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Can a film based on fiction contribute to the restoration of historical memory? can films help fill in the blanks of history? What exactly is the filmmaker's position? What faculty and what means does he or she require to make such a prodigious feat possible? Are films capable of creating sites of memory, and by what means? What traces will make it possible to set up markers in a site of a scotoma? The questions become increasingly precise: Can cinema lift the veil that colonial history has thrown over the history of the Algerian War? And what can the nature of the blind spot be if every effort has been made to keep it hidden?

Three studies examined the form and function of ideologies that negate (versus recognise) the historical basis of claims for reparation for past injustices. Historical negation (a) predicted opposition towards the resource-specific aspects of social policy and (b) functioned as the mechanism though which majority group members high in a threat-driven security-cohesion motivation (indexed by right-wing authoritarianism (RWA)) legitimated policy opposition in both undergraduate student (Study 1) and general population (Study 2) samples of the majority group (New Zealand Europeans/Pakeha). Study 3 experimentally manipulated historical negation in a general population sample using extracts adapted from political speeches, and demonstrated that historical negation increased opposition among liberal voters towards the resource-specific aspects of bicultural policy. These results suggest that history serves an important symbolic function in mobilising support for public policies regarding intergroup relations because temporal continuity is central to claims of legitimacy, especially where resources are involved. Research in this area is important for any nation with a history of intergroup conflict, as it aids not only in understanding the form and function of historical narratives that legitimate social inequality, but also provides insight into the ways in which such discourses can be countered and re-formulated in order to promote social equality. Copyright © 2007 John Wiley & Sons, Ltd.

This article studies the post-Marxist transformation of the official representations of history in Estonia and the former GDR. The main focus is on school history and the main evidence consists of its syllabi, historico-educational articles and interviews. As history is considered to be vital in the formation of social identity, the representations of history tend to get manipulated by political leaders. The official representations have traditionally been ideologically framed 'grand narratives', the Marxist and nationalist histories being the most prominent narratives. In the GDR of the 1980s the authorities attempted a special combination of national and socialist identities. In Estonia around 1990 the socialist official representations were substituted by nationalist representations. The reception of the official representations of history was surveyed in East Germany in the mid-1980s. According to the results, the Marxist representations lacked street credibility and resulted in a double consciousness of history among young people. After the big change of 1989, according to another survey, unofficial nationalist representations were somewhat more relevant to the young Easterners than to the Westerners in Germany. In Estonia, towards the end of the 1980s, young people openly defied the official Marxist representations. A 1995 survey suggests that the new official nationalist 'grand narrative' had also been received by young people only in modest terms. On the whole, even if official representations of history are ubiquitous, the virtual street representations seem to be socially formed, through communication and on the basis of experience and everyday judgement.

Social representations of world history were examined among student populations in four Pacific Rim cultures: Hong Kong, Japan, Australia, and New Zealand. Nominations of the five most influential figures in the last 1000 years revealed a preponderance of political and wartime leaders (59 and 37% overall ), with Hitler number one by a wide margin. Nominations of the seven most important events were complementary, with politics and war again dominating. World War II was named most frequently, World War I next. There was little cultural variation in the emphasis on politics and war, and all nominations centred around the 20th century. Each culture showed evidence of relative in-group ontogeny, or a focus on their own ethnic or national in-group, but Europe was central to all representations, and neighbouring cultures relatively unimportant. Absolute ontogeny was found only at the level of ethnicity, not nationality, with Japanese showing the least ontogenic focus. Taken as wholes, Chinese and Japanese representations showed potential for conflict, but broad historical perceptions were unrelated to individual differences in political preferences or strength of social identity.

