scholarly journals VISUAL ART AS AN INSTRUMENT OF REORGANIZATION OF POST-CATASTROPHIC MEMORY

2019 ◽  
pp. 43-47
Author(s):  
O. O. Geraschenko
Keyword(s):  
Social Life ◽  
Visual Art ◽  
Traumatic Experience ◽  
Traumatic Memory ◽  
Negative Experience ◽  
The Past ◽  
Dynamic Movement ◽  
External Turbulence ◽  
Special Meaning

This article provides analysis of the Art approach towards transformation of longstanding traumatic experience in different countries, suggests possible consequences for the society in case if the catastrophic memory remains un-reorganized and grounds conclusion as for need to review approaches towards the later problem in Ukraine. During last three decades of statehood one can observe dynamic movement of Ukraine toward cultural assertion. One of its important elements is the comprehension of public traumatic experience. The latter bares immense importance for the success of Ukraine as a state due to the fact that for generations Ukrainians have been accumulating memory of mournful events that took place in the lives of their ancestors without the possibility to carry out the proper work of sorrow. Topicality of the mentioned problem has a special meaning nowadays considering that the state of Ukraine apt for new bouleversements. In the circumstances of internal and external turbulence conclusion of a new social contract is crucial, at the same time the negative experience of gen- erations which was not proper transformed, does not allow to address current social problems rationally and to consolidate society. Much is already said as for the role of memory in recreation of the past for the sake of the future, but the place of artistic practices in this process remains complex and uncomprehended. How do artistic practices objectivate social life and assist heeling? Visual art resonates with private or collec- tive memory allowing new means of acceptation as well as perceptional rectification and conceptualization of experience associated with sorrow. This article suggests the theoretical and methodological analysis of the “work of sorrow” through the prism of artistic expressions, character- izes their influence of re-organization of traumatic memory and demonstrates the role of visual art as an instrument to operate with reminiscence.

Сучасна українська література в об’єктиві студій пам’яті: жіночі виміри

2021 ◽  
pp. 113-123
Author(s):  
Oksana Pukhonska
Keyword(s):  
Social Life ◽  
Research Problem ◽  
Traumatic Experience ◽  
Cultural Discourse ◽  
Traumatic Memory ◽  
Important Method ◽  
The Past ◽  
The Subject ◽  
Democratic Societies

The article is dedicated to a very important topic, which belongs not only to literature but also to Ukrainian history, culture and social life. Speaking about memory, we mean the experience of the past, which very often influences the main aspects of our modernity, in particular, if we are talking about traumatic experience of the history, which was not rethought and did not become a socio-cultural discourse. In the context of the mentioned research problem, the fact that women experience cruelty, humiliation, and injustice is one of those questions, which were not solved during the last decades of developing of democratic societies. Contemporary Ukrainian literature tries to find a solution of unfair reception of the past using a very important method of rethinking traumatic memory. That is why it becomes the subject of different researches, one of which is in the suggested article.

The End of Art and the Non-End of Religion: Hegel on Aesthetics and Religion

2019 ◽  
Vol 26 (2) ◽  
pp. 1-25
Author(s):  
David Lê
Keyword(s):  
Social Life ◽  
Vital Role ◽  
Modern Life ◽  
The Past ◽  
Per Se ◽  
End Of Art ◽  
Role Of Religion

Abstract While Hegel’s infamous “end of art” thesis states that art is “for us, a thing of the past” he insists that philosophy and, to a degree that is often underestimated by contemporary readers, religion endure within the structure of modern life. In this paper I aim to demonstrate how by focusing on Hegel’s claim that religion meets no end, we can come to a better understanding of how and why he thinks art does end. This will lead us away from common, but false, picture of Hegel as being indifferent (or even hostile) to art’s sensuous mode of intelligibility. Inasmuch as religion remains both necessarily sensuous and a component of social life that realizes freedom and divinity within modernity, the “problem” with art cannot be its sensuousness per se. What art ultimately finds itself unable to do, and what religion can do, is find a way to reconcile the destabilizing force of individual, subjective freedom with a jointly-held representation of who and what we are and what we value most, what Hegel calls “divinity” (das Göttliche). By countenancing the vital role of religion in Hegel’s thought, we can therefore better understand one of his most famous, and least understood philosophical claims.

