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.

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.

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.

Traumatic Insight on Film Memory: Forced Assimilation in the Focus of Post-totalitarian Bulgarian Documentaries

2021 ◽  
Vol 30 (3) ◽  
pp. 33-48
Author(s):  
Andronika Màrtonova
Keyword(s):  
Social Engineering ◽  
Communist Regime ◽  
Traumatic Memory ◽  
The Past ◽  
Before And After ◽  
The Subject ◽  
The Government ◽  
Confessional Unity ◽  
Muslim Communities ◽  
In The Beginning

Documentaries cover the subject of the extremely tragic processes of forced assimilation of Muslim population in Bulgaria in different ways. During the Communist regime, they feature the negative political visions. Social engineering in the totalitarian state aimed at confessional unity of the nation and this process was especially intense during the 1980s. Documentaries were a part of the government manipulative tools that targeted revival of the communist nationalism and an apprehensive play on the strings of patriotism. Cultural propaganda covered up repression, assaults, forced change of names, forced deportation, internment in prison camps, harassment of intellectuals from the Muslim community, and human rights violation. After 1989, Bulgarian filmmaking started interpreting this traumatic past in a different way, making a reassessment of history. Documentaries also took an active part in the debate on totalitarianism, using the screen to throw light on the political crimes. Beyond any dispute, one of the most painful subjects is the violence against Muslim communities that escalates to genocide. The subject of assimilation was more intensely covered during the 1990s and in the beginning of the Millennium. During the last decade, it gradually faded away and young authors today even neglect it. Although many good films have been made, we still get the feeling of insufficiency and understatement. The cinematic interpretations reactivate and question the traumatic memory, and further diagnose society. Quality documentary filmmaking always provides a multifaceted image of the past, preserves memories, and manages to aestheticize history in opposition to the trivial media images of the trauma. This paper analyses the genre and typological patterns specific for post-totalitarian Bulgarian documentaries. The focus of the study falls on leading authors, such as Maria Trayanova, Tatiana Vaksberg, Ivan Rossenov, Adela Peeva, Iglika Trifonova, Antony Donchev, Stanislava Kalcheva, Irina Nedeva and Andrey Getov, Dimitar Kotzev-Shosho. Two imagery trends are mainly identified: 1) documentary investigation with reconstruction of historical chronology and handling extremely valuable archives; 2) domination of the apprehensive portraiture genre, where personal records of events shape the picture of events in the past and track the consequences in the present. So far, Bulgarian film studies lack any full comparative study of the screen interpretation of assimilation processes before and after 1989.

Gatekeepers of (Non-)Knowledge: Aleksei Balabanov’s Morphine (2008)

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Cultural Memory ◽  
The Self ◽  
The Other ◽  
Cultural Discourse ◽  
The Past ◽  
The Future ◽  
The Subject ◽  
Self Organisation ◽  
The Continuum

Balabanov’s Morphine is concerned with cultural memory conceived as a continuum; not as identity but rather subjectivity in construction. The concepts relates to Badiou’s study of subjectivity. It determines existence in a world where the horizon of knowledge is always disappearing and is never available to us in its integrity whereby the subject is barred from the infinite. Different directions and speeds of movement generate the transcendental subject in that the subject is in relation to the variations of the lived. One of such states implies a continuum, or becoming without determination, whilst the other, refers to the imperative to construct knowledge out of the elements of the continuum. Such assemblages, rituals and rites allow the subject to access the ‘beyond’, a different realm, where the elements of the past are positioned towards the future. The transcendence of the subject is coded as an unstoppable flow of imagery—a hallucination—divided into sequences by reiterations and references to the cultural discourse: an introspective vision produces not self-organisation but self-destruction as the subject becomes aware of its own infiniteness. I showcase how Balabanov’s Morphine captures the brutality of such openings and the self-annihilating impact of nothingness.

scholarly journals Sociology's Global Challenge

2008 ◽  
Vol 33 (3) ◽  
Author(s):  
Dimitri Della Faille ◽  
Neil McLaughlin
Keyword(s):  
Canadian Journal ◽  
Social Life ◽  
Sociological Research ◽  
Special Issue ◽  
Global Networks ◽  
Global Challenge ◽  
The Past ◽  
The Subject ◽  
Sociological Work

