Drawing on cultural studies, gender theories, feminist theories, visual culture and semiotics, the present study investigates the subversive ways in which particular visual representations of teenage bodies introduce the generic transgression of cultural boundaries and limits in order to reflect the process of identity formation. Departing from various theories of corporeality and the semiotics of the body as a cultural entity, this study looks at contemporary American photographer Sally Mann’s collection of photographs, At Twelve, in order to discern the visual mechanisms through which the staged representation of adolescent girls introduces the generous subversion of generic normative categories such as gender, age or social status. Furthermore, the present analysis suggests that trespassing boundaries is a necessary stage in the construction of self-sustainable identities in the aftermath of-postmodernism. Thus, the article tackles gender construction as a cultural edifice in which visual representation plays a significant part. Sally Mann’s photography is eventually viewed as an instance of the contemporary interrogation of norms and boundaries of classical Western culture, as well as an innovative visual documenting of the transgressions, transitions and avoidance of limits that characterize adolescence.
{"title":"Rewriting Girlhood. Ambiguous Bodies in Contemporary American Visual Arts: Sally Mann’s At Twelve","authors":"Ileana Botescu-Sirețeanu","doi":"10.31178/ubr.11.1.8","DOIUrl":"https://doi.org/10.31178/ubr.11.1.8","url":null,"abstract":"Drawing on cultural studies, gender theories, feminist theories, visual culture and semiotics, the present study investigates the subversive ways in which particular visual representations of teenage bodies introduce the generic transgression of cultural boundaries and limits in order to reflect the process of identity formation. Departing from various theories of corporeality and the semiotics of the body as a cultural entity, this study looks at contemporary American photographer Sally Mann’s collection of photographs, At Twelve, in order to discern the visual mechanisms through which the staged representation of adolescent girls introduces the generous subversion of generic normative categories such as gender, age or social status. Furthermore, the present analysis suggests that trespassing boundaries is a necessary stage in the construction of self-sustainable identities in the aftermath of-postmodernism. Thus, the article tackles gender construction as a cultural edifice in which visual representation plays a significant part. Sally Mann’s photography is eventually viewed as an instance of the contemporary interrogation of norms and boundaries of classical Western culture, as well as an innovative visual documenting of the transgressions, transitions and avoidance of limits that characterize adolescence.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133951606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses recent models of world literature rewriting in light of the 2018 Romanian Literature as World Literature, which remaps some of the most representative Romanian authors and movements according to the intersectional frameworks advanced by Immanuel Wallerstein’s world systemstheory, Pascale Casanova’s world republic of letters, and others. In their plea for what the book’s editors call planetary, cosmopolitan studies, the sixteen contributors reread canonical Romanian texts and advocate for a new literary world order, within which Romanian literature is regarded in a less hierarchical/dichotomic fashion, as a literature of the world. This initiative seeks to reposition Romanian literature as a diverse, active, and dynamic partner in the world’s cultural dialogue. My essay addresses a paradox which is very much at the centre of the book: how can one promote intercultural, non-hegemonic models of dialogue when translation and marketability still restrict the participation of “marginal” cultures in the planetary, cosmopolitan exchange of ideas?
