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Journal articles on the topic 'Postmemory'
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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 experienced or is assumed to have experienced the events, and rather than chronologically arranging the events. It is because Pung, herself, did not experience the traumatic events herself, but grew up with their after-effect; that is to say, she indirectly but deeply engaged in “dismemory,” a memory that her father tried to forget and he kept secret from his children. However, these memories are transmitted between the generations, and the daughter finally digs into her father’s secrets and searches for the postmemory in the second generation, as well as in her identity as an Asian-Australian of Chinese-Cambodian descent. Pung's postmemoir does not seem to succeed in fully representing her father’s ‘unspeakable’ memories or ‘the vacuum of testimony.’ Nevertheless, the fact that Pung as an inheritor of postmemory accepts her father's traumatic experience with empathy and imagination is significant in that Pung's postmemoir evokes the ethics of 'the pain of others' by utilizing alternative narratives rather than dramatically embodying the traumatic experience.
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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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Frosh, Stephen. "Postmemory." American Journal of Psychoanalysis 79, no. 2 (April 10, 2019): 156–73. http://dx.doi.org/10.1057/s11231-019-09185-3.
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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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Çalışkan, Dilara. "Queer postmemory." European Journal of Women's Studies 26, no. 3 (July 23, 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? Inspired by these questions, Marianne Hirsch’s work on postmemory and narratives of self-identified trans mothers and daughters, in this article the author discusses the conceptualization of ‘queer postmemory’ in order to think critically on unmarked temporal and familial dimensions in the study of collective and personal memory. While refusing to position memory as an outcome of predetermined temporal frameworks within normative understandings of family, the author looks at strangely remembered things through glimpses of other types of time, other types of relationalities and other types of inheritability.
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Fernanda, Andri. "Transmisi Memori dan Trauma dalam Mother Land Karya Dmetri Kakmi: Kajian Postmemory." Jurnal POETIKA 5, no. 2 (December 31, 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) 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.
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Fernanda, Andri. "Transmisi Memori dan Trauma dalam Mother Land Karya Dmetri Kakmi: Kajian Postmemory." Poetika 5, no. 2 (December 31, 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) 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.
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Ghassani, Damia Rizka, and Ari J. Adipurwawidjana. "Metacinema as Diasporic Postmemory in Justin Chon’s Blue Bayou (2021)." k@ta 26, no. 1 (June 19, 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 argued that Blue Bayou deliberately acknowledges itself as a film and as fiction to present the world that America imagines and understands. We argue that Blue Bayou conceives memory, fosters imagination, and acts as a documentation for the audience as well as for America’s fragmented memory.
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Sy, Ousseynou. "Toni Morrison’s transgressive literary preaching and folk songs as postmemory." International journal of linguistics, literature and culture 7, no. 4 (May 17, 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 bequeathed to their children and grandchildren. Hirsch presents photographs as the instrument through which postmemory is archived and conveyed. She talks about ‘‘photographic archive’’ since photographs can bring back their referents. In comparison, the sermons and folk songs are analyzed as ‘‘oral/aural archive’’, for they have the attribute of triggering memory and postmemory. Also, through her literary preaching, Morrison deconstructs and questions mainstream Christianity by blending it with unorthodox Christian practices. For example, Baby Suggs’ sermon in Beloved gives precedence to the flesh over the spirit, and this sermon is remembered throughout the text as a subdued metaphor.
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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 films through the exploration of prior film methodologies, and elaborating novel forms of mediation of history, memory, and postmemory.
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Frosh, Stephen. "Postmemory and Possession." International Journal for the Semiotics of Law - Revue internationale de Sémiotique juridique 33, no. 2 (May 7, 2020): 515–28. http://dx.doi.org/10.1007/s11196-020-09720-x.
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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 (August 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 issue: ethics, knowledge, affect, and power.