Issues related to globalization are central to most contemporary works in sociology, no matter the specialization. During the past two decades, sociologists have investigated the effects of globalization on most aspects of social life and the extent and variety of the research and literature on the subject have been widely commented upon. This special issue of the Canadian Journal of Sociology represents a modest attempt to stimulate a discussion of the relation sociology itself has with globalization. These papers examine the contemporary transformations of the organization of sociological work and the production of sociological research and discourse in the context of the growing interaction of local, national, regional, and global networks. Résumé. Les questions liées à la globalisation sont centrales dans la plupart des travaux contemporains en sociologie et ce, peu importe la branche de spécialisation. Durant les deux dernières décennies, les sociologues ont examiné les effets de la mondialisation sur la majorité des aspects de la vie sociale. Le nombre et la variété de la recherche et de la littérature sur le sujet ont été abondamment commentés. Ce numéro spécial des Cahiers canadiens de sociologie est une modeste tentative visant à susciter une discussion à propos de la relation entre la sociologie et la globalisation. Les articles de ce numéro examinent les transformations contemporaines dans l’organisation du travail sociologique, mais aussi dans la production de la recherche sociologique et de son discours dans le contexte d’une augmentation des interactions entre réseaux locaux, nationaux, régionaux et globaux.

scholarly journals Rozchwianie tradycji polskiej w zakresie nazewnictwa kobiet pod zaborem rosyjskim w kontekście historycznym i współczesnym

2021 ◽  
Vol 21 ◽  
pp. 121-134
Author(s):  
Leonarda Dacewicz ◽  
Keyword(s):  
19Th Century ◽  
Social Life ◽  
Historical Development ◽  
General Information ◽  
Married Women ◽  
Men And Women ◽  
Modern Times ◽  
The Past ◽  
The Subject ◽  
The 19Th Century

The customary division of functions and social roles of men and women adopted in the past was reflected in the process of shaping the Polish anthroponymic system. The phenomenon of differentiation of nomenclature based on gender was directly related to the privileged position and exclusive participation of men in the organization of social life. In anthroponymy, the domination of masculinity is marked by the functional expansion of male forms as primary and basic. Male nomenclature was higher listed in the hierarchy of importance, female forms of surnames were always created from male forms. The surnames of married women were ending with the suffixes -owa, -ina, -ska or -a, e.g. Chodkiewiczowa, Niemierzyna, Popławska, Ladna. The surnames of unmarried women were created using the suffixes -ówna (ending in a consonant from scratch), e.g. Chodkiewiczówna (< Chodkiewicz), -anka (ending in a vowel from scratch), e.g. Niemierzanka (< Niemiera), and in adjective types like married surnames, for example, Popławska, Ładna. The subject of attention in this study is the phenomenon of masculinization of female surname forms during the Russian partition (second half of the 19th century) in the Podlasie region. The problem is presented in the context of the historical development of women’s nomenclature in Podlasie and general information on the state of female nomination in Poland in modern times.

scholarly journals Body Marks of the Past in Toni Morrison’s A Mercy and Home

2021 ◽  
Vol 7 (1) ◽  
pp. 160-176
Author(s):  
Ágnes Zsófia Kovács ◽  
Keyword(s):  
African American ◽  
Scar Tissue ◽  
The Body ◽  
Traumatic Experience ◽  
Traumatic Memories ◽  
The Past ◽  
The Subject

Toni Morrison’s project of reimagining individual memories of the African American past has been immortalized by the image of the chokecherry tree of scar tissue on Sethe’s back in Beloved. Invisible and dumb for Sethe, the scars have to be faced and interpreted with the help of others in order to process traumatic memories of the slave past. The image questions a presumed opposition between objects of memory as separate from subjects of memory, as the wound, the supposed object is located in the body of the subject, Sethe. Body marks of the past also appear in Morrison’s novels after 2001, which are generally considered sparse compared to her previous texts. Relying on Marianne Hirsch’s method of reading how body marks create a “sense memory” of traumatic experience, the paper explores the webs of meaning invoked by bodily wounds and other extended objects of memory in Morrison’s late novels. The paper claims that although these novels continue to rely on the representation and processing of sense memories, they represent a truncated version compared to earlier novels, in which wounds figure not so much as metaphoric nodes of interaction, but rather as themes.

