Academic literature on the topic 'Postmemoria affiliativa'

Building on Marianne Hirsch’s concept of postmemory, this article examines Oksana Zabuzhko’s latest novel The Museum of Abandoned Secrets as postmemorial fiction, which articulates the trauma of Soviet political repressions in the post–World War II period and in the 1970s via the perception of the second and third generation. The affiliative postmemory about World War II in Ukraine from the viewpoint of Ukrainian Insurgent Army partisans is emplotted via an original generic combination of contemporary Holocaust fiction and romances of the archive. Postmemory is used in the novel to shape a mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.

Building on Marianne Hirsch’s concept of postmemory, this article examines Oksana Zabuzhko’s latest novel The Museum of Abandoned Secrets as postmemorial fiction, which articulates the trauma of Soviet political repressions in the post–World War II period and in the 1970s via the perception of the second and third generation. The affiliative postmemory about World War II in Ukraine from the viewpoint of Ukrainian Insurgent Army partisans is emplotted via an original generic combination of contemporary Holocaust fiction and romances of the archive. Postmemory is used in the novel to shape a mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.

This article discusses the mechanism behind the formation in adolescents (representatives of the 4th generation) of an affiliative postmemory about one of the most controversial and complex subjects in Russian history – the era of political repression from the 1930s to the1950s. The first part of the article is devoted to questions of methodology and necessity, and to the possibilities of using an authentic space and an authentic artifact as mediators between past and present in memory practices. The basic ideas are the concepts of “postmemory” by Marianne Hirsch, “grief” by Alexander Etkind, and “affective management of history” by Sergey Oushakin. Additionally, there are the ideas of Varvara Sklez, Veronica Dorman, Olga Strelova, and Alexander Kotlomanov in relations to that very authentic space and/or artifact which helps to provoke and form the memory of complex pages of history, not from within, but from without, enabling the creation of a kind of “sensory laboratory” for the period. Thanks to this “feeling”, dry information is experienced and appropriated by a person through the strong emotions provoked, and the level of individual affiliative memory of the era of political repression is built up. The second part of the article describes two experiments which allowed me to analyse the effects of an authentic space (an immersive drama performance) and an authentic artifact (an archived investigation casefile) on adolescents.

AbstrakPenelitian ini bertujuan untuk menjelaskan transmisi memori peristiwa 65 dari generasi pertama ke post-generasi dalam karya sastra. Metode penelitian yang digunakan, yakni deskriptif kualitatif. Penelitian ini merupakan kajian postmemory Marianne Hirch. Sumber data penelitian adalah novel Pulang karya Leila S. Chudori dan Amba karya Laksmi Pamuntjak. Data penelitiannya adalah frasa, kalimat, atau paragraf yang merepresentasikan gambaran generasi pertama dan post-generasi, proses transmisi memori, dan rekonstruksi memori. Teknik analisis data menggunakan teknik interaktif, yaitu dengan cara reduksi data, sajian data, dan penarikan kesimpulan. Hasil dari penelitian ini menunjukkan bahwa (1) terdapat tiga generasi dalam proses transmisi memori, yaitu generasi pertama sebagai tokoh yang mengalami peristiwa 65 secara langsung, generasi 1.5 dan kedua sebagai penerima transmisi memori; (2) familial postmemory dilakukan melalui garis keturunan keluarga dan afiliative postmemory melalui buku, museum, foto, surat pribadi, dokumen sejarah, dan narasi yang berkembang di masyarakat; (3) konstruksi memori oleh tokoh post-generasi yang diwujudkan dengan penerimaan maupun penolakan. Penerimaan memunculkan rasa trauma, was-was, atau perubahan identitas yang mirip dengan generasi pertama. Sementara itu, sikap penolakan menempatkan cerita sebagai mitos yang sudah kedaluwarsa. Kata kunci: post-memori, generasi pertama, post-generasi, peristiwa 65 AbstractThis study aims to explain the memory transmission of events from the first generation to the post-generation in literary works. The research method used is descriptive qualitative. This research is a postmemory study of Marianne Hirch. The source of the research data is the novel Pulang by Leila S. Schudori and Amba by Laksmi Pamuntjak. The research data are phrases, sentences, or paragraphs that represent first-generation and post-generation descriptions, memory transmission processes, and memory reconstruction. The data analysis technique used interactive techniques, namely by way of data reduction, data presentation, and drawing conclusions. The results of this study are (1) there are three generations in the memory transmission process, namely the first generation as a character who experiences events directly, the 1.5 generation and the second as a memory transmission receiver; (2) familial postmemory is carried out through family lineages and affiliative postmemory through books, museums, photos, personal letters, historical documents, and narratives that develop in society; (3) memory construction by postgeneration figures which is realized by acceptance or rejection. Acceptance creates a sense of trauma, anxiety, or a change of identity similar to that of the first generation. Meanwhile, the attitude of rejection places the story as an outdated myth. Keywords: postmemory, first generation, post-generation, event 65

