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The research notes examine a shared memory created during the Russian war against Ukraine, as depicted in news coverage of global media outlets, and in Ukrainian-language competitive poetry from international free competitions and Ukrainian governmental art projects. The research goal is to explain the hidden dangers and consequences of war memorization. The author compares public collective evaluations of key metaphors used in news during the initial three weeks of war and analyzes key images in Ukrainian poetry from pre-war and wartime periods. Preliminary results of the secondary qualitative content analysis of news and analysis of group discussions with students specializing in different fields illustrate how the metaphors varied in terms of adequacy and artistic expressiveness due to societal evaluations. The findings of quantitative semantic analysis of Ukrainian-language poems highlight how the shift in key images correlates with the transition from a relatively peaceful context to an overtly military one. The knowledge gained contributes to a better understanding of memory weaponization and specific ways in which collective sensitivity is little influenced by media positions (pro-Ukrainian or non-pro-Ukrainian), being more dependent on a sense of morality. [ABSTRACT FROM AUTHOR]

Starting from the issues associated with the European Heritage Label, we go through Edwards Said's Imaginative Geographies, looking for a new epistemological approach in the way of looking at places, territories and landscapes. In this context, we can see how the heritagescape of Sagres Promontory, with particular regard to the town of Lagos, plays a fundamental role in the epistemological decolonization, first of all through the emphasis given to the heritage associated with slavery there, which can help us in this process. We also observe how the concept of postmemory can help us to deconstruct the imaginative geographies and create more human imaginary geographies, that liberate us from the myth of objectivity of knowledge creation. More than a Slavery Route we propose to take the first steps in the process of mental and epistemological decolonization. [ABSTRACT FROM AUTHOR]

Материалом исследования стали два рассказа классика советской литературы для детей Ю. Я. Яковлева, объединенные темой Великой Отечественной войны: «Где стояла батарея» (1967) и «Иван-Виллис» (1982). Анализ рассказов позволил выявить художественные особенности осмысления этой темы. Писатель сочетает в пространственно-временной поэтике два плана (послевоенный и восстанавливаемый в воспоминаниях военный мир), в системе персонажей значимо присутствие двух поколений – фронтовиков и школьников, родившихся уже в мирное время. Ю. Яковлев использует различные приемы, показывающие процесс запуска работы памяти о войне. В рассказе «Где стояла батарея» есть образы-символы, образы-сигналы, соединяющие эпохи 1940-х г. и 1960–1980-х гг. (тополя, поломанные фашистским снарядом, школьный звонок, напоминающий звук сирены); в «Иване-Виллисе» – автомобиль, который воспринимался владельцем, а затем и подростком как товарищ, сослуживец, а также песни и даже погода, пробуждающие воспоминания военных событий. В поэтике рассказов значимы приемы психологизма (использование различных синтаксических конструкций для передачи внутреннего состояния персонажа, портретные характеристики и поведение, проявляющие эмоции, чувства, мысли и их динамику). В рассказах слабо выражен сюжетный уровень, акцент сделан на внутренней жизни героев, на изменении их сознания, на формировании ценностей. В центре идейного содержания рассказов – приобщение послевоенных поколений школьников к памяти о прошедших событиях, формирование постпамяти (в терминологии М. Хирш) и совместного опыта разных поколений через диалог, дружбу, общее дело. Юрий Яковлев отстаивает значимость мысли о неразрывности времен, о том, что современная мирная жизнь достигнута ценою усилий фронтового поколения. Поэтому новым поколениям важно осознать ответственность перед современниками и потомками за сохранение исторической памяти. В текстах Ю. Яковлева о Великой Отечественной войне осмысляется путь становления личности ребенка и формирования его миропонимания через приобщение к памяти о трагическом прошлом Родины и народа.