Post-Traumatic Realism: Representations of History in Recent Irish NovelsThe aim of my essay is to describe major tendencies in contemporary Irish prose writing concerned with historical and political issues. The diversity of the themes and attitudes to the past necessitates a classification of the writings into several various groups of novels whereas my analysis of the modes of representing the intratextual universe paves the way for identifying a single literary convention (post-traumatic realism) which is typical of the works under discussion. Many of the quoted authors subscribe to historical revisionism which undermines the received historical narrative in Ireland and questions its aggressively nationalist model of patriotism. The novels by Sebastian Barry, Robert McLiam Wilson, Edna O’Brien or Julia O’Faolain, to name just a few, contest that model by demonstrating that it leads to violence, cultural stagnation and petrifying political divisions both in the Republic of Ireland and in Northern Ireland. In the age of the epistemological levelling of historiographic discourse and literary fiction the novels discussed in the essay meaningfully contribute to the debate over the Irish nation’s attitude to their own history and the need to conclude the painful chapters of the past connected with the Civil War as well as with the social and religious conflicts of the twentieth century. Realizm posttraumatyczny. Sposoby przedstawiania historii we współczesnych powieściach irlandzkich Celem niniejszego artykułu jest scharakteryzowanie głównych tendencji we współczesnej prozie irlandzkiej podejmującej tematykę historyczną i polityczną. Różnorodność tematów i postaw wobec przeszłości zmusza do wyodrębnienia co najmniej kilku odmiennych grup powieści, natomiast analiza sposobów prezentacji universum wewnątrztekstowego pozwala pokusić się o określenie jednej typowej konwencji literackiej, jaką w przypadku omawianych utworów jest realizm posttraumatyczny. Wielu z przytaczanych autorów wpisuje się także w nurt rewizjonizmu historycznego, który podważa zastaną narrację historyczną i obiegowy, nacechowany agresywnym nacjonalizmem model patriotyzmu. Powieści Sebastiana Barry’ego, Roberta McLiama Wilsona, Edny O’Brien czy Julii O’Faolain kontestują ów model, ukazując, że prowadzi on do przemocy, utrwalania podziałów politycznych i stagnacji kulturowej zarówno w Republice Irlandii, jak i w Irlandii Północnej. W dobie epistemologicznego równouprawnienia dyskursu historiograficznego i fikcji literackiej omawiane w artykule powieści konstruktywnie wpisują się w dyskusję nad stosunkiem narodu irlandzkiego do swojej historii, nad koniecznością zamknięcia raz na zawsze bolesnych rozdziałów związanych z wojną domową początku lat dwudziestych XX wieku i konfliktami na tle społecznym oraz religijnym.

This paper is concerned with the social organization of collective memory and representations of history in the context of how post-communist democracies reckon with former regimes. It specifically centres on the textual accomplishment of coming to terms with the past in the 'Tismaneanu Report' condemning Communism in Romania. The focus is on how the Report displays and shapes the ideological contours of coming to terms with the past around a particular 'social representation' of history. Several constitutive features of the Report that facilitate bringing off a particular 'representation of history' are identified: (a) the construction of a practical framework for the inquiry as a matter of public concern and attention; (b) the production of 'Communism' as an empirical category with uniquely bound features; and (c) the structuring of time by bringing together a political agenda and national identity. The present argument tries to place representations of history (and coming to terms with the past) as something in need of constitution rather than simply relied on. It is suggested that a conception of coming to terms with the past as a textual accomplishment may lead to a fuller appreciation of the structure, function and salience of representations of history as integral part of moral/political/legal courses of action.

This study analyses how history museums in Austria, Hungary and Italy, represent the Holocaust. With close reference to debates about European Holocaust commemoration, it addresses how these exhibitions in countries closely related to Germany during the Holocaust construct the past as an object of knowledge/power. It also examines how the conceptualisation of historical agency assigns meaning and creates specific subject positions for the visitor. The research includes 21 different permanent exhibitions, established after 1989/1990, from which four, deemed representative, form the case studies. In Austria the author chose the Zeitgeschichte Museum in Ebensee, in Hungary the Holokauszt Emlékközpont in Budapest, and in Italy the Museo della Deportazione in Prato and the Museo Diffuso della Resistenza, della Deportazione, della Guerra, dei Diritti e della Libertà in Turin. Within the case studies Birga U. Meyer analyses how prisoner uniforms, perpetrator photographs, objects from concentration camps, and (video-) testimonies of survivors are displayed. The method is a discourse analysis following Michel Foucault, applied to museum exhibitions by Mieke Bal. Daniel Levy’s and Natan Sznaider’s view that global, national and regional discourse formations form new, hybrid narratives provides the theoretical framework. The findings suggest that three worldwide approaches to the Holocaust structure the exhibitions: the division of the Holocaust into four stages; an emphasis on perpetrator history; and an attempted pluralisation of the victim groups. These structuring elements are explained via national narratives, which exemplify, change, adapt or supplement the worldwide components. Regional discourses are less decisive and European discourse formations not yet influential to the museum representations. The mode of representation draws in each case on an aesthetics understood as the adequate representation of the Holocaust in that national context. What the exhibitions have in common is an authoritative presentation of one historical truth and an illustrative, functional use of primary sources. Historical agency – the forces/actors responsible for historical developments – is assigned to different agents: developments within society; the perpetrators; the victims; or everyone. It is this that distinguishes the different exhibitions from one another: and in result the meaning given to the Holocaust and subject positions offered differ.