AbstrakPenelitian ini mengkaji tentang bagaimana proses kreatif sebuah karya postmemory dalam proses transmisi memori dari generasi pertama ke generasi selanjutnya dan melihat gender memainkan peran penting dalam proses transmisi, serta bagaimana melihat gender dalam karya tersebut. Tujuan dalam penelitian ini untuk membongkar struktur transmisi memori traumatis Dmetri Kakmi dalam novel Mother Land serta melihat konstruksi gender terhadap kesan-kesan traumatis yang muncul di dalam karya tersebut. Peneliti menggunakan teori postmemory yang dicetuskan oleh Marianne Hirsch untuk melihat 1) Bagaimana transmisi memori dan peran gender dalam penulisan novel Mother Land karya Dmetri Kakmi; dan 2) Bagaimana peran gender di dalam novel tersebut. Hasil penelitian ini yakni: 1) novel ini dibentuk oleh dua transmisi, yaitu transmisi familial dari keluarga sehingga hal itu memunculkan imajinasi, serta transmisi afiliatif. Dalam proses transmisi, gender memainkan peran kepada siapa dan narasi apa yang diceritakan kepada post-generation; 2) Peran gender di dalam novel terlihat dari infantilized yang dilakukan terhadap kaum Yunani dan Hyper-masculinized yang dilakukan terhadap kaum Turki sebagai icon of destruction.Kata Kunci: postmemory, trauma, transmisi, identifikasi, gender. AbstractThis research is a study about the creative process of a postmemory work in the memory transmitting process from the first generation to the next generation and the important role of gender in the transmission process, and the perspective of gender in postmemory’s work. The purpose of this research is to expose Dmetri Kakmi's traumatic memory transmission structure in his novel "Motherland" and to take a look at genderization in traumatic impressions that emerged in his work. The researcher used Postmemory theory initiated by Marianne Hirsch to perceive 1) the transmission memory and the role of gender in Dmetri Kakmi's "Motherland" novel; and 2) the genderization process in that novel, and the results of this research: 1) Mother Land the novel is formed by two transmissions, familial transmission from the writer's family that led the writer to having an imagination of his late grandfather, and affiliative transmission. In the transmission process, gender plays a key role in choosing who and what narration to be told to post-generation; 2) The gender roles in the "Motherland" novel can be found from such varied sources such as infantilized to the Greeks, and hyper-masculinized to the Turks as icon of destruction. Keywords: postmemory, trauma, transmission, identification, gender.

