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My short story contributes to discussions about the relationship between memory and place. It is set in Muranów, erected on the ashes of the former ghetto, a space of absence and repressed guilt. Even though the quarter was razed to the ground, it is still part of the city's landscape and remains a haunting presence. It exists in fragments: memories, images, and ghost stories. The short story focuses on the connection between memory, trauma, and storytelling. The space of Muranów, a palimpsest of the past, becomes a trigger for re-examination of what has been forgotten and silenced. Moreover, it explores how a foreign language can serve as a tool through which painful and repressed stories can be (re)told. [ABSTRACT FROM AUTHOR]

Inspired by the real-life experiences of Indonesian exiles, Leila S. Chudori's Pulang explores the journey of an exile of the New Order regime attempting to come to terms with the trauma of the 1965 tragedy, and the inherited trauma of his daughter, who returns to the country of her father’s birth amid political turmoil. This research focused on revealing the discourse of exile as a victim who transmits their trauma to a subsequent generation, as well as the position of gender in the formulation of transmission, affecting the identification of trauma inheritance. Hirsch’s postmemory perspective was employed to analyze the process of trauma inheritance, which was rarely found in Indonesian literary works, as were the historical descriptive, causality, and comparison methods. The trauma inheritance experienced by the first generation is the trauma of loss due to the 1965 tragedy, which was then passed down to a child. Familial transmission becomes the basis of trauma inheritance, strengthened by affiliate transmission, which was a work of authentication in Indonesia. Gender plays a role in the affectivity of transmission, wherein transmissions involving fathers (exiles) and daughters are just as trauma-creating triggers. It is noteworthy that affiliative transmission fosters intersubjectivity among non-exiled female characters who are closely connected to the first generation, thereby enhancing the inheritance of trauma more effectively than familial transmission. The first generation is exiled and identifies its trauma by remembering and bringing with it Indonesian features, in various forms. In contrast, the second generation does it more concretely by becoming a real Indonesian. These findings underpin how an exile's trauma stemming from the 1965 tragedy can be passed on to the second generation, through a transmission process, a journey back to Indonesia, and gender relevance. Pulang redefines an exile as a victim and as an effort for reconciliation.

Inspired by the real-life experiences of Indonesian exiles, Leila S. Chudori's Pulang explores the journey of an exile of the New Order regime attempting to come to terms with the trauma of the 1965 tragedy, and the inherited trauma of his daughter, who returns to the country of her father's birth amid political turmoil. This research focused on revealing the discourse of exile as a victim who transmits their trauma to a subsequent generation, as well as the position of gender in the formulation of transmission, affecting the identification of trauma inheritance. Hirsch's postmemory perspective was employed to analyze the process of trauma inheritance, which was rarely found in Indonesian literary works, as were the historical descriptive, causality, and comparison methods. The trauma inheritance experienced by the first generation is the trauma of loss due to the 1965 tragedy, which was then passed down to a child. Familial transmission becomes the basis of trauma inheritance, strengthened by affiliate transmission, which was a work of authentication in Indonesia. Gender plays a role in the affectivity of transmission, wherein transmissions involving fathers (exiles) and daughters are just as trauma-creating triggers. It is noteworthy that affiliative transmission fosters intersubjectivity among non-exiled female characters who are closely connected to the first generation, thereby enhancing the inheritance of trauma more effectively than familial transmission. The first generation is exiled and identifies its trauma by remembering and bringing with it Indonesian features, in various forms. In contrast, the second generation does it more concretely by becoming a real Indonesian. These findings underpin how an exile's trauma stemming from the 1965 tragedy can be passed on to the second generation, through a transmission process, a journey back to Indonesia, and gender relevance. Pulang redefines an exile as a victim and as an effort for reconciliation. [ABSTRACT FROM AUTHOR]

María Teresa León's Las peregrinaciones de Teresa is a short story collection published in 1950. This article examines two of its stories from the perspective of the neologism transmemoria, which the author presents in her introduction, with the aim of exploring its critical potential for analyzing the essential meaning of the stories. This allows us to question the use that Hirsch, Young and Bedingfield have made of the concepts of postmemory and transmemory since the early 21st century to highlight the value of the production of "vicarious" discourses about the past by the second generation of exiles and immigrants based on their own reinterpretation of the trauma suffered by their parents. From the analysis of the two narratives and León's use of the term transmemoria, this article argues for an alternative model of memory in which the resulting narratives have an emancipatory role and in which utopia prevails over trauma and experience over inheritance. [ABSTRACT FROM AUTHOR]