The first part of this article traces the dynamics of the phenomenon of memory in the configuration of global landscapes (mnemoscapes), highlighting its presentism and recognising it as post-memory. These considerations motivate an anthropological-critical look at unprecedented actors and terrains, such as the criminal memory of genocidal women in Rwanda. This is addressed in the second part, in the confrontation with levels of justice and the contradictions of the “pacifying” appeal to socially accepted gender roles, in open contrast to the heinousness of the violence perpetrated.

The article is dedicated to the analysis of numerous paintings by the Soviet artist Pyotr A. Belov (1929–1988). For the first time, these artworks were presented in Moscow in 1988, at the posthumous exhibition of the artist, revealing complex issues in the history of the USSR. The paintings presented at the exhibition were later referred to the “anti-Stalinist cycle”. In 2020, the GULAG History Museum (Moscow) accepted these paintings into the collection and organized the exhibition The Queue for the Truth. The authors of the article rely on the concept of post-memory believing that the artist can be attributed to the “first generation” — the generation of witnesses to the traumatic events of history, in this case, the totalitarian regime under which the GULAG system developed. Within the framework of this cycle, Pyotr Belov addresses various narratives, both collective and individual: he represents the history of the USSR through images of power, recognizable elements and symbols of everyday culture of the USSR, as well as tells about his personal history and the history of his family. The authors of the article consider works presented at The Queue for the Truth exhibition using the semiotic and formal-stylistic methods of analysis. In the conclusion section of the article, the authors focus on the features of Pyotr Belov’s painting style (which appear only in the “anti-Stalinist cycle”), the plots of the paintings, and the episteme that influenced the creation of the painting cycle in the 1980s.

The present study approaches the micro-novel Dora Bruder by Patrick Modiano from the perspective of memory (and post-memory) which, through documentary work, restores the identity of the victims definitively annulled by the Nazi regime (victims who have no grave). Our hypothesis is that Modiano is building a literary cenotaph for Dora Bruder. For her part, Herta Müller tries, in at least two of her novels (The Land of Green Plums and The Appointment), to build for the victims of the Securitate (the Political Police in Communist Romania, during the neo-Stalinist regime under Nicolae Ceaușescu), a memorial, a literary tumulus. In this case, it is about victims who have a grave, but the author is building a second grave from an ethical point of view.

In this article, I place literature as a possibility for the working-through of trauma, taking as object the paradigmatic case of the Shoah, an event that established the need to think about new ways of dealing with the past in historiography. With the inclusion of testimony as a source for historiography, memory invades the historiographical space. Concepts such as post-memory and the notion of a transgenerationality of trauma will be mobilized in order to address the fiction produced by survivors that were children at the time and members of a second and third generation after the Shoah. The text is divided into two major topics, the first dedicated to the so-called 1.5 generation and the second dedicated to the second and third generations.

Since the 2010s, interest in Goli Otok has increased in the successor states of former Yugoslavia. Numerous artistic works deal with the former prison island in the Adriatic Sea, where supposed supporters of the Soviet Union were imprisoned after the break between Tito and Stalin in 1948. One of these works is the novel Danas je sreda (2017) by David Albahari. In the novel, the son learns about the past of his father, who was imprisoned on Goli Otok and now suffers from Parkinson's disease and dementia. However, the father is not only a victim but also a perpetrator himself: As a party commissioner, he acted brutally, and so he behaved within the family. The first-person narrator did not experience Goli Otok himself but became a secondary witness through his father's narrations. By exploring the narrative strategies for coping with the traumatic past in Danas je sreda, this article aims to shed light on the depiction of Goli Otok in contemporary literature from the region.

