scholarly journals The religious genres of collective memory – an attempt at typology

Stylistyka ◽  
2020 ◽  
Vol 29 ◽  
pp. 79-92
Author(s):  
Marta Wójcicka

The memory genre as a model of text serves to memorize (shape) and remember (pass on) images of the past, which reproduces the picture of the past. The article is an attempt at providing typology of religious memory genres. In the first part of the article, the concept of the memory genre is presented and an attempt is made at typology of religious memory genres, making use of the conceptions of Jan Assmann who distinguished communicative and cultural kinds within collective memory. According to the author, the religious genres of cultural memory include the liturgical prayer and the fixed prayer. On the other hand, instances of the religious genres of communicative memory are the universal prayer and parish announcements. Beside these two types, the author indicates also religious genres of inter-cultural memory, which constitute a connection of different types of memory: communicative and cultural or cultural and individual. Examples of this genre are the examination of conscience and a pastoral letter. Certain genres (e.g. the liturgical prayer) are stored in collective memory in full and should be tied to, primarily, remembering – one of the four phases of memory. Then they make genres of cultural memory. Others are connected with recalling (examination of conscience, a pastoral letter, parish announcement) and are genres of communicative or inter-cultural memory.

2018 ◽  
pp. 57-71
Author(s):  
О. В. Богомолець

Developing the strategies for conserving and rendering the social experience, and hence the basis of group identity, was unchangeable corner stone for social outlook at all stages of social development. In the meantime, it is acquiring a special significance in recent years, primarily because the globalization substantially undermines the basics of national identity, thereby causing an increase of public attention to the problems of the collective, and above all, ethnocultural identity, the mechanisms of its reproduction and legitimation.These problems are especially topical for modern Ukrainian society, which, on the one hand, is the fruit of a civilizational split and, on the other hand, of the internal and external political elites manipulative policy and low living standards.To preserve its political boundaries, the society requires not only economic stability, but also new, more effective mechanisms and strategies for social consolidation. The latter, as shown by A. Bayburin and P. Conner, can effectively be provided by thoroughly developed or historically formed spectrum of typical behavior programs that regulate all spheres of human life in society, thus forming some socially significant norms. In other words, according to the above-mentioned researchers, it is stereotypical behavior that guarantees a community existence in time as some distinct ethnographic group.Оne of the most prominent examples of stereotyped behavior is ritual practice. Possessing the established set of behavior patterns, it is able to maintain the community’s accomplished image even when its proper values lose their social significance, but continue to exist as a habit. Thus, this work highlights the role of traditional ritual practice in the process of forming the modern Ukrainian identity. In particular, the idea is defended that ritual practice is not only an inseparable element of people’s collective memory, but also the means of forming the group identity, which is perfectly confirmed by Ukrainian family ritual practice’s pecularities.It is revealed that the timeless and expressive character of ceremonial actions has a decisive importance for preserving the group identity and the established social order. Despite of the irrecurring nature, which provides the connection to the past, it always means the beginning and the end at the same time. An illustrative example in this context may be wedding, maternity and economic ceremonies. All of them are permanent and repetitive transitions from one state to another. At the same time, ritual practice gives the sense to the whole spectrum of non-ritual actions, thus defining the future’s perspective.In general, the work considers ritual practice as a specific kind of the social one. It is characterized by the set of formalized and stylized symbolic actions of the community, usually aimed at preserving the established social or by means of forming certain ideas and feelings in a person. In the course of research work, it was emphasized that the formalized, stylized and, most importantly, the repeatable nature of the ritual practice, which manifests itself through commemoration of certain historical events, memorable days or heroes, ensures its clear intention to perpetuate the connection with the past. Thus, it plays an important role in the process of preserving the collective memory. On the other hand, the formation of the community’s value system is taking place, thus contributing to the preservation of its unity.Considering the consolidating significance of the ritual practice in terms of blurring the Ukrainian cultural identity, the studying and popularization of ritual practices seems to be important and promising, which would be accompanied by commemoration of their symbolic part. Such an activity could become a significant factor in the revival of the ethno-cultural identity of the Ukrainians and promote social consolidation


