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Journal articles on the topic 'Postmemory'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Mun, Young-hee. "Alice Pung’s Her Father’s Daughter: The Postmemory and Testimony of a Father." Institute of British and American Studies 57 (February 28, 2023): 3–35. http://dx.doi.org/10.25093/ibas.2023.57.3.

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This paper explores Alice Pung’s postmemoir Her Father’s Daughter in terms of the theories of postmemory, as Pung inherits and writes about her father’s memory and testimony. Instead of using the first person narrator, Pung’s postmemoir fluctuates between the third person perspective of herself and that of her father, and contrasts her father’s memory of the Cambodian Killing Fields with her peaceful life in the western suburbs of Melbourne. Likewise, Pung's postmemoir combines fragmented and conflicting narratives rather than assigning a single authoritative voice to an individual who has exp

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2

Hirsch, Marianne. "Postmemory." Témoigner. Entre histoire et mémoire, no. 118 (October 1, 2014): 189–90. http://dx.doi.org/10.4000/temoigner.1276.

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3

Frosh, Stephen. "Postmemory." American Journal of Psychoanalysis 79, no. 2 (2019): 156–73. http://dx.doi.org/10.1057/s11231-019-09185-3.

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4

Elizabeth R. Baer and Hester Baer. "Postmemory Envy?" Women in German Yearbook: Feminist Studies in German Literature & Culture 19, no. 1 (2003): 75–98. http://dx.doi.org/10.1353/wgy.2003.0002.

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5

Çalışkan, Dilara. "Queer postmemory." European Journal of Women's Studies 26, no. 3 (2019): 261–73. http://dx.doi.org/10.1177/1350506819860164.

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Drawing on 10 years of activism in Turkey’s trans movement and seven months of fieldwork in Istanbul on mutually formed mother and daughter relationship among trans women, this article looks at alternative understandings of ‘inter-generational’ transmission of memory. How can we engage alternative family making processes and non-normative formations of time with memory transmission rather than merely identify ‘inter-generational’ memory in advance with pre-established non-normative systems? Or can we talk about ‘inter-generational’ memories without knowing what ‘generation’ really means? Inspi

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6

Fernanda, Andri. "Transmisi Memori dan Trauma dalam Mother Land Karya Dmetri Kakmi: Kajian Postmemory." Jurnal POETIKA 5, no. 2 (2017): 82. http://dx.doi.org/10.22146/poetika.30937.

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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) Bagaim

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Fernanda, Andri. "Transmisi Memori dan Trauma dalam Mother Land Karya Dmetri Kakmi: Kajian Postmemory." Poetika 5, no. 2 (2017): 82. http://dx.doi.org/10.22146/poetika.v5i2.30937.

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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) Bagaim

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8

Santoso, Joko. "Konsep Dasar Postmemory Marianne Hirsch untuk Kajian Sastra." Proceedings Series on Social Sciences & Humanities 20 (November 30, 2024): 297–304. https://doi.org/10.30595/pssh.v20i.1380.

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Tulisan ini berusaha menjelajahi, mengabstraksi, dan menyimpulkan konsep-konsep dasar postmemory Marianne Hirsch dan kemudian menawarkan sebagai kajian sastra. Konsep-konsep dasar itu didasarkan pada dua bukunya yaitu Family Frames: Photography Narrative and Postmemory (2012), dan The Generation of Postmemory: Writing and Visual Culture After the Holocaust (2012). Penjelajahan itu juga merupakan upaya memahami kerangka teori/paradigma postmemory. Dari upaya pengabtraksian dapat ditemukan beberapa hal penting; postmemory selalu adalah mengenai memori trauma, sehingga kajiannya juga mengenai tra

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9

Ghassani, Damia Rizka, and Ari J. Adipurwawidjana. "Metacinema as Diasporic Postmemory in Justin Chon’s Blue Bayou (2021)." k@ta 26, no. 1 (2024): 1–13. http://dx.doi.org/10.9744/kata.26.1.1-13.

