A scholarly journal from the Centre for Baltic and East European Studies (CBEES) Södertörn University, Stockholm.
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20 articles tagged with memory studies were found.
One cannot go back in time and cannot experience it as it was. Yet this collection of memoirs is an attempt at the restoration of the immaterial culture of the 1990s in St. Petersburg. It was written with the awareness of the integrated failure of the project by all its participants.
What Chernobyl means to different people has dramatically changed over time. Today, its image mostly invokes fear of radiation, illness, as well as uncertainty. The ruins of the plant are regarded as a somewhat unpredictable source of danger that needs constant attention and monitoring. This is a remarkable historical change from how Chernobyl used to be seen. Before 1986, the construction of Ukraine’s first major nuclear power plant symbolized progress and the hope for a better future. In light of the Russian invasion of Ukraine and recent media coverage of nuclear energy in this context, Chernobyl has truly become a memory space, serving as a place for projections of a multitude of attitudes regarding nuclear safety, catastrophe, war, maintenance and negligence.
Silvia Kučėnaitė Foti it the author of the book The Nazi’s Granddaughter: How I discovered my Grandfather was a War Criminal. After going through major trauma when discovering her grandfather was not the war hero she heard about but a Nazi collaborator, she started to investigate her grandfather’s past. Considering Jewish sources along with the Lithuanian sources Foti questions the Lithuanian official narrative denying any involvement in the Holocaust.
Two panels on memory laws were arranged the same day as part of the annual series of on USSR 30 years after (1991-2021). The panel “Dealing with the totalitarian past: Laws on memory and legislation” took up how different countries have approached the Soviet past in legislation and by “memory laws”. The panel “Memory laws: an interregional perspective on commemoration and legislation” followed this theme up. An aspect discussed throughout the whole event was the Western vs. Eastern models of memory laws.
When we look at our monuments, why is there so much presence and, at the same time, so much absence? Or is there not enough presence and not enough absence? Or is there too much presence and not enough absence? Or is there not enough presence and too much absence? And what can we do about this (dis)balance?
In this article the author, a multidisciplinary artist, reflects on the process of making the video project Red, 2015, (21:45 min.) and a sound installation The White Wall, 2015 (9:30 min.) about post-Soviet times and transgenerational silence about experiences with the Soviet Union.
In his book of reportage: Białystok. White Power, Black Memory Marcin Kącki documents oblivion and denial of the memory of the former Jewish inhabitants of the city; paradoxically, it is also a call for this memory to be restored. In other words, we are dealing here with the two basic attitudes and forms of remembering historical trauma, distinguished by LaCapra: The first results in the process of “working-through”; the other is based on denial and results in “acting-out”.
This article focuses on the site-specific exhibition “Displaced Time: 10 Photographs from Restricted Collections” as a model of remembrance and an act against oblivion. The article analyses “Displaced Time” as part of ongoing memory work that aims to explain and understand the mechanisms of the Soviet period and its influence on contempora ry society. In order to analyze the power relations between photographs and archives, this article also explores the power relations between the photographer and the subject – the photographic gaze – as well as the power relations between the photograph and the reader – the agency of images.
Memory can be retained and archived. You can, however, also manipulate it, obliterate its fragments and sometimes whole segments, using its stores as a tool in a political fight with minorities. Historical memory is only seemingly a domain of objective knowledge. The point of departure for my artivistic practice is always work with archival material. With time, my experiences led me to outline a specific understanding of historical memory as a process in which the most important role is played by the migration of ideas, a peculiar kind of nomadism.
The Grodzka Gate-NN Theater in Lublin is displaying maps about the memory of Jewish Central and Eastern Europe in an online exhibition. Martin Englund from Baltic Worlds meets curator and educator Piotr Nazaruk in a conversation about the memory maps, educating people about the Jewish history of Poland, nostalgia, and anti-Semitism.
Baltic Worlds covers; the Baltic Sea Region, Eastern Europe, Russia, Caucasus and the Balkan area.