AbstrakPenelitian ini mengkaji tentang bagaimana proses kreatif sebuah karya postmemory dalam proses transmisi memori dari generasi pertama ke generasi selanjutnya dan melihat gender memainkan peran penting dalam proses transmisi, serta bagaimana melihat gender dalam karya tersebut. Tujuan dalam penelitian ini untuk membongkar struktur transmisi memori traumatis Dmetri Kakmi dalam novel Mother Land serta melihat konstruksi gender terhadap kesan-kesan traumatis yang muncul di dalam karya tersebut. Peneliti menggunakan teori postmemory yang dicetuskan oleh Marianne Hirsch untuk melihat 1) Bagaimana transmisi memori dan peran gender dalam penulisan novel Mother Land karya Dmetri Kakmi; dan 2) Bagaimana peran gender di dalam novel tersebut. Hasil penelitian ini yakni: 1) novel ini dibentuk oleh dua transmisi, yaitu transmisi familial dari keluarga sehingga hal itu memunculkan imajinasi, serta transmisi afiliatif. Dalam proses transmisi, gender memainkan peran kepada siapa dan narasi apa yang diceritakan kepada post-generation; 2) Peran gender di dalam novel terlihat dari infantilized yang dilakukan terhadap kaum Yunani dan Hyper-masculinized yang dilakukan terhadap kaum Turki sebagai icon of destruction.Kata Kunci: postmemory, trauma, transmisi, identifikasi, gender. AbstractThis research is a study about the creative process of a postmemory work in the memory transmitting process from the first generation to the next generation and the important role of gender in the transmission process, and the perspective of gender in postmemory’s work. The purpose of this research is to expose Dmetri Kakmi's traumatic memory transmission structure in his novel "Motherland" and to take a look at genderization in traumatic impressions that emerged in his work. The researcher used Postmemory theory initiated by Marianne Hirsch to perceive 1) the transmission memory and the role of gender in Dmetri Kakmi's "Motherland" novel; and 2) the genderization process in that novel, and the results of this research: 1) Mother Land the novel is formed by two transmissions, familial transmission from the writer's family that led the writer to having an imagination of his late grandfather, and affiliative transmission. In the transmission process, gender plays a key role in choosing who and what narration to be told to post-generation; 2) The gender roles in the "Motherland" novel can be found from such varied sources such as infantilized to the Greeks, and hyper-masculinized to the Turks as icon of destruction. Keywords: postmemory, trauma, transmission, identification, gender.

Narasi balas dendam yang masih terus direproduksi oleh pihak-pihak yang bertikai semakin membuat rekonsiliasi tragedi ’65 berujung pada kemacetan. Kerelaan untuk sa-ling mengakui kesalahan adalah langkah besar dalam usaha rekonsiliasi. Sayangnya, korban PKI hanya mengingat saat mereka menjadi bulan-bulanan PKI, sebelum Peristiwa G30S. Sementara itu, PKI hanya mengingat pasca-G30S, saat mereka menjadi korban genosida politik. Sebuah novel berjudul Tapol karya Ngarto Februana memotret fenomena tersebut. Pengarang yang tidak pernah mengalami langsung peristiwa ’65 membuat teori postmemory dari Marianne Hirsch cocok diaplikasikan dalam penelitian ini. Februana mendapatkan transmisi afiliatif dari saksi hidup dan buku-buku lain sebagai memori kolektif. Identifikasinya kemudian mewujud dalam tokoh dan narasi dalam novel Tapol. Februana membedakan antara komunisme sebagai ideologi yang membela yang tertindas dan PKI sebagai partai yang berpolitik praktis. Melalui tokoh Mirah, pengarang juga mengkritisi Orde Baru sebagai rezim otoriter yang bukan hanya musuh, tetapi juga semua pihak yang berani menentangnya.Kata Kunci: postmemory; transmisi; memori; identifikasi; PKI; Orde Baru; komunisme The narrative of revenge that is still being reproduced by the conflicting parties increases the stagnation of reconciliation of the '65 tragedy. The willingness to acknowledge each other's mistakes is a big step in reconciliation. Unfortunately, PKI victims only remember when they were the PKI’s targets, before the G30S. Meanwhile, the PKI only remembered the post-G30S, when they were victims of political genocide. A novel titled Tapol by Ngarto Februana captures this phenomenon. Authors who have never experienced directly on '65 tragedy make Marianne Hirsch’s postmemory suitable to be applied. Februana gets affiliative transmission from living witnesses and other books as a collective memory. His identification towards the past then manifests in characters and narratives in Tapol. Februana distinguishes between communism as an ideology that defends the oppressed and the PKI as a party that has practical politics. Through the character Mirah, the author also criticized the New Order as an authoritarian regime that was not only an enemy but also all those who dared to oppose it.Keywords: postmemory; transmition; memory; identification; PKI; Orde Baru; communism

