Pub Date : 2021-12-01DOI: 10.7592/fejf2021.84.lisiecki
Marcin Lisiecki
The main purpose of this paper is to describe Polish folktales about inanimate nature and atmospheric phenomena. There are three reasons for the selection of this topic. Firstly, motifs of nature are not popular in Polish folktales despite the fact that nature itself plays an important role in the life of villagers. Secondly, the themes included in these folktales refer not only to Christianity, but also to local beliefs as well as to Slavic myths. And thirdly, Polish folktales perpetuate the separation of man from nature, with the latter being evil and dangerous.
{"title":"Motifs of Inanimate Nature and Atmospheric Phenomena in Polish Folktales","authors":"Marcin Lisiecki","doi":"10.7592/fejf2021.84.lisiecki","DOIUrl":"https://doi.org/10.7592/fejf2021.84.lisiecki","url":null,"abstract":"The main purpose of this paper is to describe Polish folktales about inanimate nature and atmospheric phenomena. There are three reasons for the selection of this topic. Firstly, motifs of nature are not popular in Polish folktales despite the fact that nature itself plays an important role in the life of villagers. Secondly, the themes included in these folktales refer not only to Christianity, but also to local beliefs as well as to Slavic myths. And thirdly, Polish folktales perpetuate the separation of man from nature, with the latter being evil and dangerous.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"18 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82667767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.7592/fejf2021.84.thuillard
M. Thuillard
For millennia, people have seen a man, an animal, or an object as they look at the moon. The motif of the ‘frog/toad in the Moon’ was recorded in writing in the Book of Changes (I Ching) over 2400 years ago. The ‘man in the Moon’ theme is found in old Norse literature in the Younger Edda. In Mesoamerica, the story of the ‘rabbit in the Moon’ is pre-Columbian. This study analyses the different versions by combining areal studies as well as structural and statistical analyses with information from ancient texts and archaeological artefacts. In particular, I compare the geographic distribution of the main motifs to the 2,278 motifs in Yuri Berezkin’s database. In this context, I report on the observed similarities between the geographic distribution of the ‘man or animal in the Moon’ motifs and the two of the most widespread earth creation myths.
{"title":"Analysis of the Worldwide Distribution of the ‘Man or Animal in the Moon’ Motifs","authors":"M. Thuillard","doi":"10.7592/fejf2021.84.thuillard","DOIUrl":"https://doi.org/10.7592/fejf2021.84.thuillard","url":null,"abstract":"For millennia, people have seen a man, an animal, or an object as they look at the moon. The motif of the ‘frog/toad in the Moon’ was recorded in writing in the Book of Changes (I Ching) over 2400 years ago. The ‘man in the Moon’ theme is found in old Norse literature in the Younger Edda. In Mesoamerica, the story of the ‘rabbit in the Moon’ is pre-Columbian. This study analyses the different versions by combining areal studies as well as structural and statistical analyses with information from ancient texts and archaeological artefacts. In particular, I compare the geographic distribution of the main motifs to the 2,278 motifs in Yuri Berezkin’s database. In this context, I report on the observed similarities between the geographic distribution of the ‘man or animal in the Moon’ motifs and the two of the most widespread earth creation myths.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"12 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80768835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-01DOI: 10.7592/fejf2021.84.magnusdottir
Júlíana Th. Magnúsdóttir
The article deals with some of the spatial features of women’s storytelling traditions in rural Iceland in the late nineteenth century and early 1900s. The study is based on audiotaped sources collected by folklore collector Hallfreður Örn Eiríksson in the 1960s and 1970s from informants born in rural Iceland in the later part of the nineteenth century. The main focus of the article is on 200 women that figure in these sources and their legend repertoires, although a small sample group of 25 men and their repertoires will also be examined to allow comparison. The article discusses what these sources tell us about women’s mobility and the social spaces they inhabited in the past. It goes on to consider the performance space of the Icelandic turf farm in which women’s storytelling took place from the perspective of gender. After noting how the men and women in the sources incorporated different kinds of spaces into their legends, it takes a closer look at how the spatial components of legends told by the women reflect their living spaces, experiences, and spheres of activity. The article underlines that while women in the Icelandic rural community were largely confined to the domestic space of the farm (something reflected in the legends they told), they were neither socially isolated nor immobile. They also evidently played an important part in oral storytelling in their communities, often acting as the dominant storytellers in the performance space of the old turf farm.