In 1984, Sikhs were massacred following the assassination of Prime Minister Indira Gandhi. Cultural expressions attempt to foreground the haunting legacies of this genocide. This paper explores Harpreet Kaur's documentary, The Widow Colony- India's Unsettled Settlement which unfolds as trauma testimony of the understudied conflict, contextualizing the spectral wounds of Sikh widows and their struggle for survival. Using hauntology and postmemory as critical lens, this article examines the spectral wounds of 1984 Sikh genocide. It also focuses on the gendered dimensions of violence against Sikh women by enunciating their doubly victimized sensibility through their experiences of shame, trauma and suffering. [ABSTRACT FROM AUTHOR]

This article examines the way in which conflict-generated diasporas pass on collective memories of a violent past onto the next generation. It contributes to uncovering the intergenerational memory transmission patterns in the diaspora by examining how new generations inherit the experiences of a violent past from their parents and mobilise and demobilise around issues concerning such past. By focusing on the Kurdish diaspora as a case study, the authors suggest that diasporas gradually form collective memories that may align with or differ from the narratives of those who stayed in their home countries. The collective memory of diasporic communities is also shaped by various factors related to their new countries of residence. This diasporic memory is ever evolving, influenced by each new generation that not only inherits but also reinterprets the shared memories, asserting their own agency in this ongoing process. [ABSTRACT FROM AUTHOR]

Partiendo del concepto de posmemoria (Marianne Hirsch) y algunos estudios sobre memorias materiales de la violencia política del siglo XX en España y América Latina, el presente artículo aborda el papel de los objetos testimoniales en la transmisión generacional del trauma de la guerra civil española y de la dictadura franquista. En concreto, se examina cuáles son las formas y funciones de las antiguas pertenencias de los testigos en el teatro de la memoria. Centrándose, de modo ejemplar, en las obras Bagaje (1983), de Jerónimo López Mozo; Santa Perpetua (2010), de Laila Ripoll; y La armonía del silencio (2016), de Lola Blasco, el estudio explora las diversas posibilidades que tiene el teatro para poner en escena estos objetos o, al contrario, para marcar su ausencia o su estado latente. Asimismo, el análisis pone de relieve el potencial de los objetos testimoniales para poner en marcha trabajos de la memoria, afectar a los personajes, así como para influir en la acción, el tiempo y el espacio dramáticos.

Andrea Tompa's novel A hóhér háza (2010; Eng. trans. The Hangman's House, 2021) gives insight into a teenage girl's coming of age during the last decades of the Ceauşescu regime. Recounting the story of three generations of a Transylvanian intelligentsia family, from the 1940s until the fall of the dictatorship in 1989, the novel depicts all the crucial moments of 20th-century Transylvanian history. At its crux stands a journey of self-discovery, which gains meaning in the context of the family history. This duality is reflected in the hybridity of the novel's genre. Tompa's work is of a hybrid genre that, in addition to the dominant presence of the autobiographical novel, encompasses elements of the Bildungsroman and the family novel. Self-discovery and family history are joined together in the protagonist's character, as the traumatic experiences of the family past become crucial parts of the protagonist's self-knowledge and personality through postmemory. [ABSTRACT FROM AUTHOR]

This contribution aims to analyse the postmemory of the origins through the work of an Italian author of Armenian descent, Antonia Arslan, and stems from an ongoing research project about "Narrating the Trauma in European Literatures and Cultures" based at La Sapienza University of Rome. I will therefore focus on the link between this research project, which serves as a theoretical framework, and the specific case study concerning Antonia Arslan. The project originates from two concerns: the first one being the awareness of the loss of poets and writers' long-lived faith in the creative power of the artistic gesture, a widespread belief before the two world wars, and the second one consisting in a reflection on a general change of the theoretic framework of literature, especially in the case of the narration of traumatic experiences such as wars, genocides, migrations and displacements of people, which have taken place in Europe during the 20th Century [Neohelicon, 2004(1), Migratio et litterae]. [ABSTRACT FROM AUTHOR]

The article discusses polyphonic narrative strategies typical of postmemorial prose on the example of Ewa Lipska's novel Sefer, framing it through references to Bakhtin's categories of polyphony, non-co-presence and the two-voice word, on the one hand, and to concepts of postmemory (Marianne Hirsch's category) and hauntontology (Jacques Derrida's concept), Nicolas Abraham and Mária Török's cryptological theory, and the Freudian metapsychology of the secret, on the other. The polyphonic nature of the text reflects the dynamics of intergenerational transmission of trauma, revealing a subjectivity haunted by traces of violence that take the form of extensive allusions and textual tropes. Lipska deconstructs the postmemorial model of the narrative of return, questioning the reparative abilities of acts of imagination. [ABSTRACT FROM AUTHOR]

