Official and Individual Lenses of the Remembrance of the First World War: Turkish Official Military Histories and Personal War Narratives

Author(s):  
Mesut Uyar
2016 ◽  
Vol 30 (1) ◽  
pp. 34-54 ◽  
Author(s):  
Tea Sindbæk Andersen

This article investigates the developments of public memory of the First World War as it is written into the national narratives of Bosnia, Croatia, and Serbia on the way to the centennial of the war’s outbreak. The First World War constitutes both a shared and a divided memory in Serbia, Croatia, and Bosnia. Though the war was a catastrophe everywhere, to Serbia it also became a triumph on the allied side, whereas in Bosnia and Croatia it was mainly a state collapse. Yet, the First World War also provided the immediate conditions for the creation of the first Yugoslav state, and consequently the history of the war was narrated within a Yugoslav context, echoing the triumphant Serbian narrative. With the fall of socialist Yugoslavia, the memory of the First World War developed quite differently in the three states. Different lessons are being drawn from war history, often with the aim of situating the nation within a European context. In Serbia, First World War narratives remain national and heroic and are framed as a virtuous, pro-democratic, and European legacy. In Croatia and Bosnia, First World War history is being created anew and, at least in the Bosnian case, with an aspiration to present Bosnia’s war experience within a discourse of European reconciliation. Based on analyses of popular history books, history debates in newspapers and media, and political commentary, the article shows how the First World War as public memory has moved from Yugoslav to national narratives with an increasingly European aspiration.


2000 ◽  
pp. 67-75
Author(s):  
R. Soloviy

In the history of religious organizations of Western Ukraine in the 20-30th years of the XX century. The activity of such an early protestant denominational formation as the Ukrainian Evangelical-Reformed Church occupies a prominent position. Among UCRC researchers there are several approaches to the preconditions for the birth of the Ukrainian Calvinistic movement in Western Ukraine. In particular, O. Dombrovsky, studying the historical preconditions for the formation of the UREC in Western Ukraine, expressed the view that the formation of the Calvinist cell should be considered in the broad context of the Ukrainian national revival of the 19th and 20th centuries, a new assessment of the religious factor in public life proposed by the Ukrainian radical activists ( M. Drahomanov, I. Franko, M. Pavlik), and significant socio-political, national-cultural and spiritual shifts caused by the events of the First World War. Other researchers of Ukrainian Calvinism, who based their analysis on the confessional-polemical approach (I.Vlasovsky, M.Stepanovich), interpreted Protestantism in Ukraine as a product of Western cultural and religious influences, alien to Ukrainian spirituality and culture.


2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.


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