She who remembers: Gendered trauma as survival and resistance in Scholastique Mukasonga’s writing

The article deals with the problem of ritualization of cultural memory, which became the main theme in the late 1990s in German and Austrian literature on the basic of postmodern novel by Christof Ransmayr “Morbus Kitahara”, published in 1995. The year of 1995 became a turning point in German-language literature and marked the so-called “boom” of memorial literature, which was devoted to the presentation of events of the recent historical past, the Second World War and the Holocaust. A number of novels were published in that year which in different ways deal with historical experience: from immersion into individual history to the creation of dystopian depiction of alternative history, while demonstrating the ambiguity of contemporary perception of collective historical memory. It is important that the notion of “collective memory” has been actively used in scholarly discourse since the early 1990s, and it marks a change in the paradigm of assessing social processes. Similar tendencies are also observed in fi ction, which tries to give a new assessment of the traumatic events of the past, to overcome the long silence on the issue of guilt and victim, using different approaches and mechanisms for memory representing. The methodology used in this paper refers to the memory studies of A. Assmann and M. Halbawchs, who both deal with the terms of cultural and collective memory as well as with mechanisms of ritualization of cultural and collective memory. Memory a concept is realized on three levels, distinguished by A. Assmann: individual, social (communicative memory) and cultural. For this, cultural memory, together with the individual memory of characters, occupy a signifi cant place in the novel. It is shown that the novel describes in detail the mechanisms of implanting of the cultural memory, using symbols and images, as well as rituals as memory stabilizers. At the same time, an intended instilling of guilt takes place that destroys the inhabitants morally and spiritually. The body is assumed one of the intermediaries of memory retention which is also used to instill the negative traumatic memories. The Kitaharadisease, which initially affects the vision of the main character of the novel, affects other characters fi gures, primarily combatants, and becomes a bodily expression of sick memory: visual impairment should be seen as an attempt to forget negative individual experiences. Keywords: ritualization of memory, cultural

This chapter is about the cultural memory and transmission of oral traditions, especially those that use poetics and music. The latter include many of the best studied and most stable forms of oral traditions, including children rhymes, ballads, songs, and epic poetry. Oral traditions are of interest because, unlike written traditions, they depend primarily on memory for their survival. Thus, by examining the products of long periods of oral transmission, we can learn something about the processes of memory used. Working in the other direction, by using our knowledge of memory, we can better understand how the products came into being and what their likely limitations are. Although they are often viewed only as art forms in current times, oral traditions did, and often still do, transmit valuable practical and moral information and in many forms, such as the epics sung in the Balkans, give insight into major conflicts (Foley, 1991; Havelock, 1978; Lord, 1960; Ong, 1982). In large part, this chapter is drawn from my earlier work on oral traditions (e.g., Rubin, 1995), but here I intend to show how it provides a more general view of memory as used in the cultural transmission of information. My goal is to show that current theories of memory need to be expanded in principled and theoretically well-supported ways if they are going to be maximally useful in helping us understand individual and collective memory.

上演北愛衝突：北愛爾蘭戲劇中的記憶、時間與倫理

This paper examines the folk ritual of Theyyam in Kerala as a site of collective trauma, cultural memory, and social protest. Drawing from interdisciplinary perspectives—including anthropology, psychoanalysis, trauma studies, and postcolonial theory—this study argues that Theyyam functions as a cathartic and therapeutic medium for historically marginalized lower-caste communities in Kerala. The performance of Theyyam not only reenacts past injustices but also allows for a temporary inversion of social hierarchy, thereby enabling the oppressed to embody divine agency. This study explores how the ritual serves as a socio-political critique, a site of communal healing, and a mechanism for intergenerational trauma processing. By integrating insights from Cathy Caruth’s trauma theory, Johan Galtung’s structural violence framework, and Pierre Bourdieu’s concept of social capital, this paper situates Theyyam within the broader discourse of cultural resistance and resilience.

India is often described as a land of the past and memory because of her deep-rooted connection with history, mythology, oral traditions, and collective remembrance that continue to shape the cultural and national identity. This perception is not merely poetic but reflects the way India’s civilization and ethos are constructed through layers of memory embedded in the sacred texts, epics, rituals, and monuments. Epics like the Ramayana and the Mahabharata are not just stories but living memories. They are performed, recited, and adapted across generations, functioning as tools for cultural memory that guide moral and spiritual lives. Unlike Western epics, they are not static as they are retold and reinterpreted through oral performances, theaters, television, literature, and regional variations. In essence, the Mahabharata functions as India’s cultural memory by being a reservoir of collective experiences, continuously being remembered and reinterpreted to meet the needs of changing times. This chapter explores the narrative of Shakuni from Mallar Chatterjee’s novel, Shakuni & Dice of Doom, as a lens to examine cultural memory, trauma, and representation of the broken body in Indian mythology. Though Shakuni is often vilified as the architect of the Kurukshetra war, yet he is re-imagined in Chatterjee’s novel not merely as a cunning antagonist but as a product of historical trauma, personal loss and cultural betrayal. It also presents diverse ways in which a single plot is adapted, reinterpreted and retold across different linguistic, cultural and geographical regions. They reflect the local values, beliefs and social contexts, making Indian epics and traditions dynamic and plural rather than fixed and uniform. This study uses the framework of cultural memory and trauma theory to analyze how the physical affliction of a mythological figure becomes emblematic of collective sufferings and historical wrongs and suggests that mythology can also serve as a powerful repository for exploring trauma in cultural consciousness.