Having started her literary career as a poet, South Korean writer Han Kang has interwoven her textual practices encompassing poetry, essay, and novels. Human Acts, a provocative testimony of Gwangju massacre and simultaneously a lyrical rumination on how to narrate the event, is the outcome of Han's project on state violence from Gwangju to Buenos Aires. This study seeks to read Human Acts as a literary product of the postmemory generation, and it argues that the novel's aesthetic characteristics of intermediality, intertextuality, and polyphony should be considered in order to grasp the various types of trauma transmission in the novel. Tracing the intertextuality of photography, poetry, and a polyphonic novel in her literary project, I will take up Han's endeavor to articulate the traumatic event with diverse ways of utterance, and how she achieves her goal by adopting a narrative strategy using polyphony of voices, each of which embodies, disembodies, and unearths the (im)possibility of a statement of traumatic violence. The novel thereby creates a space of text charged with a sense of textual communality while depicting the birth and violent demise of the Gwangju Commune. [ABSTRACT FROM AUTHOR]

This paper examines how the negotiation of the traumas of slavery and its legacies in Yaa Gyasi's Homegoing (2016) deviates from traditional trauma literature in terms of its form and content. Gyasi's novel is shown to be structured as a postmemorial family saga, allowing it to highlight the transgenerational and transtemporal effects of trauma in a way that differs markedly from the modernist aesthetics prescribed by traditional trauma theory. Homegoing features a confrontational approach, as it represents trauma directly and explicitly, whilst positioning the reader and several characters as implicated subjects. The novel moreover shows itself attuned to the complexities of trauma by featuring cases of insidious trauma and emphasising how traumas may be rooted in structural issues. [ABSTRACT FROM AUTHOR]

Copyright of Autobiografia is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin 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.)

This article argues that refugee crises include complex forms of insidious and latent trauma, insufficiently engaged in dominant discourses of trauma studies which largely draw on Western models and cultural experiences, often overlooking various aspects of postcolonial trauma, trauma due to casual violence and racism, and other forms of everyday marginalization which are interstitial, experiential, and quotidian in quality. Through a historical examination of the America-Vietnam War and its subsequent diasporic subject-formations, we aim to offer an original reading of Viet Thanh Nguyen's novel The Sympathizer (2015) using a complex framework of memory studies that highlights an interplay of nostalgia, spectrality, and posttraumatic stress manifestations. The study argues how trauma may be examined as a quotidian and experiential phenomenon of slow disintegration emerging from a profoundly political context, and how the medium of fiction offers a unique cognitive, affective, and focal framework to articulate and empathize with the same. [ABSTRACT FROM AUTHOR]

Much has been written about the multifaceted significance of food and eating from an anthropological perspective; the same can be said about the role of food in collective identity construction and nation building. In contrast, the nexus of food, memory, psychological trauma, and disordered eating has been less explored. The aim of this interdisciplinary article is to synthesize available knowledge on this topic by engaging with research literature in fields such as food history, anthropology, sociology, and psychiatry as well as autobiographical works, cookbooks, etc. One main section of the article focuses on the role of food and cooking in exile and refuge. Another section deals with the role of food in the aftermath of historical trauma, whereas a final section discusses various works on disordered eating in the wake of traumatic experiences. In sum, the dual nature of food and cooking—at once concrete and abstract, material and symbolic—offers an arena in which ambivalent memories of trauma can take on tangible form. The concept of postmemory may be useful in understanding how food and cooking can function both as a vehicle and as a remedy for intergenerational trauma. [ABSTRACT FROM AUTHOR]

The trauma of the Holocaust, despite being dismissed for many years, has profoundly shaped the identity of successive generations of Jews. The main character of the film Hanna’s Sleeping Dogs (Hannas schlafende Hunde, 2016, Andreas Gruber) inherits the trauma of the tragic events of World War II, even though she initially remains unaware of her Jewish heritage. Upon discovering the family secret, the nine-year-old Johanna embarks on a journey to unravel her true identity. This task proves challenging in Austria, where anti-Semitism still prevailed in the 1960s, and “the myth of Hitler’s first victim” dominated the public discourse. The article aims to identify the stylistic devices employed in depicting the struggle between memory and (post)memory of tragic events. It also focuses on how Gruber narrates the story of trauma passed down from generation to generation and examines the representation of Jewish figures in his films. In addition, the film is analyzed within a sociocultural context to highlight its relevance to public discussions about Jewish identity in post-war Austria. [ABSTRACT FROM AUTHOR]

This article presents a pandemic interpretation of Łukasz Barys 2021 debut, The bones you carry in your pocket. It aims to analyze the impact of the virus as a „spectrum” (Derrida) on the life of the individual and to look at the „assamblage” (Žižek) effect of the pandemic. It encompasses the „human and the non-human” (Žižek), bringing together a constellation of „postmemory” (Hirsh) spectres, traumas, bones, death and past that begins to dominate reality. The narrative is thus the testimony of an individual living in a world of blight. However, it is a latent and silent testimony. It can be found in the descriptions underlined between family traumas and the grime of everyday life, in which death, love and illness are constantly mixed together.