Foto-Etnografi dalam Proses Penciptaan Karya Seni Fotografi

Panggung ◽  
2013 ◽  
Vol 23 (2) ◽  
Author(s):  
Arief Datoem
Keyword(s):  
Social Life ◽  
Systematic Approach ◽  
Deep Understanding ◽  
Digital Photography ◽  
Cultural Representation ◽  
Visual Anthropology ◽  
Artistic Creation ◽  
Ethnographic Approach ◽  
The Subject ◽  
Emotional Approach

ABSTRACT This article aims at deepening the possibility of utilizing the art of photography that is rich of sig- nificance of the socio-cultural representation. The visual ethnographic field or photo-ethnography, which is relatively new, can provide assistance and answer for this. Therefore, the author has tried a form of collaboration between the photo-ethnographic approach and the sense approach in doing his research on the subject in order to obtain the deep understanding and the truth significance attached to them. The method of digital photography art creation which is intuitively the basis of the art cre- ation in digital domain, then was tried to be formulated, based on heuristics research in the process of the art of digital photography. This concept was developed from the experience in the field of digital photography and visual anthropology, guided by the basic theories of creativity, quantum theory in art, and theory of artistic creation that has existed before. Through emotional approach as a method, along with the structured systematic approach of photo-ethnography and with the deep awareness of the environment and social life of the subject leads to the creation of the image that tends to be better and more meaningful, more productive in a social sense, and offers a credible empiric documentation. Keywords: photo-ethnography, photography art works  ABSTRAK Artikel ini dibuat dalam upaya melakukan pendalaman mengenai kemungkinan peman- faatan seni fotografi yang kaya makna representasi sosio-kultural. Bidang etnografi visual atau foto-etnografi yang relatif masih baru, dapat memberikan bantuan dan jawaban un- tuk hal ini. Oleh karena itu penulis mencoba suatu bentuk kolaborasi antara pendekatan foto-etnografi dengan pendekatan rasa ketika melakukan penelitian terhadap subjek agar diperoleh pemahaman mendalam serta makna kebenaran yang menyertainya. Metode penciptaan seni fotografi digital yang merupakan dasar dari penciptaan seni secara intu- itif dalam domain digital, kemudian dicoba dirumuskan, berdasarkan penelaahan heu- ristik dalam proses seni fotografi digital. Konsep ini dikembangkan dari pengalaman di bidang fotografi digital dan antropologi visual, dipandu oleh teori-teori dasar kreativitas, teori kuantum dalam seni, dan teori penciptaan seni yang telah ada sebelumnya. Melalui pendekatan emosional sebagai metode, disertai dengan pendekatan sistematis yang ter- struktur dari foto-etnografi dan dengan kesadaran yang mendalam mengenai lingkungan dan kehidupan sosial subjek mengarah pada penciptaan gambaran yang cenderung lebih baik dan lebih bermakna, lebih produktif dalam arti sosial, dan menawarkan dokumentasi empiris yang kredibel. Kata kunci: foto-etnografi, karya seni fotografi

Pakistan’s Development: Successes, Failures, and Future Tasks (Presidential Remarks)

1997 ◽  
Vol 36 (4I) ◽  
pp. 321-331
Author(s):  
Sarfraz Khan Qureshi
Keyword(s):  
Indian Subcontinent ◽  
General Meeting ◽  
The Past ◽  
Past Half Century ◽  
The Social ◽  
The Subject ◽  
Golden Jubilee ◽  
Freedom Movement ◽  
Past Half ◽  
Do So

It is an honour for me as President of the Pakistan Society of Development Economists to welcome you to the 13th Annual General Meeting and Conference of the Society. I consider it a great privilege to do so as this Meeting coincides with the Golden Jubilee celebrations of the state of Pakistan, a state which emerged on the map of the postwar world as a result of the Muslim freedom movement in the Indian Subcontinent. Fifty years to the date, we have been jubilant about it, and both as citizens of Pakistan and professionals in the social sciences we have also been thoughtful about it. We are trying to see what development has meant in Pakistan in the past half century. As there are so many dimensions that the subject has now come to have since its rather simplistic beginnings, we thought the Golden Jubilee of Pakistan to be an appropriate occasion for such stock-taking.

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