Indigenous approaches to the past: ‘Creative histories’ at the Hyde Park Barracks, Sydney

2020 ◽  
Vol 9 (1) ◽  
pp. 83-102 ◽  
Author(s):  
Kiera Lindsey
Keyword(s):  
Visual Art ◽  
The Other ◽  
Cultural Relations ◽  
Form And Function ◽  
The Past ◽  
Cultural Responses ◽  
And Function ◽  
The Way

This article discusses a recent art project created by the Wiradjuri and Kamilaroi artist Jonathon Jones, which was commissioned to commemorate the opening of the revitalized Hyde Park Barracks in Sydney in early 2020. Jones’ work involves a dramatic installation of red and white crushed stones laid throughout the grounds of the barracks, merging the image of the emu footprint with that of the English broad convict arrow to ‘consider Australia’s layered history and contemporary cultural relations’. This work was accompanied by a ‘specially-curated programme’ of performances, workshops, storytelling and Artist Talks. Together, these elements were designed to unpack how certain ‘stories determine the ways we came together as a nation’. As one of the speakers of the Artist Talk’s programme, I had a unique opportunity to experiment with what colleagues and I have been calling ‘Creative histories’ in reference to the way some artists and historians are choosing to communicate their research about the past in ways that experiment with form and function and push disciplinary or generic boundaries. This article reflects upon how these two distinct creative history projects – one visual art, the other performative – renegotiate the complex and contested pasts of the Hyde Park Barracks. I suggest that both examples speak to the role of memory and creativity in shaping cultural responses to Australia’s colonial past, while Jones' programme illustrates how Indigenous artists and academics are making a profound intervention into contemporary understandings of how history is ‘done’ in Australia.

scholarly journals Trauma, Narrative and History: Representation of Traumatic Experience in the Works of Algirdas Landsbergis

2021 ◽  
Vol 26 (1) ◽  
pp. 309-323
Author(s):  
Gabija Bankauskaitė ◽  
Loreta Huber
Keyword(s):  
Historical Trauma ◽  
Mass Murder ◽  
Traumatic Experience ◽  
Traumatic Memory ◽  
Individual Event ◽  
Trauma Narrative ◽  
The Past ◽  
Stressful Experience ◽  
Event Based ◽  
Trauma Fiction

The twentieth century witnessed an abundant number of traumatic events related to dark history. Trauma caused by war, occupation, exile, repression, gave rise to migration or mass murder. To rely upon Cathy Caruth (1996: 3), the concept of trauma is understood as a physical wound; however, subsequently in medicine and the literature of psychiatry, especially in Freud’s works, the concept of trauma came to be understood as a psychological wound. In addition, trauma is not only a disturbing or stressful experience that affects an individual physically or psychologically, it may also be based on other factors created by society. Over time the field of trauma in various contexts expanded so that today it is widely used in sociology when analysing historical and cultural events. Cultural traumatic memory is mirrored in trauma fiction that conveys the experience of loss and suffering, there is a space for memories, introspection, recollections, flashbacks and awful remembrances that are colored by pain. Apart from individual, event-based trauma, there is another category of trauma variously called cultural or historical trauma, which affects groups of people. Numerous studies have been conducted on the latter topic, however, trauma and its expression in Lithuanian literature has not yet been sufficiently documented. The aim of this study is to discuss the concepts of cultural and historical trauma and the way trauma is reflected in Algirdas Jeronimas Landsbergis’ works. The authors of the study claim that Landsbergis – one of many Lithuanian writers-in-exile – wrote texts that fill a cultural vacuum and invite a re-discussion of what was most painful in the past.

scholarly journals Traumatic Memory in Ukrainian Literary Reception: Symptoms of Post-dependence

2019 ◽  
Vol 10 (2) ◽  
pp. 241-250
Author(s):  
Oksana Pukhonska
Keyword(s):  
Large Scale ◽  
Second World War ◽  
Traumatic Experience ◽  
Traumatic Memory ◽  
World War ◽  
The Past ◽  
Social Trauma ◽  
The Social ◽  
Second World ◽  
Literary Reception

The paper is devoted to analysis of the post-totalitarian memory in literary reception of Ukraine. After the decades of ignoring, this memory became the driving force of social processes and the construct of national identity. The author pays attention to the social trauma of soviet repressions and Second World War, which negatively influenced cultural consciousness of the society. Displaced and forgotten memory is understood as the main reason for lack of progress in the post-Soviet Ukraine. The traumatic experience of the past turned out to be both a lesson and an incentive for large-scale public and conscious transformations, about which modern authors write.