{"title":"Cosmopolitanism and Planetary Studies: Paradigms for Rewriting the Past","authors":"Letiţia Guran","doi":"10.31178/ubr.11.1.10","DOIUrl":"https://doi.org/10.31178/ubr.11.1.10","url":null,"abstract":"This paper discusses recent models of world literature rewriting in light of the 2018 Romanian Literature as World Literature, which remaps some of the most representative Romanian authors and movements according to the intersectional frameworks advanced by Immanuel Wallerstein’s world systemstheory, Pascale Casanova’s world republic of letters, and others. In their plea for what the book’s editors call planetary, cosmopolitan studies, the sixteen contributors reread canonical Romanian texts and advocate for a new literary world order, within which Romanian literature is regarded in a less hierarchical/dichotomic fashion, as a literature of the world. This initiative seeks to reposition Romanian literature as a diverse, active, and dynamic partner in the world’s cultural dialogue. My essay addresses a paradox which is very much at the centre of the book: how can one promote intercultural, non-hegemonic models of dialogue when translation and marketability still restrict the participation of “marginal” cultures in the planetary, cosmopolitan exchange of ideas?","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134497034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Flann O’Brien’s At Swim-Two-Birds, a postmodernist novel avant la lettre, literary entities rewrite literary texts, including those in which they exist and I argue that they do so through metaleptic rewriting and in pursuit of different types of authorial justice, all of which are infelicitous. The novel’s intense self-reflexivity and intricate metafictional games create a foundation that is too fluid to sustain the weight of a heavy concept such as justice. Thus, myriad fictional worlds filled with authors wishing to impose what they deem to be fair in their own literary universe interact, intersect and overlap, allowing their justice-motivated characters to metaleptically transgress their ontological levels in order to undo the wrongs of their authors. Yet, in a novel that promotes itself as ‘a self-evident sham’, such attempts are mocked at every step and the quest for fairness is replaced by the thirst for authorial power.
在Flann O 'Brien的《在游泳-两只鸟》中，一部后现代主义小说，先锋文学，文学实体重写文学文本，包括那些他们存在的文本，我认为他们这样做是通过元性重写和追求不同类型的作者正义，所有这些都是不恰当的。这部小说强烈的自我反思和复杂的元虚构游戏创造了一个过于流动的基础，无法支撑正义等沉重概念的重量。因此，无数的虚构世界充满了作者，他们希望在自己的文学世界中强加他们认为公平的东西，相互作用，交叉和重叠，允许他们的正义动机的角色在元论上超越他们的本体论层面，以纠正作者的错误。然而，在一部标榜自己是“不言而喻的骗局”的小说中，这种尝试每一步都受到嘲笑，对公平的追求被对作者权力的渴望所取代。
{"title":"Metaleptic Rewriting as Sham Authorial Justice in Flann O’Brien’s At Swim-Two-Birds","authors":"Andreea Paris-Popa","doi":"10.31178/ubr.11.2.7","DOIUrl":"https://doi.org/10.31178/ubr.11.2.7","url":null,"abstract":"In Flann O’Brien’s At Swim-Two-Birds, a postmodernist novel avant la lettre, literary entities rewrite literary texts, including those in which they exist and I argue that they do so through metaleptic rewriting and in pursuit of different types of authorial justice, all of which are infelicitous. The novel’s intense self-reflexivity and intricate metafictional games create a foundation that is too fluid to sustain the weight of a heavy concept such as justice. Thus, myriad fictional worlds filled with authors wishing to impose what they deem to be fair in their own literary universe interact, intersect and overlap, allowing their justice-motivated characters to metaleptically transgress their ontological levels in order to undo the wrongs of their authors. Yet, in a novel that promotes itself as ‘a self-evident sham’, such attempts are mocked at every step and the quest for fairness is replaced by the thirst for authorial power.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115492824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines a number of contemporary adaptations of The Tempest – Fred McLeod Wilcox’s Forbidden Planet (1956), Peter Greenaway’s Prospero’s Books (1991) and Margaret Atwood’s Hag-Seed (2016) – which indicate new avenues for exploring the phenomenon of past-and-present re-bonding through re-telling. If adaptation theory suggests, at its best, that an adaptation may encourage the public to read the adapted text, if unfamiliar, as Linda Hutcheon argues, these particular adaptations of Shakespeare’s play, I contend, take a step forward. Not only do they spur their readers/spectators on to (re)- read The Tempest, but they elicit (re)considering the relationships amongst (certain of) Shakespeare’s plays. It is what happened to this author too whilst reading Hag-Seed, even before reaching the page where Atwood’s protagonist – Felix qua Prospero actor and figure – contemplates the opportunity offered by mounting The Tempest to unmask his usurpers. “The play’s the thing”, Felix thinks in Hamletian terms, allowing the readers familiar with Hamlet to complete mentally “wherein I’ll catch the conscience of the king”. More than being Shakespeare’s swan song, as typically regarded, The Tempest thus becomes the metatheatrical light on Hamlet’s own metatheatricality – also courtesy of the former’s adaptations.