{"title":"Women of the Twilight: The Narrative Spaces of Women in the Icelandic Rural Community of the Past","authors":"Júlíana Th. Magnúsdóttir","doi":"10.7592/fejf2021.84.magnusdottir","DOIUrl":"https://doi.org/10.7592/fejf2021.84.magnusdottir","url":null,"abstract":"The article deals with some of the spatial features of women’s storytelling traditions in rural Iceland in the late nineteenth century and early 1900s. The study is based on audiotaped sources collected by folklore collector Hallfreður Örn Eiríksson in the 1960s and 1970s from informants born in rural Iceland in the later part of the nineteenth century. The main focus of the article is on 200 women that figure in these sources and their legend repertoires, although a small sample group of 25 men and their repertoires will also be examined to allow comparison. The article discusses what these sources tell us about women’s mobility and the social spaces they inhabited in the past. It goes on to consider the performance space of the Icelandic turf farm in which women’s storytelling took place from the perspective of gender. After noting how the men and women in the sources incorporated different kinds of spaces into their legends, it takes a closer look at how the spatial components of legends told by the women reflect their living spaces, experiences, and spheres of activity. The article underlines that while women in the Icelandic rural community were largely confined to the domestic space of the farm (something reflected in the legends they told), they were neither socially isolated nor immobile. They also evidently played an important part in oral storytelling in their communities, often acting as the dominant storytellers in the performance space of the old turf farm.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"38 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78503121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.7592/fejf2021.83.ivanova
Alyona Ivanova
Hospital clowning is a relatively new social practice for patients under prolonged medical treatment by means of play, fantasy, and humor. Opposed to circus or theater, hospital clowning is based on an individual, personal contact with a patient. It is not accidental that this social practice plays an important role not only in clinical context, but also as a wider social phenomenon. In the modern world with its tendencies of globalization, virtualization, standardization, isolation, and specialization the value of intimate face-to-face communication is gradually increasing. The study aimed at exploring the relationship between hospital clowning and trauma: 1) trauma of the patient; 2) trauma of the clown; 3) meeting of the two traumas in the interaction within hospital clowning; and 4) hospital clowning as a social movement in the traumatized modern society. In order to reach such a complex goal, a combination of a literature review, empirical study, and single observations was applied. The empirical study was conducted in cooperation with a Russian organization “Doctor Clown”, and included 19 semi-structured interviews with working clowns. The results revealed three kinds of trauma related to hospital clowning. First, the trauma of the patient, a victim of the modern medicine. Second, the trauma of the clown, which may lead them to practicing clowning. Hospital clowning may have a healing and developing impact not only for the patients, but also for the clowns themselves. Third, the collective trauma in the modern society, which is being treated by clowning in the most general sense. Based on the modern concept of coexisting positive and negative aspects of trauma, such as post-traumatic growth and post-traumatic depreciation, some practical implications, such as professional selection of the clowns, are discussed.