Peristiwa pada Revolusi Kuba telah membawa penulis Chanel Cleeton menarasikan dalam sebuah karya novel yang berjudul Next Year in Havana. Di mana jika ditilik pada novel ini maka Next Year in Havana termasuk dalam karya postmemory. Pada proses karangan novel ini terdapat transmisi memori dari generasi pertama kemudian ke generasi berikutnya yang dipicu oleh peristiwa traumatis masa lalu. Penelitian ini bertujuan untuk mengetahui bagaimana struktur memori traumatis itu terbentuk dan upaya perjalanan kembali untuk membangun memori yang tidak utuh. Selanjutnya untuk menganalis objek material tersebut peneliti menggunakan teori postmemory dari Marriane Hirsch. Hasil dari penelitian ini: 1). Terdapat struktur transmisi memori familial dari sang nenek kemudian juga transmisi afiliatif dari orang luar. 2). Keberpihakan penulis pada novel ini menampilkan tokoh presiden Batista sebagai Hypermazculine dan orang – orang Kuba sebagai Feminized. 3). Upaya napak tilas dilakukan ke pelbagai situs sejarah untuk melihat pada realitas yang lebih dekat dan menjawab asumsi – asumsi atas memori yang belum lengkap.The incident of Cuban Revolution has been bringing Chanel Cleeton to narrate a masterpiece of the Novel with under the name Next Year in Havana. Indeed, this Next Year in Havana novel includes a masterpiece of postmemory. The process of this novel used memory transmission from the first generation to the next generation that is triggered by the past traumatic event. This study aimed to know how the structure of traumatic memory is formed and how returning journey can reconstruct the uncompleted memory. In doing so, the researcher used postmemory approach by Marriane Hirsch to analyze the object material. Then, the result of this study: 1). There are structure of memories transmission such as familial from the grandmother and affiliative transmission from the strangers. 2). The author takes a side on this novel that President F. Batista as the Hypermazculine and Cuban people as Feminized. 3). The mission of returning the journey has been done to look the reality closer and to answer the assumptions of uncompleted memory. Peristiwa pada Revolusi Kuba telah membawa penulis Chanel Cleeton menarasikan dalam sebuah karya novel yang berjudul Next Year in Havana. Di mana jika ditilik pada novel ini maka Next Year in Havana termasuk dalam karya postmemory. Pada proses karangan novel ini terdapat transmisi memori dari generasi pertama kemudian ke generasi berikutnya yang dipicu oleh peristiwa traumatis masa lalu. Penelitian ini bertujuan untuk mengetahui bagaimana struktur memori traumatis itu terbentuk dan upaya perjalanan kembali untuk membangun memori yang tidak utuh. Selanjutnya untuk menganalis objek material tersebut peneliti menggunakan teori postmemory dari Marriane Hirsch. Hasil dari penelitian ini: 1). Terdapat struktur transmisi memori familial dari sang nenek kemudian juga transmisi afiliatif dari orang luar. 2). Keberpihakan penulis pada novel ini menampilkan tokoh presiden Batista sebagai Hypermazculine dan orang – orang Kuba sebagai Feminized. 3). Upaya napak tilas dilakukan ke pelbagai situs sejarah untuk melihat pada realitas yang lebih dekat dan menjawab asumsi – asumsi atas memori yang belum lengkap.