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Blue Bayou (2021), a film by Justin Chon, presents issues of imagination, postmemory, and identity through self-referential techniques. Referring to Marianne Hirsch’s theory on postmemory, this article examines how this film represents imagined moments and how they serve as a postmemory of the history of Korean immigrants, and how this kind of forgetting constitutes the American shared experience. The findings and discussion show that imagined moments in Antonio's subconscious function as postmemory for Antonio, while the film itself serves as a postmemory for America’s imagination. It can be

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10

Sy, Ousseynou. "Toni Morrison’s transgressive literary preaching and folk songs as postmemory." International journal of linguistics, literature and culture 7, no. 4 (2021): 241–54. http://dx.doi.org/10.21744/ijllc.v7n4.1720.

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This paper intends to study the sermons or ‘‘literary preaching’’ and folk songs in Toni Morrison’s fiction in the light of Marianne Hirsch’s concept of postmemory. Drawing on Hirsch’s postmemory then, this paper articulates that the ‘‘literary preaching’’ and folk songs function within Morrison’s novelistic discourse as postmemory medium that presses against the erasure and the death of a culture and history. The folk songs and ‘‘literary preaching’’ are mediums of transgenerational transmission of trauma and history. Hirsch defines postmemory as the memories that the survivors of trauma bequ

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11

Turina, Romana. "Autoethnography and postmemory." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 64–79. http://dx.doi.org/10.33178/alpha.17.04.

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Practice as Research (PaR), and Practice-led Research, as studied by Hazel Smith, Roger T. Dean, and Graeme Sullivan, are increasingly being implemented in a wide range of disciplines. In this article, I will report on the methodological trajectory of my creative practice, an autoethnographic work that used film forms as research. The process progressed on three levels of investigation: the narrative, the epistemological, and the ontological. It developed from my personal experience and research in the archive, as a network of references supporting and responding to the needs of producing film

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12

Frosh, Stephen. "Postmemory and Possession." International Journal for the Semiotics of Law - Revue internationale de Sémiotique juridique 33, no. 2 (2020): 515–28. http://dx.doi.org/10.1007/s11196-020-09720-x.

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13

Spatz, Ben, Lxo Cohen, Lindsey Dodd, Nazlıhan Eda Erçin, Paula Kolar, and Agnieszka Mendel. "Postmemory: Fragments / Crypt." Performing Practice-Based Research 9, no. 1-2 (2023): 171–86. http://dx.doi.org/10.7202/1102393ar.

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This photo essay gathers evidence of the video works Postmemory: Fragments and Postmemory: Crypt, which ran from June 27 to August 4, 2022, at Holocaust Centre North at the University of Huddersfield in northern England. Included here are photographs from the video works and their installation, as well as the complete exhibition program. In an accompanying statement, Spatz positions this work within the broader Judaica project, an extended investigation of contemporary jewish identity developed over the past decade, and in relation to the four themes suggested by the editors of this special is

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14

Bakır, Cahit, and Nimetullah Aldemir. "Exploring Theresa Hak Kyung Cha’s Dictee Through Trauma Theory And Postmemory." Söylem Filoloji Dergisi 10, no. 1 (2025): 409–20. https://doi.org/10.29110/soylemdergi.1582165.

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This paper examines Theresa Hak Kyung Cha’s Dictee through Cathy Caruth’s trauma theory and Marianne Hirsch’s concept of postmemory. It argues that Caruth’s notion of trauma - as an event not fully experienced in the moment but reemerging through involuntary repetitions and disruptions - explains Dictee’s non-linear, fractured narrative. The text’s frequent silences, gaps, and linguistic ruptures reveal how colonial, and war trauma remain unspoken, and resurface through fragmented testimonies and archival materials. Similarly, Hirsch’s concept of postmemory demonstrates how Cha, born after Kor

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15

Sturken, Marita. "Imaging Postmemory/Renegotiating History." Afterimage 26, no. 6 (1999): 10–12. http://dx.doi.org/10.1525/aft.1999.26.6.10.

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16

Hirsch, Marianne. "Connective Arts of Postmemory." Analecta Política 9, no. 16 (2019): 171–76. http://dx.doi.org/10.18566/apolit.v9n16.a09.