2017 ◽  
Vol 13 (3) ◽  
pp. 548-558
Author(s):  
Ignacio Brescó de Luna

Collective memory and identity so often go hand in hand with conflicts. Alongside the use of violence, conflicts unfold against the backdrop of different narratives about the past through which groups constantly remind themselves of the supposed origin of the conflict, and consequently, what position individuals are expected to take as members of the group. Narratives – as symbolic tools for interpreting the past and the present, as well as happenings that have yet to occur – simultaneously underpin, and are underpinned by, the position held by each warring faction. Drawing on previous works, this paper compares different versions of the 2016 truce period in the Basque Country stemming from three subjects identified, to varying degrees, with the main political actors involved in that conflict. These three cases have been selected from a total of 16 participants who were asked to define the Basque conflict and to provide an account of the 2006 truce period by using 23 documents taken from different Spanish newspapers. On the one hand, the results show two narratives reproducing the versions of two of the main political actors involved in the conflict, and on the other hand, a narrative characterized by a more personal and ironic appropriation of those versions. Results are discussed vis-à-vis the use of irony in history teaching in increasingly plural societies.


2014 ◽  
Vol 45 (1) ◽  
pp. 61-71
Author(s):  
Heather Macdonald ◽  
David M. Goodman ◽  
Katie Howe

Abstract Many philosophers have argued that psychological time is a fundamental, inherent quality of consciousness that provides continuity and sequence to mental events—enabling memory. And, since memory is consciousness, psychological time enables the individual intentionality of consciousness. Levinas (1961), on the other hand, argues that an individual’s past, in the most original sense, is the past of other. The irreducible alterity of one’s past sets the stage for the other who co-determines the meaning of the past. This paper is about the exploration cultural memory within the context of a Caucasian doctoral student entering into an African-American community during an internship, who finds that cultural memories are remarkably more complicated than the propositional description of historic events. The paper further explores how cultural memory is not a record of “what happened” but a sociolinguistic creative meaning making process. Histories can be contested. Memory, on the other hand, never adheres to the strict true or false dichotomy. Memory is like searching for the Divine, it cannot be found, only revealed in mysterious and small details. Memory, is the intruding of the infinite, creating as an effect the idea of a finite (August, 2011), they are not “representations” of the past nor are they a kind of mnemonic system of subjectivism to mediate all of consciousness.