{"title":"“The Play’s the Thing”: Re-imagining Shakespeare’s The Tempest in Forbidden Planet, Prospero’s Books and Hag-Seed","authors":"E. Ciobanu","doi":"10.31178/ubr.10.2.1","DOIUrl":"https://doi.org/10.31178/ubr.10.2.1","url":null,"abstract":"This paper examines a number of contemporary adaptations of The Tempest – Fred McLeod Wilcox’s Forbidden Planet (1956), Peter Greenaway’s Prospero’s Books (1991) and Margaret Atwood’s Hag-Seed (2016) – which indicate new avenues for exploring the phenomenon of past-and-present re-bonding through re-telling. If adaptation theory suggests, at its best, that an adaptation may encourage the public to read the adapted text, if unfamiliar, as Linda Hutcheon argues, these particular adaptations of Shakespeare’s play, I contend, take a step forward. Not only do they spur their readers/spectators on to (re)- read The Tempest, but they elicit (re)considering the relationships amongst (certain of) Shakespeare’s plays. It is what happened to this author too whilst reading Hag-Seed, even before reaching the page where Atwood’s protagonist – Felix qua Prospero actor and figure – contemplates the opportunity offered by mounting The Tempest to unmask his usurpers. “The play’s the thing”, Felix thinks in Hamletian terms, allowing the readers familiar with Hamlet to complete mentally “wherein I’ll catch the conscience of the king”. More than being Shakespeare’s swan song, as typically regarded, The Tempest thus becomes the metatheatrical light on Hamlet’s own metatheatricality – also courtesy of the former’s adaptations.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127892714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pasado en Claro (A Draft of Shadows) was first published in 1975. This long poem is the mental journey Paz embarks upon in pursuit of his own personal paradise. This article focuses on three of important concepts Paz explores in this poem and in his literary output as a whole: the scope of language, memory and otherness. In the case of language, and its expression in poetry, Paz’s most eloquent pages can be found in The Bow and the Lyre (1956), but especially in The Monkey Grammarian (1970), the account of another journey, through language and the acts of writing and reading. As a personal attempt at regaining a mythical past, A Draft of Shadows affords a view of both the vast narrative of Mexican history and Paz’s personal retelling of his own past. A journey like this is only possible via the winding path of memory, its expression in language, and an identity created as it follows its own trail.