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17

Hirsch, M. "The Generation of Postmemory." Poetics Today 29, no. 1 (2008): 103–28. http://dx.doi.org/10.1215/03335372-2007-019.

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18

Howes, Christina. "“All Hell Let Loose” on the Post-war Homefront: Postmemorial Engagement of Returning Combatants of World War II." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 16 (November 20, 2023): 59–71. http://dx.doi.org/10.26881/jk.2023.16.04.

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This article examines a sub-genre of postmemoirs which have been published since the mid1980s, written by children and grandchildren of veteran combatants of the Allied Forces. These British and American generational texts both preserve and unveil hidden historical memory of these men’s participation in what is often referred to as the deadliest war in human history. The silent suffering of these veterans and their families had not been widely disclosed until Stephen Spielberg’s film Saving Private Ryan opened a Pandora’s box. And yet, it remains an enigmatic memory in the collective conscious

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19

Kazanova, Yuliya. "‘The instinct of resistance to evil’: Postmemory and the Ukrainian national imaginary in Oksana Zabuzhko’s novel The Museum of Abandoned Secrets." Memory Studies 15, no. 2 (2021): 436–50. http://dx.doi.org/10.1177/17506980211044710.

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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 myt

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Kazanova, Yuliya. "‘The instinct of resistance to evil’: Postmemory and the Ukrainian national imaginary in Oksana Zabuzhko’s novel The Museum of Abandoned Secrets." Memory Studies 15, no. 2 (2021): 436–50. http://dx.doi.org/10.1177/17506980211044710.

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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 myt

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21

Chrisoula, lionis. "A Past Not Yet Passed: Postmemory in the Work of Mona Hatoum." Social text 32, no. 2 (2014): 77–93. https://doi.org/10.5281/zenodo.4718844.

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Mona Hatoum is one of the most internationally recognized and acclaimed Palestinian artists working today. Born in Lebanon and residing in the United Kingdom since 1975 (when she was unable to return to her home following the outbreak of the Lebanese civil war), Hatoum has produced an oeuvre marked not only by her personal experience of exile but also by the collective Palestinian experience of dispossession and occupation. Although it is clear that in her work Hatoum deals with what can be described as the ongoing “Nakbaization” facing Palestinians, she does so while actively evad

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22

Mulyadi, Metia Setianing, and Candra Rahma Wijaya Putra. "TRANSMISI MEMORI PERISTIWA 1965 DALAM NOVEL PULANG DAN AMBA/THE 1965 MEMORY TRANSMISSION IN PULANG AND AMBA NOVEL." Aksara 33, no. 1 (2021): 71–82. http://dx.doi.org/10.29255/aksara.v33i1.565.71-82.

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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 c

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23

Bettaglio, Marina. "Las cajas negras de la posmemoria." Neuróptica, no. 4 (December 21, 2023): 35–57. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.2022410012.

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Resumen: La recuperación de la memoria histórica de la Guerra Civil y del franquismo plasmada a través del Noveno Arte con frecuencia refleja una interpretación androcéntrica del concepto de “postmemoria” (Hirsch), que se declina sobre todo a partir de una genealogía patrilineal. Centrando la atención en la recuperación de una perspectiva matrilineal en cuanto a la memorialización del conflicto bélico y la posguerra, el presente artículo propone analizar las que denomino «cajas negras» (Latour) de la postmemoria, es decir aquellos cuerpos casi inermes que dan fe de unas maternidades traumática

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24

Karpf, Anne. "The post-Holocaust memoir." Mnemosyne, no. 10 (October 15, 2018): 10. http://dx.doi.org/10.14428/mnemosyne.v0i10.14073.