Drawing on the influential concept of postmemory first mooted by Marianne Hirsch, and on the links between photography and mortality first explored by Susan Sontag and Roland Barthes, this article analyses the work of ten largely UK-based visual artists who, as members of the so-called second generation (namely, the descendants of Holocaust survivors and refugees), make use of the photographic medium to engage creatively and conceptually – and often in a conspicuously gendered way – with the legacy of their families' traumatic histories. Some of the artists (Halter, Tucker) base their handcrafted imagery directly on pre-war family photographs; others (Winckler, Brunstein, Petzal, Gorney, Kerr, Davidmann) incorporate actual photographs, past and present, into mixed media artworks, frequently manipulating and even doing violence to them. Others again (Garbasz) use photographs taken in the present to reach out to an inaccessible past, while yet others (Markiewicz) employ a more abstract and allusive approach to the medium. [ABSTRACT FROM AUTHOR]

The study of representations of war beyond places of combat opens a space to consider the effects of that war on the society in conflict. Evocations of war linger through time and become articulated through the lens of postmemory, which for Marianne Hirsch (2012, 8) is “distinguished from memory by generational distance and from history by deep personal connection”. The literary representations of life off the battleground point to a social fabric that illuminates intergenerational relationships surrounding the Spanish Civil War (1936- 1939) and its aftermath, when society was divided across an ideological continuum. In Soledad Puértolas’s Música de ópera (2019), three generations of women come to terms with the effects of the Civil War on their family.

Marianne Hirsch’s concept of postmemory implies a connection with the past that is indirect, mediated by the imagination and desire, transmitted to descendants or generations that have no memory of the traumatic event, but it can also entail a possible yearning to reconnect with the historical past as testimony, remembering and collective memory. This article focuses on this reconnection with the past with the aim of reading, questioning and analyzing traumatic memories of times past in selected works by four nineteenth and twentieth-century African American women writers (Harriet Jacobs, Zora Neale Hurston, Gayl Jones, and Toni Morrison) whose texts and characters carry the burden of traumatic memories and the will to share postmemories.

The study tends to explore transgenerational trauma, employing Marianne Hirsch's Postmemory (2012) as an interpretative lens to analyze the traces of trauma in Kanza Javed's Ashes, Wine and Dust (2015). This study exhibits the navigation of the partition trauma inter-generationally and its transgression into familial memories through Javed's debut novel. The idea of postmemory and intergenerational trauma is demonstrated through Mariam's character, who is struggling with the traumatic inherited memories, as her grandparents survived the Indo-Pak partition and are still haunted by memories of the violence and displacement. By using a theoretical framework such as Postmemory, the study provides new insights into the intergenerational transmission of trauma and its effects on individual and collective memory. The study also examines the resistance strategies adopted by various characters in the text to combat the partition trauma. Many characters internalized this trauma, while Mariam chose to move to the USA in an attempt to escape from the traumatic memories of the past. The article contributes to the understanding of postmemory trauma in the partition narrative of Pakistani Anglophone Literature and highlights the need for future research on the diaspora as an impact of transgenerational partition trauma. [ABSTRACT FROM AUTHOR]

The formula of the leading research problem in this article takes the following form and is an attempt to answer the question: to what extent can (post)memory be considered a multidirectional phenomenon, and how does the multi-directionality of (post)memory affect identity? The work is therefore divided into two main parts, which can be named successively: theoretical, including definitional and methodological comments, and analytical, focusing on the interpretation of A Little Annihilation by Anna Janko (the daughter of Teresa Ferenc, who survived the pacification of Sochy in the Zamość region) as a testimony changing memory of the Holocaust. The theoretical part is filled with studies on (post)memory, its multi-directionality (as understood by Michael Rothberg), and the concept (as presented by Marianne Hirsch). A more extensive analytical part focuses on the uniqueness of the extermination experience of Teresa Ferenc and Anna Janko - it is a reflection on the transmission of traumatic memory, which can take place in many dimensions: from the subject already experiencing the trauma (Teresa Ferenc) to the subject just experiencing this trauma (Anna Janko) and just experiencing this trauma (Anna Janko) to the subject already experienced by the trauma (Teresa Ferenc). This work also considers the competitive aspect of (post)memory multidirectional. The analyzed work also reveals the fruit of (post)trauma, which boils down to difficulties in mentalization and double personalities, the common element of which is the specter of nine-year-old Renia, nesting in the mother and daughter's bodies like the worst parasite. The juxtaposition of A Little Annihilation with post-memorial works also makes it possible to see the intricate construction of this text, which determines that it is here that the issue of multidirectional (post)memory is most fully realized. [ABSTRACT FROM AUTHOR]

