Lia Dostlieva and Andrii Dostliev
Lia Dostlieva is an Ukrainian artist, essayist, cultural anthropologist and researcher at Adam Mickiewicz University in Poznań, Poland. Focusing on trauma, postmemory, commemorative practices, and agency and visibility of vulnerable groups and how to process “difficult knowledge” and “difficult past”.
Andrii Dostliev is an independent Ukrainian artist, curator, and photography researcher currently based in Poland. His primary areas of interest are memory, trauma, identity – both personal and collective, and various aspects of queerness. Works in various media.
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Articles by Lia Dostlieva and Andrii Dostliev
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Each contribution in this special section here presented, provides different cases and different ways of considering the tensions between local communities and national policies, between pasts that ground people and pasts which hold them back, and between the survival or memorialisation of one form of heritage and its reimagining in another form for other ends. However, for all contributors the heritage itself, and especially various processes of heritagization, are “not about the past but about the use (and abuse) of the past to educate — and at times inculcate — the public.”
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Two months prior to the collapse of the Berlin Wall, on August 23, 1989, far behind the Iron Curtain, two million Latvians, Lithuanians and Estonians joined hands on the highways that linked their countries in a massive demonstration for national independence. They called it the Baltic Way.
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The concept of nation is not only, as is often assumed, related to states but to the people who feel that they belong to a community based on a common identity, wherein language and culture are often emphasized as something that knit people together. History, as well as contemporary experience, reveal the notion that state nationalism tends to oppress local languages and cultures. However, in a cultural nation interpretation, all national minorities, while being citizens of their state of domicile, are per definition not members of the majority nationality.
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On February 9 elections to the National Parliament – Milli Məclis – were held in Azerbaijan, nine months early. The […]
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Baltic Worlds appears four times a year. The journal publishes scholarly articles but also reviews, essays and commentaries. All content is […]
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Second World, Second Sex: Socialist Women’s Activism and Global Solidarity during the Cold War. Kristen Ghodsee. Duke University Press, 2019, 328 pages.
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Seasoned Socialism: Gender and Food in Late Soviet Everyday Life , Ed. by Anastasia Lakhtikova, Angela Brintlinger, and Irina Glushchenko. Bloomington, Indiana: Indiana University Press, 2019, 396 pages
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Chernobyl: History of a Tragedy, Serhii Plokhy, Penguin (2019), 432 pages, Winner of the Baillie Gifford Prize 2018
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We are, as my examples show, tricked into believing that archaeological research, museum practices, and the digitalization of museum objects, archived material, and so on will make a secret world more open and transparent and that this will be positive for the public, democracy, and for the scientific community. The real world is, however, much more dynamic and diverse but always out of reach for the public because of our naïve desire for the Internet. Archive and museum activities are a practice done in reality, not on the Internet, and so is research.
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More than anything else, the avant-garde is the area of the production of the past: the colossal amounts of memoirs, artefacts, and photographs that are accumulated in archives — in different kinds of archives, including personal ones, but also state archives, and many others of different kinds.
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