{"title":"Hospital Clowning as a Way to Overcome Trauma","authors":"Alyona Ivanova","doi":"10.7592/fejf2021.83.ivanova","DOIUrl":"https://doi.org/10.7592/fejf2021.83.ivanova","url":null,"abstract":"Hospital clowning is a relatively new social practice for patients under prolonged medical treatment by means of play, fantasy, and humor. Opposed to circus or theater, hospital clowning is based on an individual, personal contact with a patient. It is not accidental that this social practice plays an important role not only in clinical context, but also as a wider social phenomenon. In the modern world with its tendencies of globalization, virtualization, standardization, isolation, and specialization the value of intimate face-to-face communication is gradually increasing. The study aimed at exploring the relationship between hospital clowning and trauma: 1) trauma of the patient; 2) trauma of the clown; 3) meeting of the two traumas in the interaction within hospital clowning; and 4) hospital clowning as a social movement in the traumatized modern society. In order to reach such a complex goal, a combination of a literature review, empirical study, and single observations was applied. The empirical study was conducted in cooperation with a Russian organization “Doctor Clown”, and included 19 semi-structured interviews with working clowns. The results revealed three kinds of trauma related to hospital clowning. First, the trauma of the patient, a victim of the modern medicine. Second, the trauma of the clown, which may lead them to practicing clowning. Hospital clowning may have a healing and developing impact not only for the patients, but also for the clowns themselves. Third, the collective trauma in the modern society, which is being treated by clowning in the most general sense. Based on the modern concept of coexisting positive and negative aspects of trauma, such as post-traumatic growth and post-traumatic depreciation, some practical implications, such as professional selection of the clowns, are discussed.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"49 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86738464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.7592/fejf2021.83.jaago
T. Jaago
This article looks at how contemporary life stories reflect the historical-political events that took place in the 1940s, and their impact on the development of family relationships. The focus is on the expression of traumatic experiences caused by these events. Observable events, such as the Second World War, living under a foreign power, political repressions, escape to the West, etc., and their impact on Estonian society have been analysed by Estonian sociologists using the concept of cultural trauma. Literary researchers have studied this subject from the perspective of literary trauma theory. This article provides an analysis of Estonian life stories, which is based on the tools of folkloristic narrative research and the trauma conception. Although the narrators do not use the word ‘trauma’, it can be assumed that they express their traumatic experiences in some special way. It appears, for instance, that these first-person narratives provide a laconic description of the situation, relatively free of the emotion that possessed the narrator in the situation being described. The narrative style is determined by the distance between the narrator and the event that traumatizes them. This distance can be created by the narrator through using urban legends and rumours to characterize the general attitudes of the period being described. When the events of the twentieth century were discussed in the stories told in the 1990s, the dynamics of family relationships between two or three generations came to the fore in the stories told in the present time. The changing focus of the stories, shifting from events to the subject of intimacy, directs researchers to observe the transmission and transformation of trauma in a new context.
{"title":"After the War and Repressions: Mediating of Traumatic Experiences in Estonian Life Stories","authors":"T. Jaago","doi":"10.7592/fejf2021.83.jaago","DOIUrl":"https://doi.org/10.7592/fejf2021.83.jaago","url":null,"abstract":"This article looks at how contemporary life stories reflect the historical-political events that took place in the 1940s, and their impact on the development of family relationships. The focus is on the expression of traumatic experiences caused by these events. Observable events, such as the Second World War, living under a foreign power, political repressions, escape to the West, etc., and their impact on Estonian society have been analysed by Estonian sociologists using the concept of cultural trauma. Literary researchers have studied this subject from the perspective of literary trauma theory. This article provides an analysis of Estonian life stories, which is based on the tools of folkloristic narrative research and the trauma conception. Although the narrators do not use the word ‘trauma’, it can be assumed that they express their traumatic experiences in some special way. It appears, for instance, that these first-person narratives provide a laconic description of the situation, relatively free of the emotion that possessed the narrator in the situation being described. The narrative style is determined by the distance between the narrator and the event that traumatizes them. This distance can be created by the narrator through using urban legends and rumours to characterize the general attitudes of the period being described. When the events of the twentieth century were discussed in the stories told in the 1990s, the dynamics of family relationships between two or three generations came to the fore in the stories told in the present time. The changing focus of the stories, shifting from events to the subject of intimacy, directs researchers to observe the transmission and transformation of trauma in a new context.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"502 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77825557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.7592/fejf2021.83.troitskiy
S. Troitskiy