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The article analyzes the latest novel by the Ukrainian writer Tanya Pyankova Вік червоних мурах (The Age of Red Ants), focused on describing the experience of the victims of the Great Ukrainian Famine of 1932–1933. The first part, the text foregrounds that Holodomor novels are a medium of memory and a remedy for post-memory, because by actualizing the issues of unconscious trauma, they facilitate its reworking. Moreover, such narrative works found an anti-history as they reveal the genocidal nature of the Holodomor, about which the whole world was silent for several decades. In the second part, the article reflects on the anthropology of the starving body and analyzes relevant passages in Pyankova’s novel that expose the corporal-affective dimension of the famine victims’ existence. [ABSTRACT FROM AUTHOR]

This article is the result of a research project whose objective was to analyze memory building among the grandchildren of victims of human rights violations during the Chilean dictatorship, and which attempted to identify and interpret post-memorial work strategies related to the elaboration of the traumatic memory transmitted by previous generations. The conceptual framework is based on two theoretical proposals: psychoanalytic approaches to trauma and the concept of post-memory developed by Marianne Hirsch. Both theoretical references are congruent with the qualitative nature of the research, as they sustain an interpretative approach to processes of meaning that unfold discursively. They inform on phenomena of subjectivation that reveal the interweaving of the individual and the social in the constitution of memory, and the processes of transmission between generations that participate in memory building and the elaboration of trauma. The methodology is qualitative and is based on the analysis of semi-structured focused interviews with fifteen grandchildren of political prisoners or disappeared detainees of the Chilean civil-military dictatorship. We conclude that the grandchildren organize imaginary and symbolic narratives of memory by means of which they figure the traumatic experience of their grandparents. This figuration is not intended to fill the gap in the transmission of traumatic memory, but rather acknowledges the loss and enables an elaboration of the trauma that follows the logic of mourning according to the psychoanalytic perspective, making use of representational mechanisms that take the form of what Hirsch calls post-memorial work.

The experience of the Partition (1947)—the contexts of migration and the experience of refugeehood—in East-India is assumed to be different from that in the West. But, even after some 70 years after the Partition, there has been no substantial study on the difference in the ontology of refugeehood across the two sites. More to it, narratives from the North-east (Meghalaya, Assam, Tripura), which again differ significantly from their western Indian or West Bengali counterparts, are under-represented in the existing database of oral narratives and ethnographies on the Partition. Departing from here, this paper engages in a critical comparative study—across three spatial axes: western India, West Bengal, and North-east India—of the third generation's experience of "growing up refugee" in India. It offers a nuanced, but empirically-grounded, insight on how memories and narratives of the Partition are grounded in the linguistic registers of those who "grew up refugee" (not the refugees per se). Based on interviews, this paper analyzes the patterns, circulations, transactions, tropes, and motifs in the linguistic registers using methodologies of Digital Humanities, and how they compare across spatial axes. [ABSTRACT FROM AUTHOR]

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Piotr Macierzyński’s poems often address the question of how culture has assimilated (or rather engulfed) the Ho lo ca ust and how the current postHolocaust generations deal with the legacy not only of the historical events themselves, but also of the memory of those events made of representations and interpretations. This analysis attempts to reveal how, by means of various cultural topoi, Macierzyński captures the double nature of the Shoah tra u ma: the fact that one can neither understand it nor escape from it. [ABSTRACT FROM AUTHOR]

The article is devoted to the study of the social reception of the Soviet past in the contemporary Russian media practice. The authors proceeded from the hypothesis that the specifics of the reproduction and perception of media images representing the Soviet period of history can be revealed through the social phenomenon of nostalgia. The authors distinguish two types of nostalgia: reflexive and restorative. The research interest is focused on the reflexive type of nostalgia as a process of formation of mythologized and idealized images of the past. In addition, the study uses the concept of post-memory proposed by M. Hirsch. Leonid Parfyonov’s Internet project “NMDNI” was used as an example of such a mediator, which also represents a reflexive type of nostalgia. The purpose of the study was the viewers’ reaction to the content of the project. Thus, the aim of the article is to study the impact of the media strategies of constructing the image of the USSR on the YouTube audience. Active viewers’ reaction in the YouTube-project “NMDNI” allows us to consider Leonid Parfyonov as a significant subject of the construction of the post-memory of the Soviet Union. As a result of the analysis of the most popular comments, it was concluded that there is a public demand for reflective nostalgia as a way of perceiving the Soviet past.