The purpose of this work is to undertake an exploratory pilot study on the multiplicity of texts that strive to write or analyse the memories of the displaced individuals from the former Portuguese African colonies during the 1975–1976 forced migration to Portugal who came to be labelled retornados (returnees), rethink history and eliminate silences, to pave the way for postmemory and controlled affective ties through reparative readings and nostalgia. We undertook bibliographical research to determine the eligibility criteria and used nonprobability convenience sampling to select the texts to carry out a content analysis. An interdisciplinary approach is used to present and discuss the results. Although decades have passed since the retorno, the stigma of being a retornado still remains in the memory of Portuguese society as interest in the topic and the time distance allows for more rigorous studies. In the analysed texts, the results achieved establish that the relationship of the Portuguese people with the contemporary memory and history of the colonial era is comprised of silences and nonmemories that still have to be deconstructed to forge a positive future for the generation of postmemory. [ABSTRACT FROM AUTHOR]

The article contains a transcription of two interviews with Elżbieta Kuta, preceded by an introduction. Both accounts were recorded within the research on the so called second generation – the Polish survivors’ of Nazi concentration camps children. The narrator recounts her youth in Tarnów and adult life in Kraków (Lesser Poland region). The main focus of both interviews, however, is the narrator’s relationship with her mother, a former KL Ravensbrück prisoner; one that led to her own trauma. She also discusses her attitude towards memory activism in regards to Nazi camps survivors. Moreover, she puts her life story in the context of other biographies of the 'second generation.' The article discusses the meaning of a long-term relationship between interviewer and witness, with the main focus on trust and shared authority.

This article examines visual arts that represent the mass killings of unarmed civilians by the state before and during the Korean War (1950–1953). It analyses three South Korean artists, Kang Yo-bae, Suh Yongsun and Jeon Seung-il, who produced paintings that made direct reference to the grievous and unjust civilian deaths, a taboo subject that is still controversial in a society bound by the unfinished war. This article seeks to contribute to the critical inquiry into the long-delayed yet urgent issue of historical injustice from the perspective of visual representation. It draws attention to the following questions: how the artists establish relations with the violent past, vicariously and retrospectively; how they represent the grievous deaths in critical, imaginative and affective modes of visual expression; and how their paintings participate in a socially engaged act of ethical witnessing. The article further considers how their works are in dialogue with and simultaneously depart from the official investigative attempts in approaching the notion of truth. It argues that the paintings enact a communicative practice of mourning that mediates the living and the dead, without anticipating premature reconciliation. [ABSTRACT FROM AUTHOR]

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This paper engages Cathy Caruth’s thinking about trauma, Marianne Hirsch’s notion of postmemory, and Giorgio Agamben’s theorising of bearing witness to examine the affective performance of remembering in Richard Flanagan’s novel The Narrow Road to the Deep North. Reading the narrative as a postmemorial account of Japan’s internment of Australian POWs in Burma during the Second World War, I focus on the body as a site of both wounding and witnessing to show how the affective relays between pleasure and pain reanimate the epistemological drama of lived experience and highlight the ambivalence of passion as a trope for both suffering and love. Framed by its intertextual homage to Matsuo Bashō’s poetic masterpiece of the same name, the Australian narrative of survival is shown to emerge from the collapse of the referential certainties underlying the binaries of victim/ victimiser, witness/perpetrator, human/inhuman, and remembering/forgetting. In Flanagan’s ethical imagination, bearing witness calls for a visceral rethinking of historical subjectivity that binds the world to consciousness as a source of both brutality and beauty.

This article discusses how postmemory becomes a liminal space in itself, giving birth to hyphenated identities who oscillate within the realms of this liminality. Liminal spaces are situated in the transformative bisection of the before and the after. Studying the liminal space where true memory is forgotten and a new-fangled postmemory is generated gives an insight into the minds and patterns of the collective subject. Oftentimes, such an act of forgetfulness may be forced upon the collective subject. Governments alter memory narratives, completely erasing or exponentially disfiguring them to meet their agenda. Even the hyphenated collective subject itself indulges in self-imposed forgetfulness to nullify the traumatic experiences it faces, or once faced. It willingly otherizes that which it possesses, consequently romanticizing that which it lacks. During both the Indian partition and the Bangladeshi genocide, millions of refugees flooded into India. Their progenies who grew up in India were treated with promises and visions of a utopian land beyond the borders--a land from which they had had to flee. These second-generation immigrants faced "a dramatic loss of identity and meaning" because of the cultural trauma they encountered through postmemory narratives. Stuck within this chaotic liminal space, they were forced to acknowledge both the romanticized identity that was being imposed upon them and the lacking other that they formed a part of. Narratives of postmemory passed on by the original hyphenated collective subject therefore led to the formation of another hyphenated identity, those forever stuck in a sempiternal liminality. [ABSTRACT FROM AUTHOR]