The history of the twentieth century is filled with examples of mass murder and destruction of entire nations. Survivors of those traumatic events have horrific memories, which cannot be compared to anything that may happen in the course of an ordinary quiet life. However, coping strategies for overcoming the consequences of such traumatic experience were also developed in the twentieth century. It was made possible by conceptualisation of trauma as a cultural and psychological phenomenon at the level of theory and practice in various sciences. Introduction of this concept into the flesh and blood of modern (popular) culture, or rather its inclusion in the fabric of everyday cultural practices, transformed the concept of trauma into a mechanism of culture. Trauma developed into a concept, as we know it, because it functioned as one of the cultural clichés of the era, according to which economics, politics, science, literature, etc., are built. Of course, mass exterminations of people took place even before the twentieth century; however, they were not interpreted as historical traumas as we interpret them now because, firstly, a sense of distance from the event was not developed, which is characteristic of traumatic interpretation, and, secondly, the narratives corresponded to other cultural clichés (typical of those epochs), which served as the basis for political mechanics, economic processes, etc. This article identifies the main features characterising the functioning of trauma as a cultural mechanism. This objective is achieved by appealing to political economy and Baudrillard’s and Derrida’s critique of the victim order. In this study the term “loss” is used as an umbrella term for various traumatic constructs, such as the victim and the trauma itself. They are characterised as objects of a credit relationship between subjects (both individual and collective), according to which the victim (trauma) construct could be described as a debt obligation that must be fulfilled by paying off a symbolic debt. The study identifies all the acting forces (parties) in the trauma construct, which give form to this construct. The author draws attention to the spatial (topographical) accent of the traumatic narrative, as well as to the necessity of toponymic localisation of the active forces in space.
{"title":"Trauma and the Victim Economy","authors":"S. Troitskiy","doi":"10.7592/fejf2021.83.troitskiy","DOIUrl":"https://doi.org/10.7592/fejf2021.83.troitskiy","url":null,"abstract":"The history of the twentieth century is filled with examples of mass murder and destruction of entire nations. Survivors of those traumatic events have horrific memories, which cannot be compared to anything that may happen in the course of an ordinary quiet life. However, coping strategies for overcoming the consequences of such traumatic experience were also developed in the twentieth century. It was made possible by conceptualisation of trauma as a cultural and psychological phenomenon at the level of theory and practice in various sciences. Introduction of this concept into the flesh and blood of modern (popular) culture, or rather its inclusion in the fabric of everyday cultural practices, transformed the concept of trauma into a mechanism of culture. Trauma developed into a concept, as we know it, because it functioned as one of the cultural clichés of the era, according to which economics, politics, science, literature, etc., are built. Of course, mass exterminations of people took place even before the twentieth century; however, they were not interpreted as historical traumas as we interpret them now because, firstly, a sense of distance from the event was not developed, which is characteristic of traumatic interpretation, and, secondly, the narratives corresponded to other cultural clichés (typical of those epochs), which served as the basis for political mechanics, economic processes, etc. This article identifies the main features characterising the functioning of trauma as a cultural mechanism. This objective is achieved by appealing to political economy and Baudrillard’s and Derrida’s critique of the victim order. In this study the term “loss” is used as an umbrella term for various traumatic constructs, such as the victim and the trauma itself. They are characterised as objects of a credit relationship between subjects (both individual and collective), according to which the victim (trauma) construct could be described as a debt obligation that must be fulfilled by paying off a symbolic debt. The study identifies all the acting forces (parties) in the trauma construct, which give form to this construct. The author draws attention to the spatial (topographical) accent of the traumatic narrative, as well as to the necessity of toponymic localisation of the active forces in space.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"37 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78058419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.7592/fejf2021.83.kreslins
Uldis Krēsliņš
In August 1991, the Republic of Latvia took over the documents of the former Latvian SSR KGB, including the card index of KGB agents. At that time, by postponing the card index publication, the political authorities made the issue of former KGB agents a hostage of their political interests. Discussion on the fate of the card index continued in Latvian public sphere over the next 27 years. The stance of the political elite, which found support in some groups of society, was opposed to the publication of the card index, being concerned about a possible witch-hunt and psychological trauma of the people mentioned in the card index as well as their relatives. However, as a result of public pressure, after lengthy indecision, the card index was made public in December 2018. Unfortunately, the publication of the card index has offered only a formal solution to the issue of the former KGB agents, and the expected results have been achieved from the aspect of neither historical truth nor public reconciliation. Only a small number of people mentioned in the card index have admitted the fact of their cooperation and just a few have expressed public regret. In turn, after 27 years of political elite’s hesitancy, most of the KGB persecution victims accepted the publication of the card index in silence. However, it is clear that denial and silence are not the way to public reconciliation and comprehension of trauma. Those few attempts to make one’s experience public show that in today’s situation people can seek reconciliation only with themselves and within themselves.