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The War After (Karpf, 1996), a family memoir about the psycho-social effects of the Holocaust on the children of survivors, attracted considerable attention when first published. 20 years later, Karpf argues, it can be read as an example of post-postmemory. Hirsch (2012) defined postmemory as those memories of the Holocaust that the 'second generation' had of events that shaped their lives but took place before they were born. Post-postmemory, Karpf suggests, is the process whereby such narratives are themselves modified by subsequent events and re-readings brought about by three kinds of time

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Kumala, Aleksandra. "Pomnik, który nie powstał, i ofiary, których nie było?" Politeja 20, no. 3(84) (2023): 31–44. http://dx.doi.org/10.12797/politeja.20.2023.84.03.

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A NON-EXISTENT MONUMENT AND NON-EXISTENT VICTIMS? ON POLISH RIVAL POSTMEMORY The article presents a case study of a yet-to-be-realized queer monument in Warsaw, a project that originated in 2007. The monument was intended to commemorate the alleged non-existence of nonheteronormative victims of both Nazi and communist persecutions. The author examines the controversies surrounding the project and analyzes the responses from the media, politicians and Internet users, who are viewed as various types of mnemonic actors. While acknowledging valid criticisms leveled at the project, the articl

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Kumalasari, Isti. "MEMBACA GENDER DALAM KONTEKS POSTMEMORY." Jurnal POETIKA 4, no. 1 (2016): 61. http://dx.doi.org/10.22146/poetika.13316.

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Kumalasari, Isti. "MEMBACA GENDER DALAM KONTEKS POSTMEMORY." Poetika 4, no. 1 (2016): 61. http://dx.doi.org/10.22146/poetika.v4i1.13316.

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28

De Medeiros, Paulo. "Memory’s ransom: silences, postmemory, cinema." Abril – NEPA / UFF 13, no. 27 (2021): 45–60. http://dx.doi.org/10.22409/abriluff.v13i27.51241.

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Close to half a century after their end, the colonial wars Portugal waged in a desperate and doomed attempt to hold on to its African colonies in 1974 remain still largely unprocessed. This article examines the multiple silences surrounding the colonial wars and the 25th April Revolution in Portugal drawing from the concept of postmemory and the notion of a traumatic past whose wounds have never healed. It argues that silence in the end does nothing more than allow those open wounds to go on festering. The combined silence over the dictatorship and the colonial wars was never more than a mild

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29

Alloa, Emmanuel, Pierre Bayard, and Soko Phay. "Figurations of Postmemory: An Introduction." Journal of Literature and Trauma Studies 4, no. 1-2 (2016): 1–12. http://dx.doi.org/10.1353/jlt.2016.0005.

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30

Jones, Phil Ian, and Tess Osborne. "Analysing virtual landscapes using postmemory." Social & Cultural Geography 21, no. 2 (2018): 186–206. http://dx.doi.org/10.1080/14649365.2018.1474378.

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31

Ribeiro, António Sousa, and Margarida Calafate Ribeiro. "A Past that Will Not Go Away. The Colonial War in Portuguese Postmemory." Lusotopie 17, no. 2 (2018): 277–300. http://dx.doi.org/10.1163/17683084-12341722.

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AbstractThe article discusses the concept of postmemory, demonstrating its productivity through an analysis of the memorialization of the Colonial War in the contemporary Portuguese context. Drawing on the results of two research projects carried out at the Centre for Social Studies of the University of Coimbra, different aspects of the production of postmemory by members of the second generation are presented, with particular, but not exclusive, emphasis on the domain of the arts.

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Santoso, Joko, Faruk Faruk, and Novi Siti Kussuji Indrastuti. "Traumatic narrative of the pemberontakan PKI Madiun 1948 in the Ayat-Ayat yang Disembelih by Anaf Afifi and Thowaf Zuharon: A postmemory study." BAHASTRA 43, no. 2 (2023): 141–51. http://dx.doi.org/10.26555/bs.v43i2.403.

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This paper attempts to dismantle the pattern of trauma narratives developed in Indonesian literature by the second generation of the Pemberontakan PKI Madiun 1948. This second generation carries an Islamic narrative that is opposed to Communism. The narrative position of the Pemberontakan PKI Madiun 1948 is different from the G30S PKI 1965, in which the first PKI was the perpetrator, and the second PKI was the victim. The trauma narrative appears in the Ayat-Ayat yang Disembelih (2015) biography by Anaf Afifi and Thowaf Zuharon. The second generation lacks direct memory, which in Marianne Hirs

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Kim, Yeonmin. "The Silence of the Postmemory Generation in John McGahern’s Short Stories." Irish University Review 53, no. 2 (2023): 228–47. http://dx.doi.org/10.3366/iur.2023.0613.