This research paper looks at the “generation after” the so-called “Revival Process” (1984–89) in order to explore the intergenerational transmission of memories of family traumas related to the largest assimilation campaign in Communist Bulgaria, which was implemented in the 1980s. To investigate how young Turks and Muslims hold, recollect, and contemplate family memories, this qualitative empirical research was conducted through in-depth interviews complemented with a semi-structured and theme-guided questionnaire. Adopting an ethnographic sensibility, this study unravels an inconspicuous yet present web of family memories about the Revival Process and its aftermath, and an accompanying narrative that is verbalised in the most intimate spaces of everyday life. At a personal level, it turns out that the Turkish and Muslim generation of post-memory does not ransack the history of the Revival Process for political profit. Instead, it argues that there is a lack of self-examination with respect to the recent past in Bulgaria.

The article refers to the book by Anna Janko A Little Annihilation: A Memoir (Mała Zagłada) and its aim is to present how tragic events, although not experienced personally, affect the life of the next generation after directly experienced trauma. The author’s mother, as a child, was one of the few who survived the war massacre in the village Sochy and struggles all her life with the remembered cruelty of those events. Her daughter knows the war only from her mother’s storytelling, through the intergenerational memory message, but she experiences similar syndromes to her mother. The literary narrative turns out to be a remedy for the experienced trauma of both generations – directly suffered by the war and the post-memory generation. By reporting on her mother’s fate, Janko puts herself in the position of a descendant of the survivors, but also of a victim who must face with this inherited trauma. Moreover, as the social memory of the war is currently dominated by other narratives, Anna Janko’s book takes the mentioned war events out of the margins of social memory.

This article is the result of a research project whose objective was to analyze memory building among the grandchildren of victims of human rights violations during the Chilean dictatorship, and which attempted to identify and interpret post-memorial work strategies related to the elaboration of the traumatic memory transmitted by previous generations. The conceptual framework is based on two theoretical proposals: psychoanalytic approaches to trauma and the concept of post-memory developed by Marianne Hirsch. Both theoretical references are congruent with the qualitative nature of the research, as they sustain an interpretative approach to processes of meaning that unfold discursively. They inform on phenomena of subjectivation that reveal the interweaving of the individual and the social in the constitution of memory, and the processes of transmission between generations that participate in memory building and the elaboration of trauma. The methodology is qualitative and is based on the analysis of semi-structured focused interviews with fifteen grandchildren of political prisoners or disappeared detainees of the Chilean civil-military dictatorship. We conclude that the grandchildren organize imaginary and symbolic narratives of memory by means of which they figure the traumatic experience of their grandparents. This figuration is not intended to fill the gap in the transmission of traumatic memory, but rather acknowledges the loss and enables an elaboration of the trauma that follows the logic of mourning according to the psychoanalytic perspective, making use of representational mechanisms that take the form of what Hirsch calls post-memorial work. [ABSTRACT FROM AUTHOR]

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This article offers an analysis of documentaries made in Turkey in the 2010s, which follows the homecoming journey of their Armenian character to the lands of their ancestors. It studies, on the one hand, the way in which they reveal the specific bond that each maintains with these lands haunted by the memory of the genocide, by focusing on the preservation and (re)construction of identity during the post-genocide period and by collecting in the respective regions the persistent fragments of individual or collective memories. It also examines how these documentaries oppose the official history of a negationist Turkey to the individual stories of (the family of) their characters, condemned to silence or oblivion. It finally discusses the possibility of reviving the collective memory through these documentaries.

Assia Djebar places memory at the center of her concerns, around which her entire romantic adventure revolves. This memory is located halfway between the past/ present, History/fiction, collective memory/ individual memory, autobiography/ fiction. The concept that seems to best define his approach is that of “post-memory”. The interest of this reflection is to study the mechanisms of reconstitution of collective memory, to revisit History through the notion of "post-memory", personal history, and collective history. How can autobiography using postcolonial or "post-memory" memory serve to rewrite history?