Scholars and Their Objects of Study; or, Loving Your Subject

2018 ◽  
pp. 139-158
Author(s):  
Samuel N. Dorf
Keyword(s):  
Complex System ◽  
Social Life ◽  
Ancient Greek ◽  
Queer Women ◽  
The Past ◽  
Object Of Study ◽  
Scholarly Projects ◽  
The Relationship

This concluding chapter directly addresses the relationship between scholars and their objects of study. In two parts, it looks at the relationship between the Parisian archaeologist and art historian Salomon Reinach and Natalie Clifford Barney before turning to analysis of contemporary collaborations between musicologists/dance historians and performers. To better understand ancient Greek artistic and social life, Reinach (the scholar) attached himself to Barney (the living embodiment of the past) and the queer women who performed pseudo-ancient Greek music and dance at her Parisian home (namely, the dancers Régina Badet and Liane de Pougy). Their correspondence reveals a complex system of reciprocity in the relationship among the scholar, his object of study, and the individuals with the power to embody the past through performance. The Barney-Reinach relationship reminds us to continually interrogate the ways musicologists perform scholarship today. As musicologists engage more in the creative realizations of their scholarly projects, and as musicological arguments find their way into performances, the negotiations between the performer and the scholar in the days when the discipline of musicology was forming will prove insightful. Recent calls for a reparative instead of a paranoid musicology emphasize the role of love in the work of music studies. The conclusion echoes calls for a reparative mode of scholarship, but one that doesn’t ignore the blinding power of that love.

scholarly journals Experiencing Historical Trauma: Religious Models of Sublimation

2021 ◽  
pp. 167-177
Author(s):  
S. V. Riazanova ◽  
Keyword(s):  
Research Question ◽  
Historical Trauma ◽  
Social Institution ◽  
Research Field ◽  
Traumatic Experience ◽  
The Past ◽  
Teaching Principles ◽  
Life Saving ◽  
Role Of Religion

The article analyzes the approaches and methods of sublimation of cultural and social trauma among believers using the example of localized cases. The subject of research is the established mechanism of experiencing and rethinking the traumatic experience between generations of believers of different faiths. The research question is posed by determining the role of religion as a compensatory social institution that registers the negative elements of the past in a soteriological aspect. The research field includes a part of the Western Urals as a traditionally multicultural region, characterized by the traditional residence of representatives of the so-called “non-traditional” religious communities. The study involved members of the local ummah, as well as Christians included in the communities of “classical” Pentecostals and Baptists belonging to the so-called “Separated Brotherhood”. The method of collecting information was a semi-standardized interview, verified through an appeal to the memoir publications of one of the groups. The respondents included believers whose older relatives belonging to the second or third generation were subjected to repressive influences. The main attention was paid to prevailing techniques that have doctrinal foundations and contribute to a change in the emotional vector in assessing the resulting traumatic experience. The concept of injury soteriology is introduced, in which injury is perceived as a way of self-improvement and solving life-saving tasks. Three models of sublimation of a trauma of the past are identified, associated with confessional belonging and forming different strategies for working with this trauma. The influence of these models on the value system of an individual and a group and on the formation of markers for assessing events is determined. A correlation was revealed between the way of perceiving the negative past, the level of individual participation of believers in the processes of commemoration and the basic teaching principles of the community. The legitimate role of religion in relation to traumatic experience built into the pan-religious soteriological concept is established.

scholarly journals Media and postmodern reality

Sociologija ◽  
2010 ◽  
Vol 52 (2) ◽  
pp. 127-140
Author(s):  
Ljubomir Masirevic
Keyword(s):  
Social Life ◽  
Gulf War ◽  
Social Processes ◽  
Postmodern Theory ◽  
The Past ◽  
Historical Continuity ◽  
Media System ◽  
The Media ◽  
Media Event