The 'memory boom' has promoted a wide array of plays among a large amount of literary output in Western literature. Among these, Jonathan Lichtenstein's 2006 play Memory is an aptly named memory play. Inspired by the memories of the playwright's father, the play interweaves three stories: one set in 1933, when the Nazis took power in Berlin; the second in East Berlin, 1990, just after the fall of the Berlin Wall; and the last in Bethlehem, 2006, as the Apartheid Wall was rising. Whilst connecting these separate stories at the intersection of memory, this paper seeks to address a traumatized and conflicted relation to the past, and drawing on established trauma theorist Dominick LaCapra's terms 'acting out' and 'working through', it discusses how traumatic memories and one's relation to them shape the present. The study then reflects on Marianne Hirsch's term 'postmemory' as manifested in Memory as well as Lichtenstein's life. [ABSTRACT FROM AUTHOR]

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Grounded in literature by Gabriel García Márquez and Salman Rushdie, Magic Realism is a literary genre of contradictions and paradoxes, in which two incompatible worlds co-exist. Due to its paradoxical characteristics, Magic Realism can be in touch with representations of traumatic experiences and events as the Holocaust. This paper aims to analyze how the contemporary Jewish-American writer Jonathan Safran Foer uses Magic Realism in his novel entitled "Everything is Illuminated" to talk about the intergenerational aspects of the Holocaust trauma. For this, the focus will be on the concept of postmemory and how this concept functions in the novel, enabling the author to recreate the past of his ancestors using a blend of imagination and fiction, of the reality and the fantastic. [ABSTRACT FROM AUTHOR]

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Copyright of Canadian Journal of Film Studies is the property of University of Toronto 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.)

This paper engages Cathy Caruth's thinking about trauma, Marianne Hirsch's notion of postmemory, and Giorgio Agamben's theorising of bearing witness to examine the affective performance of remembering in Richard Flanagan's novel The Narrow Road to the Deep North. Reading the narrative as a postmemorial account of Japan's internment of Australian POWs in Burma during the Second World War, I focus on the body as a site of both wounding and witnessing to show how the affective relays between pleasure and pain reanimate the epistemological drama of lived experience and highlight the ambivalence of passion as a trope for both suffering and love. Framed by its intertextual homage to Matsuo Bashō's poetic masterpiece of the same name, the Australian narrative of survival is shown to emerge from the collapse of the referential certainties underlying the binaries of victim/victimiser, witness/perpetrator, human/inhuman, and remembering/forgetting. In Flanagan's ethical imagination, bearing witness calls for a visceral rethinking of historical subjectivity that binds the world to consciousness as a source of both brutality and beauty. [ABSTRACT FROM AUTHOR]

Re-investigation of the memories of the Bengal partition has unleashed not only geopolitical repercussions of that territorial split, but also explored the unlocated avenues of trauma in the individual or collective consciousness and, at the same time traced a dialogic negotiation between remembering and forgetting. A huge migration, in the succeeding years of 1947, from East Pakistan to West Bengal has reconfigured and politicized individual and collective Bengali identities. This paper excavates in the discourse of memory and trauma studies to revisit the slow agonizing trauma of Bengal partition in Sunanda Sikdar’s memoir Dayamoyeer Katha(translated as A Life Long Ago). It critiques the centralization of scholarly attention to more on pathological violence of partition in the Punjab region and peripheralization of the psychological trauma of displacement and dislocation in the Bengal region. It exhibits how the memoirist is encapsulating her victimized self’s cognition of the inescapability of the belated psychological impact of traumatic past and how she is confronting with the “real” after the breakdown of “active forgetting”. The memoirist deconstructs the silence of her dislocated self by penning down her suppressed loss saturated in nostalgia and translates her traumatic memory of rootlessness into narrative memory. The victim in dealing with her inner holocaust constructs the individual consciousness through the process of perception, interpretation, and representation of trauma. The first person narration of the memoir familiarizes the psychological wound of the refugees of the Bengal partition and breaks down the traditional definition of “home”. This paper sheds light on how these memories of partition are being transgressed across generations imposing responsibility of this cataclysmic experience of the past upon the shoulders of present and future generations. Finally, it highlights the deconstruction and reconstruction of individual subjectivities through “postmemorial work” without being captivated by the traumatic past.

The aim of this paper is to analyze the life narratives “Where have All the Songs and Rituals Gone?” (2019) by Mozinha Fernandes and “A Velip Writes Back” (2019) by Priyanka Velip, members of the Adivasi community of Goa, who consider themselves as the first inhabitants of this Indian state. These narratives have been published in the blog “Hanv Konn. Who am I? Researching the Self” organized by the late professor from the University of Goa, Alito Siqueira, whose aim is to give voice to this marginalized and silenced community. The analysis will be done in terms of the concepts of Postmemory (Hirsch, 1996, 1997, 2008), Trauma (Ginzburg, 2008; Balaev, 2008), Narrative (Bruner, 2002; Coracini, 2007), and Life-narratives (Smith & Watson, 2010).