This study examines the process of transmitting traumatic memory in a novel Kadang Suriname Sanak Merapi by Fuji Riang Prastowo. Through analysis of traumatic transmission it will be known how the formation of a structured transmission. The purpose of this study is to dismantle the structure of transmission through the process of traumatic transmission from the first generation to the next generation. This research uses Postmemory Theory by Marianne Hirsch. The analytical method in this study uses descriptive qualitative analysis. The results of this study are: 1) there are two transmissions that make up the novel, namely the familial transmission of grandmothers and parents so that it leads to affiliative transmission obtained from the office, 2) the Indonesian and Dutch governments experienced hypermasculinization. While Indies and exiles are Infantilized, 3) cropping was done by dominating the story of Indies and exiles as an effort to reconstruct memory. AbstrakPenelitian ini mengkaji proses transmisi memori traumatis dalam novel Kadang Suriname Sanak Merapi karya Fuji Riang Prastowo. Melalui analisis transmisi traumatis maka akan diketahui bagaimana pembentukan tramsmisi yang terstruktur. Tujuan penelitian ini adalah membongkar struktur transmisi melalui proses transmisi traumatis dari generasi pertama ke generasi selanjutnya. Penelitian ini menggunakan teori Postmemory yang dipelopori oleh Marianne Hirsch. Metode analisis dalam penelitian ini menggunakan analisis deskriptif kualitatif. Hasil penelitian ini yakni: 1) ada dua transmisi yang membentuk novel, yaitu transmisi familial dari nenek dan orangtua sehingga hal itu mengantarkan kepada transmisi afiliatif yang diperoleh dari kantor; 2) pemerintah Indonesia dan Belanda mengalami Hypermaskulinized. Sedangkan Indies dan orang-orang buangan mengalami Infantilized; 3) cropping dilakukan dengan mendominasikan cerita Indies dan orang buangan sebagai upaya rekonstruksi memori.

Dopo un aggiornamento bibliografico e una ricognizione teorica relativa agli studi sulla memoria e sul trauma, la tesi procede alla selezione di un corpus di autori in lingua italiana, prevalentemente appartenenti all’ambito degli Jewish Studies, che vengono definiti “della postmemoria” grazie all’utilizzo del paradigma teorico della postmemory proposto da Marianne Hirsch. La tesi si struttura sviluppando nei diversi capitoli alcuni nodi concettuali ritenuti particolarmente significativi e utilizzati come punti di intersezione tra le opere scelte, partendo dal riferimento imprescindibile dell’esperienza di Edith Bruck, scrittrice italo-ungherese sopravvissuta alla Shoah, le cui opere costituiscono un modello e un punto di partenza per gli autori appartenenti alle generazioni successive. Oltre a Edith Bruck gli scrittori di cui vengono selezionate e analizzate alcune opere sono: Helena Janeczek, Alessandro Schwed, Elena Leowenthal, Alessandro Boni, Alessandro Piperno, Filippo Tuena, Anna Segre. Si analizzano inoltre, in conclusione, due antologie contenenti racconti di autori vari, non necessariamente di origine ebraica, come esempio di “postmemoria affiliativa”.

This chapter examines how Sinophone writers from PRC, Taiwan, and Hong Kong compose their Beijing narratives to articulate their anxiety and desire, frustrated and fluid subjectivities. Liang Shiqiu a Beijing native, Taipei dweller, literary guru, and sophisticated connoisseur of fine cuisine, writes about Beijing cuisine to evoke emotional affiliation, gastronomic nostalgia, and imagined reunion. Both originally from Taiwan, Lin Haiyin romanticizes her memory of the south side of Beijing from an innocent girl’s perspective, while Zhong Lihe sharply criticizes the inferior and filthy life of Beijing’s social underclass and paints a bleak urban picture in his disillusioning discovery of the old capital during the Chinese Civil War. Hong Kong émigré writer Jin Yong intertwines literary topography and martial-arts fantasy, inscribes post-loyalist attachments and detachments onto the city, and suggests a hybrid and flexible identity, formed in the chivalric gestures of intervening in core political urban settings and fleeing to the margins and frontiers. In the shadow of World Wars and Cold War, a dislocated and relocated Beijing appears in the border-crossing diasporic writing and Sinophone postmemory.