Esse artigo trata das representações de professores de História acerca da dimensão utópica em sua disciplina, ou seja, a maneira como representam certa concepção prospectiva ao lecionarem uma disciplina escolar que lida com o passado. Consideramos que a educação tem como pressuposto uma visão projetiva, uma vez que supõe uma perspectiva de homem, sociedade e mundo no ato educativo, e o ensino de História, mais especificamente, por ser uma disciplina que lida com as transformações temporais e com temas eminentemente políticos e sociais, inserindo o homem neste processo. Situamos a discussão atual acerca do tema no ensino de História, inserido no debate da crise da modernidade e postulados pós-modernistas, a oscilar entre uma postura de pensar a disciplina como inexorável instrumento de transformação sócio-política ou vã ilusão prospectiva. Visando uma melhor compreensão da questão proposta, valemo-nos da análise de relatos orais obtidos através de entrevistas com professores da disciplina, que lecionaram nos anos de 1960/70 e 1980/90, tendo por perspectiva a teoria crítica das representações de Henri Lefebvre e o debate sobre memória e história oral. This paper explores the representations of History teachers on the utopian dimension in their discipline, that is, how they represent a certain prospective conception when teaching a school discipline dealing with the past. We consider that education has assumed a projective vision, since it supposes the perspective of man, society and world in the educative act. This is even more the case with History teaching, since it is one of the disciplines that eminently deals with the secular transformations and social and political subjects, inserting man in this process. We locate the current discussion on the subject in History teaching, inserted in the debate of the crisis of modernity and post-modern postulates, oscillating between the stance of thinking this discipline as an inexorable instrument of social political transformation or a vain prospective illusion. To better understand the proposed issue, we analyze verbal stories from interviews with professors of this discipline who have taught in the 60s-70s and in the 80s-90s, under the perspective of Henri Lefebvre's critical theory of representations and the debate on memory and oral history.

W Innym spojrzeniu Natasza Korczarowska-Różycka bierze pod uwagę filmy, w których przedstawianie historii nie przystaje do tradycyjnych wyobrażeń społeczeństwa na temat własnej przeszłości. Nie chodzi o demitologizowanie historii jako takiej, lecz jej wyobrażeń utrwalonych w pamięci społecznej. Twórcy czterech analizowanych filmów odwołują się do tych wyobrażeń, co nadaje ich dziełom charakter „wielośladowych intertekstów”. (…) Autorka zdywersyfikuje owo „inne spojrzenie”, wyróżniając: spojrzenie Gombrowiczowskie (Szyfry i Pornografia), spojrzenie dziecka (Poznań 56), spojrzenie (post)historyka (Generał. Zamach na Gibraltarze) (…). Każdy wątek zostaje udokumentowany i poświadczony szczegółowymi analizami wybranych scen (…). Na podstawie czterech wybranych do analizy filmów autorka zbudowała dyskurs wielostronny, bogaty, złożony, uderzający zarówno erudycją, jak i oryginalnością. Tekst jest znakomicie napisany, żywo i zajmująco, a tok wywodu przykuwa uwagę czytelnika Another Way considers the way in which four film directors present unique vision of the Polish national history (World War II, Poznań June ’56) and challenge established ideas about “historical film” perceived as a “window onto the past”. According to the author, films selected for the purpose of the book do not try to tell its viewers “what really happened” or to revise the history itself (impossible task) but discuss with the tradition of historical representation (by multiplying narrative perspective, mixing genres and blurring the distinction between documentary and fiction). The aim of this book is to explore the strategies by which filmmakers undertook three basic tasks: contesting, visioning and revisioning history. The films are analyzed in the paradigm of cultural turns: interpretative turn (Szyfry), postcolonial turn (Pornografia), performative turn (Poznań 56) and narrative turn (Generał. Zamach na Gibraltarze) and in the context of historiophoty defined by Hayden White as “the representation of history and our thought about it in visual images and filmic discourse”. The fundamental argument is that nowadays films are the most influential and powerful way of visioning history (prosthetic culture) but – as historian Robert Rosenstone points out – must be seen not in terms of how they compare to the written history but as a way of recounting the past with its own rules of representation. Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00.