By drawing on Jewish feminist scholarship along with intersectional feminism, the aim of this article is to explore whether the construction of the female protagonist and gender relations in Linda Grant's novel Still Here (2002) offer fruitful models for reshaping Jewish memories and identities. I examine the way memory in the novel becomes multidirectional and palimpsestic by fusing various dimensions of time and space. Set in Liverpool and Dresden, with their very different histories, the novel traces how the two middle-aged Jewish protagonists, Alix Rebick and Joseph Shields, discover each other's personal as well as disturbing family memories. The multidirectional and transgenerational bonds that connect them lead to their falling in love; and their relationship is shown to develop as a result of their ability to overcome their traumatic experiences and to open their own selves to feel empathic towards each other's pain. The issues and questions raised in the novel are examined from the perspective of Jewish and intersectional feminism so as to fully explore Alix's agency in coming to terms with her inherited past and troubled Jewish female identity. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyze the life narratives "Where have All the Songs and Rituals Gone?" (2019) by Mozinha Fernandes and "A Velip Writes Back" (2019) by Priyanka Velip, members of the Adivasi community of Goa, who consider themselves as the first inhabitants of this Indian state. These narratives have been published in the blog "Hanv Konn. Who am I? Researching the Self " organized by the late professor from the University of Goa, Alito Siqueira, whose aim is to give voice to this marginalized and silenced community. The analysis will be done in terms of the concepts of Postmemory (Hirsch, 1996, 1997, 2008), Trauma (Ginzburg, 2008; Balaev, 2008), Narrative (Bruner, 2002; Coracini, 2007), and Life-narratives (Smith & Watson, 2010). [ABSTRACT FROM AUTHOR]

Recent work on trauma, especially in the field of Holocaust studies, has tackled the question of how the "generation after" relates, and relates to, the trauma of its immediate ancestors as it navigates between the poles of remembrance and appropriation. Other studies have shifted focus towards the effects of trauma upon narration, in part through critiquing the prevailing psycho-analytic model of trauma as an unrepresentable event that evades/forecloses language. Aeschylus' Suppliants, with its chorus of fifty female Danaids who react to their traumatic present by recourse to tales of the traumatic past of their ancestor Io and her son Epaphos ("Touch"), offers a productive stage for testing the applicability of these theoretical frames to the genre of ancient Greek tragedy. The Danaids' turn to the past explores the agency of an ancestral trauma that reaches into their present, and in doing so highlights the unsteady inheritance of trauma both for those who relate and for those who witness these acts of testimony. The act of supplication itself is defined in part by physical contact between the suppliant and the supplicandus, yet this ritual emphasis on touch is amplified by the play's consistent focus upon a series of real and hypothesized touches, from the traumatic to the salvific. Through this engagement with the haptic context of trauma and traumatic recall, Aeschylus' play proposes an enlarged aetiology of touch--across cognitive, affective, and physical registers--for the ritual of supplication itself. [ABSTRACT FROM AUTHOR]

This article examines the role of translation in mediating memory and makes the case for translation and memory based on the transcultural framework by Erll and that of translation in mediating memory by Deane-Cox. This work specifically problematises the transmission of the experiences of trauma and violence against Republican women after the Spanish Civil War as represented in La voz dormida by Dulce Chacón and its translation, The Sleeping Voice. We explore synergies among the aforementioned disciplines and the possibilities and challenges involved in translation in the realm of postmemory, claiming the importance of the ethical position of the writer as well as that of the translator as guardians of memory. Our exploration focuses on the Spanish Civil War and dictatorship and aims to contribute to the emerging scholarship in translation and memory studies. [ABSTRACT FROM AUTHOR]

This article delivers an analysis of the functions performed by native Poles in the intergenerational transmission of the trauma of the Holocaust in Polish-Jewish families. For its source material, the author has chosen Ewa Kuryluk's post-memory literature, textual testimonies by representatives of the second generation of mixed-background families: parents, one of whom survived the Holocaust, and the other, who, after the War, became a custodian of the secret and helped to put the traumatic experiences into written form. In the description of the complex processing of the trauma of the Holocaust, the psychoanalytic understanding of intergenerational transmission proves to be helpful. Similarly helpful is the idea of the "third": a compassionate witness and mediator/transmitter of experience who makes deliverance possible. A close reading of Kuryluk's post-memory trilogy allows for an inspection of a heretofore unexamined aspect of the intergenerational transmission of trauma. [ABSTRACT FROM AUTHOR]

