Jessica Gorter. “I’m interested in how memory is inherently subjective, shaped by time, emotion, and experience”
Filming from under a history in erasure: Jessica Gorter’s documentary films about Russia’s memory and counter-memory.
A scholarly journal from the Centre for Baltic and East European Studies (CBEES) Södertörn University, Stockholm.
19 articles tagged with memory politics were found.
Filming from under a history in erasure: Jessica Gorter’s documentary films about Russia’s memory and counter-memory.
Network of Concerned Historians Annual Report 2025, contains news about the domain where history and human rights intersect, in particular about the censorship of history and the persecution of historians.
Minsk, the capital of Belarus, has always astonished foreigners with its peculiar eerie atmosphere. Broad, empty, impeccably clean avenues adorned with WW2 obelisks and pompous statues of Soviet heroes attracted untrained gazes reminding the guests of the city of the utopian settings by Orwell and Huxley. But to me, a born Minsker, they reminded more of a hospital — with the ghosts of the collective memory sanitizers leaders safeguarding imaginary peace and order
The thematic bookstalls, on the eve of International Holocaust Remembrance Day in the Italian city of Turin, January 2025, show a range of covers, some only rather vaguely connected with the traumatic past in the context that they are displayed in. The Storyteller of Auschwitz is just one of many in the same vein, blending real events with fictionalized narratives. The Italian version sold at Milan airport as an on-the-plane read has a title that literally translates as “a girl who wrote love stories in Auschwitz”, and the cover shows the image of a malnourished child in bedraggled clothes with the eerie Birkenau gate contour as background. This leads to reflections on the many layers of Holocaust portrayal, 80 years after the end of WWII, and its implications.
The article reflects if it is possible to decolonize memory in the former Soviet republics that have been gradually moving centrifugally towards different political allegiances. It is needed to go beyond the postcolonial/post-Soviet national optic and consider inter-imperial (Doyle) and non-nation-state post-imperial (Burbank and Cooper) models and other unrealized alternatives. The article focuses on coloniality of memory critically engaging with various concepts including “dismembering” (Thiong’o), “mankurtism” (Aitmatov), “Myalism” (Brodber), “multidirectional memory” (Rothberg), “double critique” (Khatibi), “species memory” (Kaiser and Thiele), and the “third way” (Wynter). It sets the goal of tracing possible paths for rethinking of what it means to remember in a human way and what it takes to engender a global mnemonic transversal network of solidarity for refuturing.
This essay takes the novel The Museum of Unconditional Surrender by Dubravka Ugrešić as a starting point for a discussion of why the notion of a post-Yugoslav or post-communist cultural memory seems to be a contradiction in terms. The manifest impossibility of forming a collective post-Yugoslav memory provokes a reflection on how cultural and collective memory has been used in post-communist Eastern Europe to historify the communist past, which further has served the revival of a nationalist agenda. Ugrešić offers a counter memory, if we understand the term from Foucault as something that escapes the forming of identities. Finally, I suggest the notion of negative memory, as introduced by Reinhardt Koselleck, as a more apposite term for approaching memory in the post-communist sphere and in the unfolding catastrophes of the modern world.
This special section in Baltic Worlds is the result of a workshop engaging with the politics of aesthetic historicizations, through the grid of the monument.
In most post-communist countries after the breakdown of the USSR, memory legislation often aimed at constructing an identity of suffering under Nazism and the totalitarian Soviet regime, which relativized itself according to a cosmopolitan understanding of victimhood centered on the Holocaust memory. Regulations of memory, in this sense, were considered an indicator of democratic transition and an entry ticket to the European Union.
Cultural Heritage and the Future, Cornelius Holtorf & Anders Högberg, eds., (London & New York: Routledge, 2021), 256 pages.
CBEES Annual Report 2020: Constructions and Instrumentalization of the Past. A Comparative Study on Memory Management in the Region, Eds. Ninna Mörner et al., (Södertörn University: Stockholm, 2021). 186 pages