2018 ◽  
Vol 42 ◽  
pp. 99-123
Author(s):  
Mindaugas Kvietkauskas

A challenge to collective memory: Yitskhok Rudashevski’s Diary of the Vilna GhettoThis article aims to analyse the diary of Yitskhok Rudashevski (1927–1943), the story of its writing and publication and the existing biographical material about the author. It attempts to answer the question of what is or could be the significance of this lieu de mémoire for the current developments in Holocaust memory culture in Lithuania. The adopted definitions of cultural and collective memory and sites of memory are based on the concepts proposed by Jan and Aleida Assmann and Pierre Nora. On the one hand, the diary written by a child in the Vilnius ghetto is of major documentary, moral and aesthetic significance and stimulates individual empathy. On the other hand, the text raises acute issues reflecting a conflict between different memory narratives and interpretations of history. Pro-Soviet sympathies of the author, negative imagery of Lithuanians and certain deheroisation of the ghetto community make the text a “problematic” memory site. These challenges of the diary are interpreted as indicators showing whether contemporary Holocaust narrative in Lithuania is already mature enough to accept the dialogical forms of cultural memory. Wyzwanie dla pamięci zbiorowej: Pamiętnik z wileńskiego getta Icchaka RudaszewskiegoTematem niniejszego artykułu jest analiza dziennika napisanego w getcie przez czternastoletniego Icchaka Rudaszewskiego (1927–1943), historia jego powstania, publikacji i zachowania dla przyszłych pokoleń, a także materiał biograficzny dotyczący postaci autora. Artykuł jest próbą odpowiedzi na pytanie, jakie jest i jakie mogłoby być znaczenie tego miejsca pamięci (lieu de mémoire) w kształtującej się obecnie na Litwie kulturze pamięci Holocaustu. Badania pamięci kulturowej i zbiorowej, a także miejsc pamięci, zostały oparte na koncepcjach badawczych Jana i Aleidy Assmanów oraz Pierre’a Nory. Z jednej strony, napisany przez dziecko w getcie wileńskim pamiętnik ma dla pamięci kulturowej Litwy ogromne znaczenie symboliczne, etyczne i estetyczne, wzmocnione przez silne uczucie empatii wobec autora. Z drugiej strony, tekst pamiętnika stawia wysokie wymagania badawcze wynikające z konfliktu różnych interpretacji historii II wojny światowej i narracji pamięci. Socjalistyczne i proradzieckie poglądy autora, negatywny obraz Litwinów i swoista deheroizacja społeczności getta przekształca ten tekst w „problematyczne” miejce pamięci. Powyższe wyzwania badawcze są interpretowane w artykule jako znaki, które mogą opisać stan współczesnej litewskiej narracji Holocaustu i odpowiedzieć na pytanie, czy jest ona na tyle dojrzała, by w drodze dialogu zintegrować różne warianty pamięci kulturowej.


2017 ◽  
Vol 4 (1) ◽  
pp. 7-23 ◽  
Author(s):  
Randall K. Van Schepen

Abstract The present paper analyzes two artistic strategies employed by Gerhard Richter to deal with painful recent cultural memory. Two works in particular reveal the relative success of Richter’s varied artistic strategies addressing contemporary political events: 18. Oktober 1977 (1988) and War Cut (2004). In his series of paintings on the Baader-Meinhof terrorist group, Richter effectively employs his “photopainting” style to address the profoundly disturbing deaths of the Baader-Meinhof group in the 1970s. Richter chose mundane photographic sources for his imagery, denying a hierarchy of “correct” memories of the events and turning photographic indexicality against itself by employing a painterly medium, tinged with nostalgia, to represent it. Richter’s photopaintings of Baader-Meinhof thus use the “factual” nature of the photograph while also utilizing an elegiac painterly mist through which an indistinct emotional memory of the past seems to emerge. Richter’s blurring of images can thus be understood as a fulcrum on which the undecidability of history itself must be represented. Richter constructs War Cut (2004), on the other hand, as a work and aesthetic experience decidedly at odds with the iconicity of his Baader-Meinhof images by employing arbitrariness and conceptual abstraction.


Author(s):  
Vered Vinitzky-Seroussi ◽  
Chana Teeger

This chapter elaborates on prior work to outline the role of silence not only in forgetting but also in memory. It documents two forms of silence: overt silence and covert silence and discusses how each can be used to enhance either memory or forgetting. In its overt manifestations, silence is characterized by a complete absence of speech. Such silence can foster forgetting by obliterating any mention of particular events or people. Overt silences, however, can also foster memory by demarcating a sacred space for quiet contemplation. Covert silences, on the other hand, inhere in—and are often veiled by—much mnemonic talk. These silences are found in commemorative activities where agents of memory want to recollect the past while minimizing its potentially conflictual elements. They can also be used by agents of forgetting who wish to erase the past while presenting the appearance of commemorating it. The chapter concludes by discussing the various ways in which each of these forms of silence can be broken. In outlining these processes, it highlights the central role played by silence in both collective memory and forgetting.