{"title":"Card Index of Former Latvian SSR KGB Agents: Trauma and the Path to Public Reconciliation","authors":"Uldis Krēsliņš","doi":"10.7592/fejf2021.83.kreslins","DOIUrl":"https://doi.org/10.7592/fejf2021.83.kreslins","url":null,"abstract":"In August 1991, the Republic of Latvia took over the documents of the former Latvian SSR KGB, including the card index of KGB agents. At that time, by postponing the card index publication, the political authorities made the issue of former KGB agents a hostage of their political interests. Discussion on the fate of the card index continued in Latvian public sphere over the next 27 years. The stance of the political elite, which found support in some groups of society, was opposed to the publication of the card index, being concerned about a possible witch-hunt and psychological trauma of the people mentioned in the card index as well as their relatives. However, as a result of public pressure, after lengthy indecision, the card index was made public in December 2018. Unfortunately, the publication of the card index has offered only a formal solution to the issue of the former KGB agents, and the expected results have been achieved from the aspect of neither historical truth nor public reconciliation. Only a small number of people mentioned in the card index have admitted the fact of their cooperation and just a few have expressed public regret. In turn, after 27 years of political elite’s hesitancy, most of the KGB persecution victims accepted the publication of the card index in silence. However, it is clear that denial and silence are not the way to public reconciliation and comprehension of trauma. Those few attempts to make one’s experience public show that in today’s situation people can seek reconciliation only with themselves and within themselves.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"75 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91102141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.7592/fejf2021.83.camargo_vemuri
Maya Camargo-Vemuri
Why remember atrocity? This paper considers how trauma shapes the political memory of atrocity. What we choose to remember about atrocity is largely determined by the visibility of events, but also impacted by social norms, normalized violence, and perceptions of atrocity. Certain events, although common or not necessarily unusual, are suppressed from memory (both in collective and individual narratives) due to fear, shame, guilt, or disgust. In genocide, we rarely hear about acts that induce emotions such as the ones mentioned, including acts of rape, prostitution, and parricide. Most often, such acts are omitted from the narrative because they are not normal crimes in the societies where they occur, and are seen as particularly horrific. The consequence of this omission is a skewed image or conception of genocide and what it does to the people who are part of it, either as victims or perpetrators. This paper determines that, however uncomfortable, unusual, or painful it is to remember such acts, the memory of such acts is necessary to understand the mechanics of atrocity and victimization. It uses a case study of the Holocaust, focusing on sexual violence, to illustrate the concepts of memory omission, skewed historical perception, and the necessity of understanding atrocity through accurate memory.