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This essay argues that McGahern embodies a tension between nostalgia and anti-nostalgia through the silence of characters of a postmemory generation. Although McGahern neither pushes the limit of his works to the realm of political emancipation, nor pursues therapeutic working-through of trauma, he is an artist whose quest for postmemorial dynamics functions both anti-nostalgically as a traumatic symptom of the authoritative post-independence state, and nostalgically as an aesthetic strategy to reinvent the past. First, he describes silence as generational, representing both the space for a te

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Salomo Yunarius, Carel Raja, and Alvian Alrasid Ajibulloh. "Trauma Antargenerasi dan Pencarian Identitas pada Film Everything Everywhere All at Once (2022)." Jurnal ISO: Jurnal Ilmu Sosial, Politik dan Humaniora 5, no. 1 (2025): 14. https://doi.org/10.53697/iso.v5i1.2777.

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Penelitian ini bertujuan untuk menganalisis representasi trauma antargenerasi dan pencarian identitas dalam film Everything Everywhere All At Once (2022) dengan menggunakan pendekatan semiotika Roland Barthes, teori representasi Stuart Hall, konsep postmemory dari Marianne Hirsch, serta teori identitas Erik Erikson. Film ini dipilih karena menyajikan narasi multiverse yang kompleks sebagai metafora konflik emosional dan tekanan budaya dalam keluarga diaspora Asia-Amerika. Hasil penelitian menunjukkan bahwa trauma antargenerasi direpresentasikan melalui familial postmemory, berupa pola komunika

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Alden, Natasha. "From the Effective to the Affective: Postmemory in Emma Donoghue’s The Sealed Letter." Contemporary Women's Writing 14, no. 1 (2020): 107–24. http://dx.doi.org/10.1093/cww/vpaa017.

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Abstract This article has a dual focus. It demonstrates the recent repoliticization of Linda Hutcheon’s category of historiographic metafiction through the extension of Marianne Hirsch’s concept of postmemory to lesbian novelists, arguing that this theoretical framework offers a lens through which we can understand some recent trends in lesbian historical fiction. Focusing on the novelist and critic Emma Donoghue’s 2008 novel The Sealed Letter, it also argues that this text’s evocation of an imagined lesbian past, and its use of metafictional techniques, are illuminated by reading it as a high

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36

Hout, Syrine. "The Impossibility of Postmemory in Diasporic Anglophone Lebanese Texts." CEA Critic 85, no. 3 (2023): 248–54. http://dx.doi.org/10.1353/cea.2023.a912101.

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Abstract: Marianne Hirsch maintains that literature based solely on "postmemory"—that is, second-hand memories passed down from a generation that experienced a collective trauma to a subsequent one that did not—is qualitatively different because it is connected to its object of study not through recollection but through an imaginative investment. Following this definition, Lebanese writings stemming exclusively from postmemories of the Civil War cannot be expected to emerge before the second half of the twenty-first century. However, this long view of postmemory, I contend, is not tenable in t

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37

Moschou, Maria G. "War, Postmemory, and Exhibition Design in Greece. The “Asia Minor Hellenism: Heyday-Catastrophe-Displacement-Rebirth” Exhibition at the Benaki Museum (2022–2023)." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 16 (November 20, 2023): 83–104. http://dx.doi.org/10.26881/jk.2023.16.06.