《影子的草稿》于1975年首次出版。这首长诗是帕斯追求个人天堂的心灵之旅。本文主要探讨帕兹在这首诗及其文学作品中所探讨的三个重要概念:语言的范围、记忆和他者性。就语言及其在诗歌中的表达而言，帕兹最雄辩的篇章可以在1956年的《琴弦》(the Bow and the Lyre)中找到，但尤其是在1970年的《猴子语法家》(the Monkey Grammarian)中，它通过语言和写作和阅读的行为描述了另一段旅程。《影子的草稿》是帕兹个人试图重现神话般的过去，既展现了墨西哥历史的宏大叙事，也展现了他个人对自己过去的复述。这样的旅程只有通过记忆的蜿蜒之路、它在语言中的表达，以及它沿着自己的轨迹所创造的身份，才能实现。
{"title":"Paz’s A Draft of Shadows: Rewriting the Past, the Present and the Self","authors":"L. Solís","doi":"10.31178/ubr.11.2.2","DOIUrl":"https://doi.org/10.31178/ubr.11.2.2","url":null,"abstract":"Pasado en Claro (A Draft of Shadows) was first published in 1975. This long poem is the mental journey Paz embarks upon in pursuit of his own personal paradise. This article focuses on three of important concepts Paz explores in this poem and in his literary output as a whole: the scope of language, memory and otherness. In the case of language, and its expression in poetry, Paz’s most eloquent pages can be found in The Bow and the Lyre (1956), but especially in The Monkey Grammarian (1970), the account of another journey, through language and the acts of writing and reading. As a personal attempt at regaining a mythical past, A Draft of Shadows affords a view of both the vast narrative of Mexican history and Paz’s personal retelling of his own past. A journey like this is only possible via the winding path of memory, its expression in language, and an identity created as it follows its own trail.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126682151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
: Margaret Atwood’s The Blind Assassin (2000) is an engagement in layers of shifting identities and their eventual unravelling. The novel is dominated by the character and voice of Iris Chase, an octogenarian who slowly and fumblingly presents to the reader the fragmented and complex personal history of her family. The novel becomes an exercise in historiography through Iris’s visitations to her and her sister Laura’s youth in order to explain their tenuous relationship which is achieved through three parallel sources: Iris’s own attempts at a memoir, journalistic documents and letters from the past, and excerpts from an infamous novel published forty years previously. My paper will explore the three narrative structures present in the novel, and attempt to understand the questions of authorship and writing, and their importance in building a historiographic narrative. It will try to examine the ways in which retrospective interventions into public history helps to counter and create identities which were hitherto repressed under social decorum. This paper will borrow from Linda Hutcheon’s writings of the postmodern metanarratives in order to compose a lucid understanding of what alternative historiography in literature can achieve, keeping at the centre Atwood’s novel.
{"title":"Framing of Identity and Personal History through Multiperspective Narratives in Margaret Atwood’s The Blind Assassin","authors":"Dev Mayurakshi","doi":"10.31178/ubr.10.1.2","DOIUrl":"https://doi.org/10.31178/ubr.10.1.2","url":null,"abstract":": Margaret Atwood’s The Blind Assassin (2000) is an engagement in layers of shifting identities and their eventual unravelling. The novel is dominated by the character and voice of Iris Chase, an octogenarian who slowly and fumblingly presents to the reader the fragmented and complex personal history of her family. The novel becomes an exercise in historiography through Iris’s visitations to her and her sister Laura’s youth in order to explain their tenuous relationship which is achieved through three parallel sources: Iris’s own attempts at a memoir, journalistic documents and letters from the past, and excerpts from an infamous novel published forty years previously. My paper will explore the three narrative structures present in the novel, and attempt to understand the questions of authorship and writing, and their importance in building a historiographic narrative. It will try to examine the ways in which retrospective interventions into public history helps to counter and create identities which were hitherto repressed under social decorum. This paper will borrow from Linda Hutcheon’s writings of the postmodern metanarratives in order to compose a lucid understanding of what alternative historiography in literature can achieve, keeping at the centre Atwood’s novel.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116882388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The idea of Sherlock Holmes or what I am calling Holmesness has evolved with each of Holmes’s onscreen representations and with it has evolved his Victorian England. My paper argues that Holmes has become an emblem of victory of good over evil, thriving in his ecosystem comprised of other characters, incidents and Holmes’s Victorian England; and Holmes can only be successfully represented along with his ecosystem. To support this, I will analyse two recent television adaptations of Sherlock Holmes – Sherlock by BBC and Elementary by CBS and highlight how these series have successfully adapted Holmes and his ecosystem emblematically—not as narrative laments, but as archetypes. The chosen adaptations have not only appropriated Holmes in contemporary time, but also have appropriated his world as well.