{"title":"What We Remember and What We Forget: Selective Memory in the Holocaust","authors":"Maya Camargo-Vemuri","doi":"10.7592/fejf2021.83.camargo_vemuri","DOIUrl":"https://doi.org/10.7592/fejf2021.83.camargo_vemuri","url":null,"abstract":"Why remember atrocity? This paper considers how trauma shapes the political memory of atrocity. What we choose to remember about atrocity is largely determined by the visibility of events, but also impacted by social norms, normalized violence, and perceptions of atrocity. Certain events, although common or not necessarily unusual, are suppressed from memory (both in collective and individual narratives) due to fear, shame, guilt, or disgust. In genocide, we rarely hear about acts that induce emotions such as the ones mentioned, including acts of rape, prostitution, and parricide. Most often, such acts are omitted from the narrative because they are not normal crimes in the societies where they occur, and are seen as particularly horrific. The consequence of this omission is a skewed image or conception of genocide and what it does to the people who are part of it, either as victims or perpetrators. This paper determines that, however uncomfortable, unusual, or painful it is to remember such acts, the memory of such acts is necessary to understand the mechanics of atrocity and victimization. It uses a case study of the Holocaust, focusing on sexual violence, to illustrate the concepts of memory omission, skewed historical perception, and the necessity of understanding atrocity through accurate memory.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"8 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83235999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.7592/fejf2021.83.introduction
S. Troitskiy, L. Kurvet-Käosaar, L. Laineste
Bringing into focus the ways of how to approach trauma instead of defining the object of research is becoming increasingly important. This also indicates that the range of approaches to trauma that informs cultural inquiry is widening, and is moving away from one singular paradigm posited as universal. Trauma scholars have demonstrated, on the one hand, the importance of particular experiences, specific cases, individual features of experiencing, remembering, and narrating trauma. On the other hand, they have pointed out the impact of cultural “scripts” shaped by broader cultural understandings and social and cultural regulations and preferences that shape the possibilities of the representation of traumatic experience. This special issue seeks to recognize and negotiate the individual and collective dimensions of trauma as well as their interwovenness, with a focus on the (post)-Soviet and Eastern European experience. It does so by addressing the generalizing theoretical models as well as the practical, material, and experimental aspects of trauma. Thus, it seeks to disentangle and clarify the links between the collective and the individual, the theoretical and the practical, and finally, the universal and the specific, the global and the local.
{"title":"Introduction: From Conceptual Debates to Practical Applications","authors":"S. Troitskiy, L. Kurvet-Käosaar, L. Laineste","doi":"10.7592/fejf2021.83.introduction","DOIUrl":"https://doi.org/10.7592/fejf2021.83.introduction","url":null,"abstract":"Bringing into focus the ways of how to approach trauma instead of defining the object of research is becoming increasingly important. This also indicates that the range of approaches to trauma that informs cultural inquiry is widening, and is moving away from one singular paradigm posited as universal. Trauma scholars have demonstrated, on the one hand, the importance of particular experiences, specific cases, individual features of experiencing, remembering, and narrating trauma. On the other hand, they have pointed out the impact of cultural “scripts” shaped by broader cultural understandings and social and cultural regulations and preferences that shape the possibilities of the representation of traumatic experience. This special issue seeks to recognize and negotiate the individual and collective dimensions of trauma as well as their interwovenness, with a focus on the (post)-Soviet and Eastern European experience. It does so by addressing the generalizing theoretical models as well as the practical, material, and experimental aspects of trauma. Thus, it seeks to disentangle and clarify the links between the collective and the individual, the theoretical and the practical, and finally, the universal and the specific, the global and the local.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"63 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90287494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.7592/fejf2021.83.kapelchuk
Kseniya Kapelchuk
The paper focuses on the way the notion of trauma functions and is justified in the contemporary discourse on history. The author refers to the works of Aleida Assmann and examines the critique brought forward against memorial culture. Deconstructing Assmann’s argument, the author concludes that there are two levels of discourse that support and justify each other: the level of fact and the level of value. The first one deals with the problem of traumatic events and expanding memory about them, which is explained as a change of time regime. The second one deals with the ethical turn that made the change of the time regime possible. To analyse historical trauma, the article suggests breaking the connection between these two levels and examining their foundations separately.
{"title":"Historical Trauma between Event and Ethics: Aleida Assmann’s Theory in the Context of Trauma Studies","authors":"Kseniya Kapelchuk","doi":"10.7592/fejf2021.83.kapelchuk","DOIUrl":"https://doi.org/10.7592/fejf2021.83.kapelchuk","url":null,"abstract":"The paper focuses on the way the notion of trauma functions and is justified in the contemporary discourse on history. The author refers to the works of Aleida Assmann and examines the critique brought forward against memorial culture. Deconstructing Assmann’s argument, the author concludes that there are two levels of discourse that support and justify each other: the level of fact and the level of value. The first one deals with the problem of traumatic events and expanding memory about them, which is explained as a change of time regime. The second one deals with the ethical turn that made the change of the time regime possible. To analyse historical trauma, the article suggests breaking the connection between these two levels and examining their foundations separately.","PeriodicalId":42641,"journal":{"name":"Folklore-Electronic Journal of Folklore","volume":"34 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89951388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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