The paper tackles the ideas of key postmodern theoreticians on the role of the media in contemporary societies. The aim is to show that according to postmodern theory the media have become the leading factor in contemporary social processes marked by the loss of sense of historical continuity in everyday human experience. Postmodern theoreticians claim that, since the media system, which has come to wholly encompass reality at the turn of this century, is unable to reclaim the past, human existence has found itself in the ceaseless schizophrenic present. Simulations of events that once were and come back to us today like a string of anachronistic media notions about the past, bring us into the state of historical amnesia. The media, and cinema above all, are the main catalyst of this process, as well as of what postmodernists call the new superficiality and shallowness of social life. Postmodern reality is characterized by a simulation of history which didn't happen; today people are exposed to pseudo-experience emerging from constant exposure to the simulacrum of historical events. In place of conclusion, Baudrillard's interpretation of the Gulf War as a virtual media event is offered.

scholarly journals The Problem of Representing Trauma and the Role of Art in Witnessing Unspeakable Experience

2021 ◽  
pp. 220-241
Author(s):  
E.N. Dremova ◽  
Keyword(s):  
Point Of View ◽  
Traumatic Experience ◽  
Trauma Studies ◽  
Photographic Image ◽  
The Past ◽  
Doris Salcedo ◽  
The Voice

The article discusses approaches to the problem of traumatic experience and its representation, describes the discussions in trauma studies related to unpresentable and evidence, and the problems of the photographic image. The article reviews the theory of affect in connection with the analysis of the art of trauma. The author examines the meaning of dialogue and comes to the conclusion that art can become a place where it is possible to hear the voice of a wound, to share the pain of Another. The author analyzes the transitive role of art in the experience of the past on the example of conceptual artists — Doris Salcedo and Alfredo Jaar. Alfredo Jaar’s installations, which include documentary photographs, are analyzed from the point of view of the concept of punctum and correlate with the idea of affect.

scholarly journals Work with Cultural Trauma: the Prescription of the Believers of the Evangelical Churches

TECHNOLOGOS ◽  
2021 ◽  
pp. 96-111
Author(s):  
Mitrofanova Anastasia
Keyword(s):  
Social Life ◽  
Effective Means ◽  
Cultural Trauma ◽  
Religious Communities ◽  
Traumatic Experience ◽  
Main Question ◽  
Negative Experience ◽  
Research Attention ◽  
Basic Set ◽  
The Individual

The article is devoted to the models of sublimation of cultural trauma among believers in the Russian Federation. Research interest was directed to the development of mechanisms for identifying and working out of traumatic experience by the members of various religious communities. The main question of the research is based on the understanding of religion as an actual component of social life, endowed with a compensating function. The presence of elements which help to smooth out the acuteness of feelings and justify the current situation from the standpoint of soteriology makes religion an effective means of supporting the psyche of the individual. The boundaries of the field research concerning religious communities include the territory of the western Cis-Urals (Kama region) as a place of cross-national and cross-religious development. In the field of research attention it was included the members of the local Sunni ummah, evangelical Christians belonging to the communities of the so-called. "Classical" (unregistered) Christians of the Evangelical faith and Baptists belonging to the so-called “Separated brotherhood”, which refused to form legal cooperation with the authorities. A semi-standardized interview was used as a method of collecting information, allowing the elements of departure from the basic set of questions. The principle of selecting respondents was based on attraction of believers whose relatives of older generations suffered from the repressive policy of the Soviet state throughout the entire period of history. In the course of the interpretation of the obtained material is was emphasized the determination of special technologies of a religious nature, which lead to a fundamental change in both the perception of negative events of the past and the assessment of the gained experience. The authors have used the concept of soteriology of trauma as a set of ideas that any persecution against a religious organization plays a positive role, contributes to the spiritual improvement and strengthening of the community. Three models of negative experience sublimation, based on confessional affiliation and determining the perception of trauma, have been identified. The influence of the described models on the life position of believers in relation to personal history is determined. The principles of placing the traumatic experience within the boundaries of the individual worldview through the prism of religious views of the world are formulated.

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