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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 consciousness of the post-war period. These writers recount the experiences not only of their fathers’ wars, but of homecoming and the subsequent psychological impact of the war on family life, whilst also attempting to understand and come to terms with their own traumatic resonances rooted in these veterans’ Post-Traumatic Stress Disorder. I discuss some examples of these texts, which include writers such as Germaine Greer, Lucinda Franks, Leila Levinson, Cole Moreton, or Carol Schultz Vento, who have written within this postmemoir sub-genre. I discuss some common approaches to these postmemorial narratives, which interweave tropes of archival romance, confessional literature, and historiographic metafiction. These family postmemoirs challenge the oft mythologized cultural memory of the ‘Good War’, question the meaning of heroism, and reveal the unspoken traumas of post-war familial life, and ultimately contribute not only to disclosing an unknown history but to broadening the thematic horizons of postmemory to the post-generations of Allied ex-servicemen.
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Sturken, Marita. "Imaging Postmemory/Renegotiating History." Afterimage 26, no. 6 (May 1999): 10–12. http://dx.doi.org/10.1525/aft.1999.26.6.10.
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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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Hirsch, M. "The Generation of Postmemory." Poetics Today 29, no. 1 (March 1, 2008): 103–28. http://dx.doi.org/10.1215/03335372-2007-019.
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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 (October 5, 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 mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.
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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 (October 5, 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 mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.
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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 traumáticas como ocurre en la protagonista de El ala rota de Antonio Altarriba y Kim. A partir del análisis de las metáforas visuales empleadas en estas narrativas gráficas y en diálogo con las teorizaciones de Bruno Latour y de Jane Bennett en cuanto a la materialidad de los cuerpos y Adriana Cavarero por lo que se refiere a la escritura de las historias de vida, se analiza la centralidad del cuerpo en un tipo de reelaboración artística mediada por la interlocución.
Abstract: In graphic narratives, the process of recovering the historical memory of the Civil War and of Francoism often reflects an androcentric interpretation of the concept of “postmemory” (Hirsch), that is, an interpretation shaped especially by a patrilineal genealogy. The current article instead shifts the critical focus to a matrilineal perspective by proposing ananalysis of what I call the «black boxes» (Latour) of postmemory, the almost inert bodies that bear the memory of traumatic motherhood, specifically the protagonist of El ala rota by Antonio Altarriba and Kim. Through an analysis of visual metaphors, and in dialogue with Bruno Latour's and Jane Bennett's theories of the materiality of bodies as well as Adriana Cavarero's theory of life writing, I examine the importance of the body in a kind of artistic elaboration mediated through interlocution.
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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 (July 12, 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 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
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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 - personal, historical and discursive. Although inevitable, such re-readings run the risk of encouraging Holocaust revisionism and denial. Nevertheless, Karpf claims, they are essential to maintain the post-memoir as a living text.
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Kumala, Aleksandra. "Pomnik, który nie powstał, i ofiary, których nie było?" Politeja 20, no. 3(84) (September 28, 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 article also explores manifestations of “Polish rival postmemory,” a notion derived from Marianne Hirsch’s concept of “postmemory” and Michael Rothberg’s “multidirectional memory.” To illustrate the mechanism whereby the process of revictimization replaces commemoration, the article also references the concepts of “mnemonic wars” and “mnemonic mobilization.”
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Kumalasari, Isti. "MEMBACA GENDER DALAM KONTEKS POSTMEMORY." Jurnal POETIKA 4, no. 1 (July 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 (July 1, 2016): 61. http://dx.doi.org/10.22146/poetika.v4i1.13316.
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De Medeiros, Paulo. "Memory’s ransom: silences, postmemory, cinema." Abril – NEPA / UFF 13, no. 27 (October 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 palliative, yet another self-delusion the nation allowed itself as it attempted to put on its new European costume. The article focuses on two films, Inês de Medeiros’ Cartas a uma Ditadura (2006) and Ivo M. Ferreira’s Cartas da Guerra (2016), their differences and their similarities, singling out the work of postmemory evident in the scenes with Belmira Monteiro and her granddaughter in the former. --- Original in English.
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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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Jones, Phil Ian, and Tess Osborne. "Analysing virtual landscapes using postmemory." Social & Cultural Geography 21, no. 2 (May 22, 2018): 186–206. http://dx.doi.org/10.1080/14649365.2018.1474378.
