The image of the Russian peasantry in A. Platonov’s the stories and plays during the Great Patriotic War

Fiction embodies the diverse cultural and historical memory of society and offers its own answers about the impact of war on a person, the long-term humanitarian consequences of the war. In his military stories and plays A. Platonov presented a wide panorama of images of the fighting people, among which the image of peasantry occupies a central place. Memory is considered as the leading concept of the writers creativity. Features of perception of war, life and death, good and evil by ordinary soldiers are revealed. A. Platonovs military stories are very significant for the cultural memory of Russian society. Focusing on the peasant roots of the fighting people, the writer warned of the danger of forgetting this. Platonovs constant interest in the memorial aspects of culture is realized in his military prose largely from the point of view of the world picture of Russian peasants. Village and its inhabitants, faith and family, land, bread, labor-symbols of the Motherland in Platonov, the embodiment of historical continuity. These aspects were reflected later in popular memories of the war, in the peasant perception of the war as sacrificial heroism.

The Interplay between Urban Densification and Place Change in Tehran; Implications for Place-Based Social Sustainability

Recent scholarship on urban social sustainability has redirected its attention to the role of place-based theories and practices in achieving and sustaining social outcomes. The notion of place and its centrality in everyday life of urban citizens could be used as an anchor point to study urbanisation processes and rapid urban changes. This paper employs a place-based framework of urban social sustainability in parallel to a framework of ‘place transformation’ to examine the consequences of soft densification on place attachment at the neighbourhood level in Tehran, Iran. Through analysing sixteen semi-structured interviews with residents, this paper argues that the temporal element of soft densification makes it a place undermining process, eradicating individual and collective place memory through resetting the time of the place. Moreover, the findings highlighted parallel trajectories in the meanings associated to place by residents which underscore the contradiction between ‘lived space’ and ‘conceived space’. Furthermore, it was found that loss of place attachment due to urban densification commonly leads to passive modes of response such changing lifestyle and daily routines, and voluntary relocating to adapt to the new socio-spatial order.

The labour of place: Memory and extended reality (XR) in migration museums

How do we understand the relationship between memory and place in the context of Extended Reality (XR) migration museum exhibitions? The study combines a global mapping of XR within migration museums, a user analysis of Cologne’s virtual migration museum, and practice-led research with the UK Migration Museum to argue that XR places in Web 2.0 constitute a multiplication of memory’s significant localities. These include a migration memory’s place of beginning (the location of a migrant experience), the place of production (where the memory is transformed into representation) and the place of consumption (where the mediated memory is engaged with, looked at, heard). Mnemonic labour involving digital frictions at each of these sites constitutes a form of multiple place-making with complex feelings, meanings, and (dis)connections. This points to an innovative approach to understanding and curating XR experiences with museums that recognises the significance of the labour of place.

[S.P.A.] sensory phenomenological architecture

Can phenomenological architecture be simply described as: Phenomenological Architecture = Phenomenology + Architecture? In the simplest terms, phenomenology is the interpretive study of human experience. Any object, event, situation or experience that a person can see, hear, tough, smell, taste, feel, intuit, know, understand, or live through is a legitimate subject or phenomenological investigation. Architecture is not only the physical form of the building we inhabit, but a place, memory and time in which we see, hear, touch, smell, taste, feel, intuit, know, understand and live. Therefore, architecture is a natural subject for phenomenological investigation. As individuals, we immerse ourselves in the spaces we inhabit and form our own individual and unique experiences. By immersing ourselves in the spaces we inhabit, we interact with the form, textures and smells of the building which we are in. Can an inert thing such as a building help support the development of human beings' experiences; therefore help with his or her understanding of the world that they are physically in? The concept of phenomenological architecture seeks to provide a balanced and holistic physical manifestation of explaining, describing and representing an architectural intention that places emphasis on the human experience. The human experience includes paying particular emphasis on some of the essentials which help develops an experience. Essentials such as bodily senses, memories, materiality and perception are examined. This therefore creates a focus by using architecture as a catalyst in creating human experiences. In conclusion, phenomenology added with architecture does not fully explain phenomenological architecture, but it is how architecture works and helps encourage phenomena and experiences which creates phenomenological architecture.

[S.P.A.] sensory phenomenological architecture

Can phenomenological architecture be simply described as: Phenomenological Architecture = Phenomenology + Architecture? In the simplest terms, phenomenology is the interpretive study of human experience. Any object, event, situation or experience that a person can see, hear, tough, smell, taste, feel, intuit, know, understand, or live through is a legitimate subject or phenomenological investigation. Architecture is not only the physical form of the building we inhabit, but a place, memory and time in which we see, hear, touch, smell, taste, feel, intuit, know, understand and live. Therefore, architecture is a natural subject for phenomenological investigation. As individuals, we immerse ourselves in the spaces we inhabit and form our own individual and unique experiences. By immersing ourselves in the spaces we inhabit, we interact with the form, textures and smells of the building which we are in. Can an inert thing such as a building help support the development of human beings' experiences; therefore help with his or her understanding of the world that they are physically in? The concept of phenomenological architecture seeks to provide a balanced and holistic physical manifestation of explaining, describing and representing an architectural intention that places emphasis on the human experience. The human experience includes paying particular emphasis on some of the essentials which help develops an experience. Essentials such as bodily senses, memories, materiality and perception are examined. This therefore creates a focus by using architecture as a catalyst in creating human experiences. In conclusion, phenomenology added with architecture does not fully explain phenomenological architecture, but it is how architecture works and helps encourage phenomena and experiences which creates phenomenological architecture.

A network linking scene perception and spatial memory systems in posterior cerebral cortex

The neural systems supporting scene-perception and spatial-memory systems of the human brain are well-described. But how do these neural systems interact? Here, using fine-grained individual-subject fMRI, we report three cortical areas of the human brain, each lying immediately anterior to a region of the scene perception network in posterior cerebral cortex, that selectively activate when recalling familiar real-world locations. Despite their close proximity to the scene-perception areas, network analyses show that these regions constitute a distinct functional network that interfaces with spatial memory systems during naturalistic scene understanding. These “place-memory areas” offer a new framework for understanding how the brain implements memory-guided visual behaviors, including navigation.

Memory and identity in Ludwig Bauer’s novels (Karusel and Toranj kiselih jabuka)

In the works of Ludwig Bauer, a significant place is given to the autobiographical memory of the past, strongly connected with the discourse of identity, lost childhood, collective amnesia; it is related to body memory, place memory, and in the characters’ biographies there is usually present (overt or covert) Plato’s eikon (seen as a trace imprinted on the psyche and the mind), whose finding and explaining stimulates the plot and the story. Community memory is stored (A. Assmann) in the individual memory of its members. The aim of the proposed topic is to explore — with the use of interdisciplinary, methodological achievements in the field of memory discourse — the hermeneut-ics of L. Bauer’s selected works. As a result, the disquisition provides an analysis of literature in the process of forming memory and identity in the area of the former Yugoslavia, as well as literature as a medium of memory and “distinctive symbol system” (B. Neumann) in the whole culture of memory.