The discourse of colonial and colonized conflicts is oriented in the form of resentment and hatred of the colonized community as part of the causality of traumatic events. The wounds of the past are then passed down through the concept of memory transmission both by famillial mechanism memory and affillial memory by first-generation to post-generation. It is this hereditary traumatic condition that contributes to maintaining the discourse of inferiority and binaryism between East and West. Thus, the purpose of this study is to describe the conflicts of colonizers and postcolonial colonizers as well as examine the efforts of Iksaka Banu to release these traumatic shackles through reconciliation and resistance efforts. This research method uses Teun van Critical Discourse Analysis (AWK). Dijk which is based on the analysis of the text dimension, the social cognition dimension, and the social context dimension. Data collection techniques in this study apply listening methods and advanced recording techniques, and document review techniques. The results showed that (1) A review of the dimensions of the text showed a reconstruction of the ambivalence and traumatic of Western subjects in the short stories of Iksaka Banu; (2) A study of the dimensions of social cognition shows that the reconstruction pattern of ambivalence and traumatic of the Western subject is used as Iksaka Banu's strategy to carry out traumatic reconciliation of colonized subjects as well as resistance to Western domination and hegemony; (3) A study of the social context shows two findings of the problem, First, the existence of social inequality over the mechanisms of Western domination and hegemony; Second, even so, Indonesian society is still confined by the problem of trauma while awareness of the subject's position on the condition of social reality cannot be managed as a potential resistance

This paper approaches Rafael Alberti's work in exile from the perspective of testimony using the sources that have been theorizing about it since the nineties, such as Annette Wiewiorka (1998), among others. The aim is to give a new dimension to the reception of his work in the peninsula by reflecting, through the publication of Alberti in peninsular philological journals during the post-war period, on what place corresponds to him in the revisions of the historiographic literary panorama of that time. [ABSTRACT FROM AUTHOR]

The present study approaches the micro-novel Dora Bruder by Patrick Modiano from the perspective of memory (and post-memory) which, through documentary work, restores the identity of the victims definitively annulled by the Nazi regime (victims who have no grave). Our hypothesis is that Modiano is building a literary cenotaph for Dora Bruder. For her part, Herta Müller tries, in at least two of her novels (The Land of Green Plums and The Appointment), to build for the victims of the Securitate (the Political Police in Communist Romania, during the neo-Stalinist regime under Nicolae Ceaușescu), a memorial, a literary tumulus. In this case, it is about victims who have a grave, but the author is building a second grave from an ethical point of view. [ABSTRACT FROM AUTHOR]

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The project “Cult-goods”, focused on the study of the dynamically changing field of mass culture in the light of Russian reality, played a special role in the formation of the national literary tradition of studying mass literature. It is also noteworthy that the project was originally created as an international one. The presence of a different research perspective allows the project to remain a platform for discussion even when using similar methodological approaches. The project has existed for more than ten years, during which seven international conferences have been organized and four collections of scientific articles and three collective monographs have been published. Conferences have been held every two years, each time highlighting the current trends of the modern literary process, fixing systemic shifts that change the structure of the cultural field. This article is devoted to the analysis of the collective monograph “Cult-goods: Commercialization of History in Mass Culture”, published as a result of the conference of the same name, held in June 2019 at the University of Bologna in Italy.

The project “Cult-goods”, focused on the study of the dynamically changing field of mass culture in the light of Russian reality, played a special role in the formation of the national literary tradition of studying mass literature. It is also noteworthy that the project was originally created as an international one. The presence of a different research perspective allows the project to remain a platform for discussion even when using similar methodological approaches. The project has existed for more than ten years, during which seven international conferences have been organized and four collections of scientific articles and three collective monographs have been published. Conferences have been held every two years, each time highlighting the current trends of the modern literary process, fixing systemic shifts that change the structure of the cultural field. This article is devoted to the analysis of the collective monograph “Cult-goods: Commercialization of History in Mass Culture”, published as a result of the conference of the same name, held in June 2019 at the University of Bologna in Italy.