M n gement ◽  
2021 ◽  
pp. 45-18
Author(s):  
Christian Stutz ◽  
Antti Ainamo ◽  
Juha-Antti Lamberg

Research on corporate decline and turnarounds as well as the strategic use of history have so far remained two separate research fields. We integrate these two fields with a thought experiment, proposing ways in which strategists can work with, and through time in managing and turning around declines. Our thought experiment involves two very different types of analogies: a textual one from Philip K. Dick’s science fiction novels, on the one hand, and a visual one from Einsteinian relativity science, on the other hand. Inspired and informed by these different conceptualizations of the past and time, we develop four forms of backward strategizing to successfully manage a struggling corporation on the brink of environmental collapse. The strategic options, presuming that managers are historically conscious agents embedded in time, direct corporations to go back in history, in actual terms, or in a fictional or mythological one – and thus to initiate a past-related rebirth. By offering a more nuanced and complex understanding of temporality and history, our perspective urges scholars to further unpack historical dimensions in managerial cognition of time.


Author(s):  
Yulia Marinina ◽  
Vyacheslav Nikolaevich Slabunov

This article reviews the role of the theme of memory in the novel “The Buried Giant” by Kazuo Ishiguro. The motives of regeneration and loss of memory are relevant in modern literature as a whole and in works of K. Ishiguro in particular. The research is based on the methods of motivic and culturological analysis. In the novel “The Buried Giant”, the theme of memory has a structural meaning. It manifests through the spatial-temporal arrangement of the text, system of characters, symbolism of the novel, and organizes the core antithesis of the work – cultural memory and “mist” (embodiment of oblivion), which creates with the plotline and images of the characters. In the text of the novel, the people lose memory; the limits between the “native” and “alien”, the past and the future are blurred. The theme of memory is the source of unravelling of the plot. The two storylines are distinguished: external (the path of the characters seeking their son) and internal (regeneration of memory). The theme of memory organizes the system of characters: the protagonists Axl and Beatrice reconstruct the events preceding the beginning of the novel and accept them. Sir Gawain and Wistan remember the past, but they have a different attitude towards collective memory: the first one wants to prolong the oblivion, while the other one wants to restore the people's memories. The research demonstrates the role of the theme of memory within the structure of K. Ishiguro's novel “The Buried Giant”, which reveals the author's idea: nothing can be forgotten completely.


2010 ◽  
Vol 51 (1-2) ◽  
pp. 215-224
Author(s):  
Alexander Carpenter

This paper explores Arnold Schoenberg’s curious ambivalence towards Haydn. Schoenberg recognized Haydn as an important figure in the German serious music tradition, but never closely examined or clearly articulated Haydn’s influence and import on his own musical style and ethos, as he did with many other major composers. This paper argues that Schoenberg failed to explicitly recognize Haydn as a major influence because he saw Haydn as he saw himself, namely as a somewhat ungainly, paradoxical figure, with one foot in the past and one in the future. In his voluminous writings on music, Haydn is mentioned by Schoenberg far less frequently than Bach, Mozart, or Beethoven, and his music appears rarely as examples in Schoenberg’s theoretical texts. When Schoenberg does talk about Haydn’s music, he invokes — with tacit negativity — its accessibility, counterpoising it with more recondite music, such as Beethoven’s, or his own. On the other hand, Schoenberg also praises Haydn for his complex, irregular phrasing and harmonic exploration. Haydn thus appears in Schoenberg’s writings as a figure invested with ambivalence: a key member of the First Viennese triumvirate, but at the same time he is curiously phantasmal, and is accorded a peripheral place in Schoenberg’s version of the canon and his own musical genealogy.


2018 ◽  
Vol 47 (2) ◽  
Author(s):  
Kempe Ronald Hope

Countries with positive per capita real growth are characterised by positive national savings—including government savings, increases in government investment, and strong increases in private savings and investment. On the other hand, countries with negative per capita real growth tend to be characterised by declines in savings and investment. During the past several decades, Kenya’s emerging economy has undergone many changes and economic performance has been epitomised by periods of stability, decline, or unevenness. This article discusses and analyses the record of economic performance and public finance in Kenya during the period 1960‒2010, as well as policies and other factors that have influenced that record in this emerging economy. 


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