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Ribeiro, António Sousa, and Margarida Calafate Ribeiro. "A Past that Will Not Go Away. The Colonial War in Portuguese Postmemory." Lusotopie 17, no. 2 (December 13, 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 (October 30, 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 Hirsch’s view, is postmemory. Accordingly, the theory used in this paper is Hirsch's postmemory, which believes that the second generation inherits trauma through investment in imagination, projection, and creation. The analytical method used is the methodological implications of postmemory theory with qualitative data. The pattern of the trauma narrative that emerges from the Islamic narrative to the PKI is; reflexive secondary first-person and mental transmission.
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Kim, Yeonmin. "The Silence of the Postmemory Generation in John McGahern’s Short Stories." Irish University Review 53, no. 2 (November 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 tentative truce between the generations and the means by which the postmemory generation can establish its critical identity. Second, McGahern's silence enables his postmemory-generation characters to reinvent the past. On the one hand, the silence reveals intragenerational memory war among members of the later generation as they form different versions of the past. On the other, the silence serves as a creative space for reflective nostalgia to reimagine, and cope with, the trauma of the past.
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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 (March 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 highly political engagement with lesbian postmemory.
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Hout, Syrine. "The Impossibility of Postmemory in Diasporic Anglophone Lebanese Texts." CEA Critic 85, no. 3 (November 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 the case of Lebanon.
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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 as prefabricated events, bringing to the fore the selective management of collective memory through exhibition design.
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Luarsabishvili, Vladimer. "Reconstructing History: Postmemory and Ectopic Literature." Pensamiento. Revista de Investigación e Información Filosófica 78, no. 297 (June 15, 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 of the main narratives, which helps to understand the relation between facts and fantasy.
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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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Mrozewicz, Anna Estera. "Postmemory, Stereotype and the Return Home." Folia Scandinavica Posnaniensia 19, no. 1 (June 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 possible, ‘home’ is staged as an alternative to stereotypes, associated with transnational travel and the apparatus of colonization. A significant counter-narrative embedded in the novel - and hitherto rarely discussed - is the exilic perspective with its idealization of the lost and imagined home(land). In Purge, this is mediated through the main character’s postmemory. By means of a postexilic narrative, home is reconfigured as a ‘third space’ - neither fully ideal and (ethnically) pure nor adhering to the aforementioned stereotypical narratives. The positive valorisation of home, despised by some critics as simplistic and conservative, does not prevent movement and dislocation from being included in the new experience of home(land) emerging from the post-Soviet condition.
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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 Holocaust survivors is relevant to the current discourse in Sweden’s contemporary transcultural society.
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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 suggest that we recognize socialist pedagogy as a separate instantiation of pseudo-education.
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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 (December 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 (January 31, 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 of the autobiography? Pertaining to the first research question, the paper has discovered instances of imprecise geo-narratives, and of the problematics of remembering and forgetting that characterize the analysed excerpts of Call Me Woman. In addition, it has presented instances of postmemorializing and of intergenerational and transgenerational postmemories employed in the analysed excerpts. As regards the second research question, the paper has argued that there are instances of spatioracial apartheid, of a vindicationist view, and of metaculture, metarace and metalanguage that can be detected in the excerpts of Call Me Woman that it has analysed. Moreover, the paper has presented a case for an instance of postmemorially and vicariously deferring to and defying Whiteness in one of the analysed excerpts. In the main, the paper has argued that Ellen Kuzwayo’s Call Me Woman is an autobiography of onto-cartographies of both memory and postmemory. In this sense, the novelty of this paper lies in its endeavour to analyse autobiography through a dual conceptual perspective of the onto-cartographies of both memory and postmemory, and through the lenses of both (trans)raciolinguistics and practice of race theory.