By adopting Nie Zhenzhao's conception of brain text, this paper explicates the generation of traumatic postmemories as represented in Extremely Loud and Incredibly Close by Jonathan Safran Foer, a third-generation descendant of Holocaust witnesses. The authors argue that the traumatic effects of great catastrophic events, such as the Holocaust during the Second World War and the 9/11 terrorist attacks in 2001, can be transformed into brain texts of horror and trauma of the survivors, which, with time passing by, become the traumatic postmemories of the survivors' descendants who have not experienced these events. As far as this novel is concerned, by applying language texts, simulated images, and the Jewish consciousness characteristic of Jewish literature, Foer attempts to reveal the generative process of brain texts and postmemories of the survivors' descendants about the two catastrophic events, and also that of the novelist himself, which serves as a catalyst for his writing of postmemory fiction. In this sense, Foer's literary text helps to construct contemporary people's postmemories, demonstrating the complexity and continuity of the trauma suffered by the descendants of the victims of World War II and terrorist attacks. [ABSTRACT FROM AUTHOR]

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Due to the originality of its aesthetic approach in representing a traumatic testimony, Art Spiegelman's graphic novel Maus is one of the most famous works about the Holocaust produced by the post-memory generation. Within the currents of thought on the Holocaust, it is possible to conceive its style of representation as a pertinent and ethically valid solution to the dilemma of images v. testimony. Likewise, it is worth noting how its essentially fragmented, narrative approach reflects conditions in which the work was created: the scarcity of sources and the traumatic and familiar component of the memory represented. [ABSTRACT FROM AUTHOR]

In this paper, we will analyse how Xesús Fraga's novel Virtudes (e misterios) (2020) and María Ruido's audiovisual project The inner memory (2002), by creating memory and post-memory of Galician emigration in the 1960s and 1970s, reconfigure the symbolic image of the Galician nation, which has always been defined on the basis of the discourse of mobility and emigration. Both authors, from the fragmentation of intimate memories and through an ambiguous pact with the reader, between the documentary and the fictional, bring us the stories of emigrant women—narratives in which identities are inevitably hybrid, fragmentary and far removed from homesickness as a defining factor of the Galician identity. Emigrant women do not fit into the hieratical traditional identity, which marginalises them because they do not fit the archetype of 'widows of the living'. [ABSTRACT FROM AUTHOR]

The article explores the dynamics of the image of V.I. Chapaev in the Soviet and post-Soviet media space. Using the theory of post-memory by M. Hirsch and S. O’Donoghue as methodology of research, the author analyzes the transformation of the main characteristics of the image, its place in Russian historical memory and in the cultural tradition. V.I. Chapaev became one of the most significant characters in the Soviet cultural tradition. After the fall of the Soviet Union the image of Chapaev however retained its significance in the context of rethinking the Soviet heritage. The article highlights the following stages of transformation of V.I. Chapaev’s image: the inclusion in the "founding myth" and gradual transformation into a Soviet epic hero (crowding out collective trauma); debunking the heroic status within the framework of the "carnival culture" and turning into a character of anecdotes (de-traumatization in the process of post-memory formation); transformation into a hero of Internet memes (transformation of post-memory and de-actualization of the themes of the Civil War). The author argues that the burst of memes depicting Chapaev in 2020 demonstrates a post-ironic attitude to the Black Lives Matter movement in Russian society. The author concludes that the fact that Chapaev’s image was included in a fundamentally different political and cultural context demonstrates that the symbolic potential of the Civil War memory in Russia is entirely exhausted and can no longer serve as a tool for the formation of commemorative practices.

This article addresses the beginnings of a post-colonial political, artistical and cultural attitude in Europe in relation to its colonial past and its reflections in the present. Based on visual works by Ângela Ferreira, Luc Tuymans, Zined Sedira and literary works by Joaquim Arena, Djaimilia Pereira de Almeida and Yara Monteiro, the forms and modes of the stories told in the European house are discussed after the return of the old empires and ghosts.