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In the paper, I critically discuss the commemorative exhibition “Asia Minor Hellenism: Heyday-Catastrophe-Displacement-Rebirth” (Athens, Benaki Museum, 2022–2023), examining the role of postmemory in the shaping of national identity in contemporary Greece. Building my analysis on Marianne Hirsch’s concept of postmemory, I draw attention to commemorative exhibition practices and the intergenerational transmission of collective traumatic experiences related to dark events of national significance. Touching upon issues concerning the civilianization of war, I interrogate commemorative exhibitions

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Luarsabishvili, Vladimer. "Reconstructing History: Postmemory and Ectopic Literature." Pensamiento. Revista de Investigación e Información Filosófica 78, no. 297 (2022): 229–38. http://dx.doi.org/10.14422/pen.v78.i297.y2022.012.

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This paper deals with the possible ways of understanding the relation between the reconstruction of history and literary fiction (postmemory and ectopic literature). The transmission of memory across generations – postmemory, and the composition of literary works out of the place of the origin – ectopic literature – facilitate the formation of historical discourse, which is inevitably accompanied by modern interpretation. As interpretation is understanding reality in a subjective manner, literary fiction takes its place in the reconstruction of historical events. And ectopic literature is one

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Bayard, Pierre. "Collective Rape and Postmemory in Bosnia." Journal of Literature and Trauma Studies 4, no. 1-2 (2016): 115–23. http://dx.doi.org/10.1353/jlt.2016.0006.

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40

Mrozewicz, Anna Estera. "Postmemory, Stereotype and the Return Home." Folia Scandinavica Posnaniensia 19, no. 1 (2016): 133–52. http://dx.doi.org/10.1515/fsp-2016-0010.

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Abstract The article offers a discussion of Sofi Oksanen’s novel Purge, focusing on the book’s strategy of evoking stereotypical narratives about Eastern Europe, such as the (postcommunist) fallen woman and (Russian) return home narratives, as well as related intertexts, primarily Lukas Moodysson’s film Lilya 4-ever. I argue that Oksanen constructs the plot around clichés in order to challenge them in a subversive fashion, first and foremost, in the name of recuperating the notion of Home. Related to locality and the feeling of being at-home, where the wholeness of the (national) subject is po

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Filipsson, Karin. "Shadows and Silences in Göran Rosenberg’s Memoir: Jewish Postmemory in the Swedish Welfare State." Scandinavian-Canadian Studies 29 (August 17, 2022): 1–12. http://dx.doi.org/10.29173/scancan223.

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This article, winner of the 2022 Marna Feldt Graduate Publication Award, explores the concept of postmemory in relation to Sweden’s cultural memory of World War II. Through an analysis of Göran Rosenberg’s memoir "Ett kort uppehåll på vägen från Auschwitz" (2012), translated as "A Brief Stop on the Road from Auschwitz," this article investigates how the representation of postmigrant identity and belonging relates to revisionist historiography regarding Sweden’s positionality during World War II. Furthermore, this article illuminates how exploring the postmemory trauma of the children of Holoca

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Stępkowski, Dariusz. "Upaństwowienie Salezjańskiego Domu Dziecka w Jaciążku (1951) w postpamięci." Polska Myśl Pedagogiczna 7 (November 30, 2021): 215–32. http://dx.doi.org/10.4467/24504564pmp.21.011.13941.

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The Nationalization of the Salesian Orphanage in Jaciążek (1951) in Postmemory The article reconstructs and interprets the events that led up to the nationalization of the Salesian orphanage in Jaciążek in 1951. In the study I use the concept of postmemory and the method of qualitative analysis of cultural texts in which the witnesses of the event – the Salesians and their pupils – expressed their traumatic experiences. In spite of differences between the two groups, the main cause of trauma for both was the pseudo-educational activities of the promoters of socialist ideology. In conclusion, I

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Harris, Adrienne. "Postmemory: Hope and Dread? On Stephen Frosh, Those Who Came After: Postmemory, Acknowledgement and Forgiveness." Psychoanalysis and History 23, no. 3 (2021): 351–59. http://dx.doi.org/10.3366/pah.2021.0398.

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Chaka, Chaka. "Investigating Onto-cartographies of Memory and Postmemory, and (Trans)raciolinguistics and Practice of Race Theory in Selected Excerpts of Ellen Kuzwayo’s Call Me Woman." International Journal of Applied Linguistics and English Literature 11, no. 1 (2022): 32–40. http://dx.doi.org/10.7575/aiac.ijalel.v.11n.1p.32.