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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 authoress Kica Kolbe, a member of the so-called postgeneration. Considering that both books are of different genres an autobiography and a novel, the analysis is to offer a comparative presentation of the narrative conventions involved in the affirmation of their postmemorial dimension present in: the variant of postmemory, the elements of secondariness and of mediativeness of postmemory, as well as the postmemorial relation to the past through imagination, projection and creation. Нарративная постпамять Основываясь на тезисе Марианны Хирш о том, что понятие постпамять можно обобщить в различных контекстах травматического переноса, в данной статье мы ставим перед собой цель дать обоснование для использования понятия постпамять, относительно, так называемой эгейской темы в македонской литературе, т.е. темы коллективной травмы, вызванной исходом македонцев из Греции во время Гражданской войны в Греции 1944–1949. Предметом анализа являются два произведения Эгейцы и Снег в Касабланке македонского автора Кицы Кольбе, принадлежащего к так называемому постпоколению. Принимая во внимание тот факт, что книги разные по жанру — автобиография и роман — мы предлагаем сравнительный анализ данных произведений на уровне именно аспекта постпамяти, присуствующего в данных произведениях в виде собственно постпамяти, во второстепенных элементах, так или иначе касающихся постпамяти к прошлому через воображение, проекции и творчество.
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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 (October 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 Die Verschleppung and the 2022 reprint Die Ukrainerin. Njetotschka Iljaschenko erzählt ihre Geschichte (The Ukrainian. Njetotschka Iljaschenko narrates her story) and explores the challenges facing literary mediation while maintaining fidelity to the historicity of oral history and postmemory.
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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 (September 14, 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 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.
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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 (March 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 (July 30, 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 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
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Shchepna, Iryna. "Verbalization of Postmemory in Language of Art." Pitannâ lìteraturoznavstva 97 (June 29, 2018): 147–61. http://dx.doi.org/10.31861/pytlit2018.97.147.
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Davoliūtė, Violeta. "Agonistic homecomings: Holocaust postmemory, perspective and locality." Memory Studies 15, no. 3 (June 2022): 539–50. http://dx.doi.org/10.1177/17506980221085524.
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This essay explores the relationship of trauma, memory and locality in works of autobiographical nonfiction by Daniel Mendelsohn, Rita Gabis and Julija Šukys. While the lineage of the first extends to historical victims of the Holocaust in Eastern Europe and the lineage of the latter extends (mainly) to historical perpetrators, their works are examined here as examples of third-generation Holocaust postmemory. Each reflects on the experience of war and displacement through the prism of the stories and silences that circulated in their families and émigré communities from Eastern Europe in North America. Each challenges the received family narrative, travels to the site of historical atrocity, and contemplates individual and collective implication in the Holocaust. These texts manifest an agonistic strategy of remembrance that reflects multiple, incommensurable subject-positions. As distinct from the nationalist utopia of antagonistic memory and the de-territorialized ethics of cosmopolitan memory, they highlight locality as the arena for an encounter with the other.
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Kabir, Ananya Jahanara. "Musical Recall: Postmemory and the Punjabi Diaspora." Alif: Journal of Comparative Poetics, no. 24 (2004): 172. http://dx.doi.org/10.2307/4047424.
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Machado de Almeida Mattos, Andréa, and Érika Amâncio Caetano. "Memory, Postmemory and Critical Language Teacher Education." Analecta política 8, no. 15 (2018): 235–54. http://dx.doi.org/10.18566/apolit.v8n15.a04.
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Kella, Elizabeth. "Suspect Survival: Matrophobia in Postmemory Generational Writing." American, British and Canadian Studies 33, no. 1 (December 1, 2019): 89–117. http://dx.doi.org/10.2478/abcsj-2019-0017.
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Abstract Family and kinship carry special significance to Holocaust survivors and their descendants. In autobiographies and family memoirs, writers of what Marianne Hirsch terms the postmemory generation employ different narrative strategies for coming to terms with the ways in which the Holocaust has marked their identities and family ties. This article focuses on women’s writing of the postmemory generation, examining three works in English by daughters of survivors in the UK, the US, and Canada, written during the 1990s. It investigates the narrative strategies used by Anne Karpf, Helen Fremont, and Lisa Appignanesi to represent maternal sexual agency and vulnerability in a survival context. It suggests that these representations are strongly influenced by matrophobia and matrophilia, defined as the conflicting dread of becoming and desire to be one’s mother, which are themselves strongly conditioned by Holocaust history, particularly the gendered history of vulnerability among women in open hiding during the war1.