To illustrate, after the terrorist attacks of 9/11, NATO allies of the United States with similar objective interests reacted in very different ways. Britain became America's principal military ally, first in Afghanistan, then in Iraq. France dispatched troops to Afghanistan, but with greater reluctance and side-by-side with a philosopher (Bernard-Henri Levy) to both question and provide for moral support for French efforts. In Germany, debate over whether to support American war efforts triggered the first vote of confidence in a ruling party's government in over 20 years. Keywords: social representations theory; symbolic representations; warfare; realistic conflict; political culture; psychology of legitimacy; historical contingency; historical charters; historical narratives; collective remembering; collective guilt; social memory; social identity; group identity; nationalism; ethnocentrism

Vorwort // Preface

Socially shared representations of history have been important in creating, maintaining and changing a people's identity. Their management and negotiation are central to interethnic and international relations. We present a narrative framework to represent how collectively significant events become (selectively) incorporated in social representations that enable positioning of ethnic, national and supranational identities. This perspective creates diachronic (temporal) links between the functional (e.g. realistic conflict theory), social identity, and cognitive perspectives on intergroup relations. The charters embedded in these representations condition nations with similar interests to adopt different political stances in dealing with current events, and can influence the perceived stability and legitimacy of social orders. They are also instrumental in determining social identity strategies for reacting to negative social comparisons, and can influence the relationships between national and ethnic identities.

CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO A pesquisa aborda um conjunto de filmes sobre história produzidos entre 1968 e 1980. Através da análise dos filmes, defende-se que o cinema é capaz de plasmar representações variadas da história, não só através da diegese, mas principalmente da sintaxe cinematográfica. Busca-se compreender os motivos e intencionalidades da criação dessas obras e suas conseqüências políticas. São analisados o ufanismo das abordagens oficiais, nas quais prevalece o heroísmo e a ausência de conflitos, e as visões cinematográficas revolucionárias de diretores egressos do Cinema Novo, com uma linguagem moderna na qual a história é construída por críticas e dúvidas.. A narrativa clássica hollywoodiana, para a qual a história é puro espetáculo, permite conceber o passado como um conjunto fechado de fatos filmados tal como aconteceram. O pretérito perfeito é o seu tempo. Já a narrativa moderna possui cenas de extrema violência no plano diegético e subversões temporais, câmeras investigativas e atuação brechtiana no plano narrativo. O futuro do pretérito é o tempo dessas obras. A história não foi, ela seria. This research is about seven movie pictures based on historical facts produced during the Brazilian military dictatorship, between 1968 and 1980. Within the analysis of these films, there is the founding idea that cinema is a way to shape different representations of history, not only through the diegesis but also through the way this story is told (the cinematographic narrative). The aim is to find the director s motives and intentionalities, and their politic consequences. Both classical historic films and modern ones are approached. At the first ones, the heroism and the absence of serious conflicts are shown like in the Hollywood pictures, in which history equals spectacle. The past is analysed like a cluster of facts supposedly shown like they really happened. The simple past is the corresponding tense here. Modern approach opens way to a critical and unconclusive view of history. Extremely violent scenes and mixed temporalities, a documentary-like camera and Brechtian acting are some of the elements of these pictures. The films tell the past from a contemporary point of view. They reject the simple past tense and adopt a kind of future of the past tense: history didn t happen, it would happen.

Suggests that one's sense of one's self and one's sexuality may also have a close relationship to non-fiction texts about gay and lesbian cultures. Reliance of people's sense of being gay on literary representations; Popularity and authority of the book "Queer Theory," by Annamarie Jagose; Disagreements that characterize lesbian and gay historiography in Australia.