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This paper is undergirded by two sets of analytic tools: the onto-cartographies of both memory and postmemory, and (trans)raciolinguistics and practice of race theory. Employing these types of analytic tools, the paper sets out to answer the following two research questions: (a) what types of geo-narratives can be detected in the onto-cartographies of both memory and postmemory in the analysed excerpts of Call Me Woman as an autobiographical text?; and (b) what does analysing these excerpts of Call Me Woman through (trans)raciolinguistics and practice of race theory reveal about these excerpts

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Dimova, Marija Gjorgjieva. "Narrative postmemories. The relationship between postmemory and narrative in „ Kica Kolbe’s Aegeans” and „ The Snow in Casablanca”." Miscellanea Posttotalitariana Wratislaviensia 6 (October 10, 2017): 179–90. http://dx.doi.org/10.19195/2353-8546.6.14.

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Narrative Postmemories. The Relationship between Postmemory and Narrative in Kica Kolbe’s Aegeans and The Snow in CasablancaStarting from Marianne Hirsch’s thesis that the notion of postmemory can be generalised in various contexts of traumatic transfer, this paper aims to examine the interpretive validity of this concept in relation to the so-called Aegean Theme in Macedonian literature, which encompasses collective trauma caused by the exodus of Macedonians from Greece during the Greek Civil War 1944–1949. The paper focuses on two works — Egejci and Snegot vo Kazablanka by Macedonian author

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Burwick, William Christopher. "Postmemory and Oral History in Josef Winkler's Die Verschleppung and Die Ukrainerin : Njetotschka Iljaschenko erzählt ihre Geschichte." German Studies Review 46, no. 3 (2023): 469–88. http://dx.doi.org/10.1353/gsr.2023.a910191.

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abstract: Josef Winkler's fourth novel, Die Verschleppung. Njetotschka Iljaschenko erzählt ihre ukrainische Kindheit (The deportation: Njetotschka Iljaschenko narrates her Ukrainian childhood, 1983) contributes to the Austrian discourse of trauma narratives, the experience of alterity, and the representation of politically disenfranchised persons and groups, adding the aspect of forced labor, human rights violations with the emphasis on Ukraine, oral history, and postmemory. This article examines the intersection of ethics and language in Winkler's mediation of Iljaschenko's autobiography in D

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Langås, Unni. "Postmemory Interpretations of Second World War Love Affairs in Twenty-First-Century Norwegian Literature." Humanities 14, no. 7 (2025): 135. https://doi.org/10.3390/h14070135.

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Love and intimate relations between German men and Norwegian women were a widespread phenomenon during WWII. Like in many other European countries, these women were stigmatized and humiliated both by the authorities and by the civilian population. In this article, I discuss four postmemory literary works that address this issue: Edvard Hoem’s novel Mors og fars historie (The Story of My Mother and Father, 2005), Lene Ask’s graphic novel Hitler, Jesus og farfar (Hitler, Jesus, and Grandfather, 2006), Randi Crott and Lillian Crott Berthung’s autobiography Ikke si det til noen! (Don’t tell anyone

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Nugroho, Aji Royan. "POSTMEMORY: TRANSMISI MEMORI DAN REKONSILIASI DALAM NOVEL NEXT YEAR IN HAVANA KARYA CHANEL CLEETON." Aksara 34, no. 1 (2022): 61–72. http://dx.doi.org/10.29255/aksara.v34i1.828.61-72.

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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 ters

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Kim, Sandra So Hee Chi. "Redefining Diaspora through a Phenomenology of Postmemory." Diaspora: A Journal of Transnational Studies 16, no. 3 (2013): 337–52. http://dx.doi.org/10.3138/diaspora.16.3.337.

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Assa, Anna Elfira Prabandari. "POSTMEMORY DALAM NOVEL TAPOL KARYA NGARTO FEBRUANA." Poetika 7, no. 1 (2019): 17. http://dx.doi.org/10.22146/poetika.v7i1.43130.

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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 Ma

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