterances in the documentary were edited and simplified through the process of interpretation and re-translation, and this inaccurate rendition has been used in debates about the Holocaust since then. Lack of sensibility to this aspect of communication in Lanzmann's film may result in skewed interpretation of the bystanders' engagement in the scenes of violence. The analysis proves that without renewed examination of the bystanders' speech, Holocaust studies may lose some important insights. Signs of violence impact, traces of traumatization or brutalization, and the specific cognitive and affective response may be overlooked. The article calls for an equable epistemic approach to all types of speech emerging from the Holocaust, beyond the (debatable) divisions of its social fabric into victims, perpetrators and bystanders. [ABSTRACT FROM AUTHOR]

The author's views are founded on the thesis that the Prologue to the Fourth Gospel is based on an early Christian hymn from the second part of the 1st century, originating in the diaspora, interwoven with additions that connect it with the whole Gospel. [ABSTRACT FROM AUTHOR]

The subject-matter of the article is the issue of sanctity which the author considers in the context of the lives of seven men and one woman. All of them belong to the Poznań Church. Their heroic lives provide an opportunity to scrutinize contemporary culture, which is characterized by a process of disenchantment of the world, i.e. humanization of what formerly used to be divine, what belonged to God or led to Him. Today we witness a tendency to sanctify things human, things which are the work of man and enhance human pleasure, enjoyment of life and cheerful disposition... At the same time things divine and those that lead to God are dismissed or even forgotten. Modern man has become increasingly autonomous. He no longer needs God seeing Him as unwanted or even redundant. Prayer, which animates saints, is now considered mere waste of time while obedience to God's commandments is deemed ridiculous. This process also impacts our attitude to the saints. In Christian theology they are the teachers of the faith, witnesses of God and His truth. They are the good Samaritans that lift up those who fell, reminding them of their dignity received from God and encouraging them to go ahead to meet God. But many of our contemporaries, believers included, no longer perceive saints in this way. They do not expect from the saints lessons on life, but miracles in order to have a rich, healthy and happy life themselves. They look for miracle workers not witnesses and teachers of God's truth, the prophets of a different world. As God's witnesses the blessed and saints can "hold back" the process of disenchantment of the world and give the world a new eschatological dimension, the lost sacrum without which life on earth can change into a drama. [ABSTRACT FROM AUTHOR]

Copyright of Culture Context / Konteksty Kultury is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Culture Context / Konteksty Kultury is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is a review of Agnieszka Gajewska's book Zagłada i gwiazdy. Przeszłość w prozie Stanisława Lema [Holocaust and the stars. The past in the prose of Stanisław Lem]. The author discusses Lem's autobiographical prose, realistic fiction and science fiction as a memory text in disguise, in terms of such categories as trauma and testimony. [ABSTRACT FROM AUTHOR]

Copyright of Culture Context / Konteksty Kultury is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annales Neophilologiarum is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay discusses the problem of postmemory and secondary testimony, including their visual and textual manifestations in Tadeusz Różewicz's late poem nożyk profesora (2001). The essay deals with theoretical background of the concept of postmemory (according to Marianne Hirsch and Dori Laub) in its psychoanalytical and aesthetical aspects. It focuses on the experimental style and composition of Różewicz's poem which combines visual (3 photographs) and textual (or, more precise, intertextual) means of expression to articulate a multilayered and polyphonic secondary Holocaust testimony. [ABSTRACT FROM AUTHOR]

Copyright of Ogrody Nauk i Sztuk is the property of Ogrody Nauk i Sztuk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)