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“The Language Used by the Present Political Authorities is Ideological”: An Interview with Michał Głowiński Language can be not only a communication tool but also a dangerous weapon. In this interview, Michał Głowiński, Professor Emeritus at the Institute of Literary Research (IBL), writer, author of numerous literary and scholarly publications, including Zła mowa [Bad Speech], a Polish Jew who survived the Holocaust, shares his traumatic memories and talks about verbal aggression, which is an alarm bell warning that physical aggression is to come. Following the tragic events of the mid-twentieth century, language can no longer be treated as “the house of being”: before the first brick of extermination camps was laid, the word of hatred had thundered first. This is why it is so important to remember the past and to carefully analyse the language of the present, so that the horrible story of the Holocaust can never happen again. The Holocaust is the greatest tragedy of the twentieth century, which brutally destroyed millions of Jews. It also put an end to survivors’ hope of achieving a harmony of self-identity. The Holocaust must be remembered. Literature is one of the tools for keeping it in memory and taking a closer look at all the crimes that were committed. The painful experience of the Holocaust has been reflected in the works of Jewish writers. It is also at the roots of tragic contradictions, the sense of internal emptiness and loss of empathy. „Język, którym mówi dzisiejsza władza, jest ideologiczny”. Wywiad z Michałem Głowińskim Język może być nie tylko narzędziem komunikacji, ale i niebezpieczną bronią. W wywiadzie Michał Głowiński, emerytowany profesor Instytutu Badań Literackich, pisarz, badacz języka publicznego, autor licznych prac literaturoznawczych oraz naukowych, w tym wciąż aktualnej książki Zła mowa, polski Żyd ocalały z Holocaustu, dzieli się traumatycznymi wspomnieniami oraz opowiada o agresji werbalnej, która jest pierwszym niepokojącym sygnałem alarmowym, ostrzegającym przed nadejściem agresji fizycznej. Po tragicznych wydarzeniach pierwszej połowy XX wieku języka już nie sposób traktować jedynie jako „domu istnienia”, bo zanim położono pierwszą cegłę, budując fabrykę Zagłady, najpierw zabrzmiały słowa nienawiści. Właśnie dlatego tak ważna jest pamięć o przeszłości i uważne badanie języka teraźniejszości, by chronić przed powtórką scenariusza potwornej historii Zagłady. Holocaust jest bowiem największą tragedią XX wieku, która była nie tylko zbrodnią na milionach Żydów, ale również odebraniem Ocalałym szansy na odbudowę harmonijnej, nienaznaczonej traumą tożsamości. Pamięć o tych wydarzeniach jest naszym dziedzictwem. Literatura jest jednym ze światów, który pozwala zachować pamięć oraz z bliska przyjrzeć się zbrodniom. Bolesne doświadczenia Shoah znajdują odzwierciedlenie w twórczości pisarzy żydowskich oraz leżą u podstaw tragicznych sprzeczności, wewnętrznej pustki i utraty wrażliwości.

The study tested the phenomenon of postmemory, its main points, ways of verbal/nonverbal utterance and its connection with different kinds of art. As this occurrence is topical in many domains we can find lots of different attempts to name, to comprehend and even to interpret it. And a very important role in this context belongs to the foundress of this definition – professor from Columbia University Marianne Hirsch. Inspired by Spiegelman’s comic Maus and by her family stories, she developed her ideas and observations concerning the concept of postmemory in every subsequent work. The proposed theory caused the appearance of many new researches, articles, monographs on this topic and interpretations of works of art and historic, cultural occurrences. Hirsch explains this phenomenon as a kind of memory when the second generation remembers the recollections which they couldn’t live by their own. One from the denotative peculiarities of such memory according to her suggestions is imaginative investment and creation, namely memories which can be inherited by subsequent generations and which become a part of their experience exactly in consequence of imagination and empathy. As a result of such “reliving” there always can be a risk – to lost the border between own and “inherited” memories. In such case the best way to reveal postmemory is art, verbalization of it in the language of literature, music, painting, etc.

This article extrapolates the ways through which female histories associated with the Partition of the Indian subcontinent are transmitted across generations and how through postmemorial reflections female protagonist in Anita Rau Badami's Can You Hear the Nightbird Call? struggles for re-awakening and selfexploration and negotiates her loss in the background of trauma and communal violence. Drawing on Marianne Hirch concept of postmemory and Gloria Anzaldua's concept of mestiza consciousness, we undertake to study how the protagonist-Nimmo's recollections bring to light substantial examples of historical trauma, the way postmemory continues to affect next generations, and her resilience in the face of all disasters. While much goes on detailing the traumas hapless women underwent during the Partition, our study aims to glorify resilient women like Nimmo who, despite caught in the interstices of trauma and postmemorial recalls, never lost grit for recuperation. [ABSTRACT FROM AUTHOR]

This paper examines the phenomena of 'postmemory' as a mode of possession that responds to experiences of suffering. As such, the hyper-connectivity it is concerned with is not that of the digitalisation of contemporary life but is rather 'vertical' hyper-connectivity indicating the disturbance of past injustices that have neither been mourned nor remedied and so keep returning to haunt the present and the future. [ABSTRACT FROM AUTHOR]