{"title":"The Archetypes of Holmesian World: A Study of Sherlock (BBC) and Elementary (CBS) as Appropriations of Archetypes","authors":"Rituparna Das","doi":"10.31178/ubr.10.2.2","DOIUrl":"https://doi.org/10.31178/ubr.10.2.2","url":null,"abstract":"The idea of Sherlock Holmes or what I am calling Holmesness has evolved with each of Holmes’s onscreen representations and with it has evolved his Victorian England. My paper argues that Holmes has become an emblem of victory of good over evil, thriving in his ecosystem comprised of other characters, incidents and Holmes’s Victorian England; and Holmes can only be successfully represented along with his ecosystem. To support this, I will analyse two recent television adaptations of Sherlock Holmes – Sherlock by BBC and Elementary by CBS and highlight how these series have successfully adapted Holmes and his ecosystem emblematically—not as narrative laments, but as archetypes. The chosen adaptations have not only appropriated Holmes in contemporary time, but also have appropriated his world as well.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121136275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Amitav Ghosh, in his 2019 novel Gun Island chooses to discourse on the antipathetic relation of human progress and the environment manifested as climate change. In this remarkable novel Ghosh visits two popular Bengali folklores: Manasa Devi – a snake goddess, and Chand Sawdagor – a merchant who was cursed by the snake goddess, and utilizes the stories to re-imagine a past in which certain events take place that eerily parallels the present, especially the issue of climate change. Ghosh’s appropriation of ideas from the epic Manasa Mangal Kabyo – from the canon of Bengali folklore – and shaping them to include pressing contemporary climate issues that oppress individuals, environs, animal habitats, and global major cities around the world, invest the thesis of the novel with global significance. Ghosh transmutes the folklores by reimagining the past, so they come to inform a global scene: dictating and vindicating outcomes all over the world. Ghosh concludes that absence of a globally accepted authority that would negotiate the human-environment interaction for the betterment of both is a dangerous gap.
{"title":"Revisiting Popular Bengali Folklores to Re-imagine the Past and Engage with the Present: Gun Island and the Tribulations of Climate Change","authors":"R. Huda","doi":"10.31178/ubr.11.1.9","DOIUrl":"https://doi.org/10.31178/ubr.11.1.9","url":null,"abstract":"Amitav Ghosh, in his 2019 novel Gun Island chooses to discourse on the antipathetic relation of human progress and the environment manifested as climate change. In this remarkable novel Ghosh visits two popular Bengali folklores: Manasa Devi – a snake goddess, and Chand Sawdagor – a merchant who was cursed by the snake goddess, and utilizes the stories to re-imagine a past in which certain events take place that eerily parallels the present, especially the issue of climate change. Ghosh’s appropriation of ideas from the epic Manasa Mangal Kabyo – from the canon of Bengali folklore – and shaping them to include pressing contemporary climate issues that oppress individuals, environs, animal habitats, and global major cities around the world, invest the thesis of the novel with global significance. Ghosh transmutes the folklores by reimagining the past, so they come to inform a global scene: dictating and vindicating outcomes all over the world. Ghosh concludes that absence of a globally accepted authority that would negotiate the human-environment interaction for the betterment of both is a dangerous gap.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117324008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines the memory of the Romanian-German victims of the Soviet Gulag as recorded in recent collections of testimonies and interviews, a museum exhibition, an audio-visual documentary project, and Herta Müller’s 2009 novel Atemschaukel. It employs Alexander Etkind’s notions of “soft memory” and “hard memory” to discuss some of the key historical and political events that have impeded the establishing of consensual remembrance policies of the Soviet Gulag in communist Romania. I show how both German and Romanian communities since 1990 have memorialized the Gulag and discuss Atemschaukel as a legitimate impulse to document both personal and collective trauma of the second and subsequent generations. I argue that in the absence of a crystallized, hard memory, the historical documents and the historical fiction analyzed serve as viable examples of soft memory that succeed in memorializing the forced labor camps experience in its collective and individual forms.
本文考察了苏联古拉格集中营中罗马尼亚-德国受害者的记忆，这些记忆记录在最近的证词和访谈、一个博物馆展览、一个视听纪录片项目以及赫塔·米勒(Herta m ler) 2009年的小说《Atemschaukel》中。该书采用亚历山大·埃特金(Alexander Etkind)的“软记忆”和“硬记忆”的概念，讨论了一些阻碍在共产主义罗马尼亚建立苏联古拉格集中营共识性纪念政策的关键历史和政治事件。我展示了德国和罗马尼亚社区自1990年以来是如何纪念古拉格的，并讨论了Atemschaukel是一种合法的冲动，记录了第二代及其后代的个人和集体创伤。我认为，在缺乏明确的硬记忆的情况下，所分析的历史文献和历史小说作为软记忆的可行例子，成功地以集体和个人的形式纪念了强迫劳改营的经历。
{"title":"Remembering and Memorializing German-Romanian Gulag Victims in the USSR through Historical Documents and Historical Fiction","authors":"A. Holden","doi":"10.31178/ubr.11.2.8","DOIUrl":"https://doi.org/10.31178/ubr.11.2.8","url":null,"abstract":"This paper examines the memory of the Romanian-German victims of the Soviet Gulag as recorded in recent collections of testimonies and interviews, a museum exhibition, an audio-visual documentary project, and Herta Müller’s 2009 novel Atemschaukel. It employs Alexander Etkind’s notions of “soft memory” and “hard memory” to discuss some of the key historical and political events that have impeded the establishing of consensual remembrance policies of the Soviet Gulag in communist Romania. I show how both German and Romanian communities since 1990 have memorialized the Gulag and discuss Atemschaukel as a legitimate impulse to document both personal and collective trauma of the second and subsequent generations. I argue that in the absence of a crystallized, hard memory, the historical documents and the historical fiction analyzed serve as viable examples of soft memory that succeed in memorializing the forced labor camps experience in its collective and individual forms.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126517339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In modern Russia, there is a clear discrepancy between the official policy of historical memory and the mass historical consciousness. In the politics of official memory, Joseph Stalin is a tyrant, a dictator who killed millions of people. In the mass historical consciousness, he is a fighter against corruption and privileges, a caring owner of a huge country. While the mass historical consciousness considers the Victory in the Great Patriotic War as a significant event of the twentieth century, the policy of historical memory turns to the tragic sides of this war. Other examples can be given. At the divergence of the official policy of historical memory and mass historical consciousness, there are “wars of monuments” and “wars of memory”, as well as various manipulative strategies on the part of the authorities. So far, the official policy of historical memory fluctuates between these two formulas. The main reason for the discrepancy between the official policy of historical memory and the mass historical consciousness in modern Russia is that in Russian society, due to economic and political problems, nostalgia for the Soviet past, deemed a time of stability and certainty is growing.
{"title":"Nostalgia for the Soviet Past in the Mass Historical Consciousness of Modern Russians","authors":"V. Kokoulin","doi":"10.31178/ubr.11.1.5","DOIUrl":"https://doi.org/10.31178/ubr.11.1.5","url":null,"abstract":"In modern Russia, there is a clear discrepancy between the official policy of historical memory and the mass historical consciousness. In the politics of official memory, Joseph Stalin is a tyrant, a dictator who killed millions of people. In the mass historical consciousness, he is a fighter against corruption and privileges, a caring owner of a huge country. While the mass historical consciousness considers the Victory in the Great Patriotic War as a significant event of the twentieth century, the policy of historical memory turns to the tragic sides of this war. Other examples can be given. At the divergence of the official policy of historical memory and mass historical consciousness, there are “wars of monuments” and “wars of memory”, as well as various manipulative strategies on the part of the authorities. So far, the official policy of historical memory fluctuates between these two formulas. The main reason for the discrepancy between the official policy of historical memory and the mass historical consciousness in modern Russia is that in Russian society, due to economic and political problems, nostalgia for the Soviet past, deemed a time of stability and certainty is growing.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121676464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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