ABSTRACTStudies on collective memory have recently addressed the distinction between cultural and communicative memory as a way to understand how the source of a memory affects its structure or form. When a groups’ memory is mediated by memorials, documentaries or any other cultural artifacts, collective memory is shaped by cultural memory. When it is based mostly in communication with other people, its source is communicative memory. We address this distinction by studying two recent events in Argentinean history: the 2001 economic-political-social crisis (communicative memory) and the 1976 coup (cultural memory). We also examine the political ideology and the type of memory involved in collective memory. The memory of the studied events may occur during the lifetime of the rememberer (Lived Memory) or refer to distant events (Distant Memory). 100 participants responded to a Free Recall task about the events of 2001 in Argentina. Narrative analysis allowed comparing these recalls with our 1976 study. Results show: 1) Cultural memories are more contextualised, more impersonal and less affective. 2) Communicative memories are more personal and affective. Study shows how collective memory form changes when it has a different prevalent source.

Memory-Work

DOI: 10.3176/tr.2008.3.01 1. Introduction Memory has become one of buzzwords in today's humanities and social sciences. Concepts like 'collective memory' (Halbwachs 1950), 'lieux de memoire' (Nora 1989, 1996, 1998), 'cultural memory' (Bal et al. 1999), 'social memory' (Fentress and Wickham 1992, Misztal 2003), and many others catch our attention in titles of recently published books and articles, in tables of contents and lists of keywords. We are witnessing an increasing 'memory boom' (Winter 2000) in humanities and social sciences and a new field of research--memory studies--has emerged and develops rapidly. Under these circumstances we should, more than ever, pose ourselves question--what do we mean by 'memory'? Is memory an object of study, a unit of research, or is it a theoretical perspective through which we investigate other phenomena? What are differences between concepts of memory and history or memory and tradition? In which aspects do processes of individual memory and collective memory correlate, and in which they diverge? How far can we extend sub-concepts related to memory like remembering, forgetting, or trauma? And how can individuals' remembering be juxtaposed to construction of social memory? What is agency of language or artefacts in producing memory, in reflecting experience of temporality? What kind of potential, individual and collective, cultural or political, does inversion of temporal order extend in narratives of memory? The current special issue aims to raise some of these questions while implementing an interdisciplinary perspective on particular phenomena that arise from these explorations, in order to consider different aspects of memory with particular focus on cultural memory. 2. From memory boom to critical contemplations Taking into account abovementioned developments, 'memory' has become an excessively used and 'abused' concept, in humanities and social sciences, to extent that 'memory's' meaning and heuristic value become almost unclear (see Berliner 2005, Klein 2000, Fabian 1999). Misuses of memory seem to stem from feeling that it may be easier to avoid providing an adequate account of memory rather than to risk providing an insufficient definition. In field of anthropology Johannes Fabian warns against 'dangers of overextension' of concept of memory in 'current boom of memory, whereby memory becomes indistinguishable from either identity or culture' (Fabian 1999:51). It appears that concept of memory is undergoing developments similar to those that concept of culture recently underwent (cf. Fox and King 2002). We, as authors of this introduction, recognize that whereas it is probably impossible to provide an exhaustive definition of memory, it is nevertheless necessary, in ongoing academic boom of memory research, to continue discussion on possibilities and limitations of memory as an object and as a method. One of first significant critiques of 'the memory boom' by historian Kerwin Lee Klein (2000:128) pointed out that memory has become a 'metahistorical category', something like a Foucauldian field of discourse, referring to both individual and collective practices of remembering. However, it does not mean that memory is becoming a more abstract object, quite opposite--we witness the new materialization of memory to status of a historical agent, and we enter a new age in which archives remember and statues forget (Klein 2002:136). Wulf Kansteiner has argued that cumulative research on collective memory has not yet established a clear conceptual or methodological basis for cultural study of collective memory processes. The characteristics of individual memory are too eagerly attributed to collective memory, ignoring that memory in group processes does not function same way as it does in individual mind, and collective memory as an object of study needs therefore appropriate methods for its analysis. …

Toni Morrison is a master of trauma literature, but trauma theory and a gender response to trauma remain largely unaccounted for in her migration literature, specifically Jazz (1992). In Jazz, two migrant women are affected by the same trauma, a crime of passion. But they choose different coping strategies. This causes a fundamental change to their mental health. Toni Morrison's migrant women are not only faced with migration stress factors, but also exposed to trauma. Managing migration stress factors in the receiving society and dealing with trauma within the migrant community demand appropriate coping strategies. Migration and segregation dissociate the black migrant community from the receiving society. Trauma and stigma, on the other hand, marginalize migrant women within the African- American community. Consequently, migration, segregation, trauma and stigma lead to isolation. Lack of social ties and social identity is associated with different mental health problems, including post-traumatic stress disorder (PTSD). The main aim of this study is to identify major elements of trauma theory in Toni Morrison's Jazz. Furthermore, this article explores the coping strategies that female characters use to deal with trauma. Although extensive research has been carried out on Jazz, no single study exists which adequately covers, migration, trauma, coping strategies and PTSD as they affect the female characters. The novelty of this paper lies in its inter-disciplinary approach to gender and mental health with reference to migration literature.

Collective memory is vital for understanding a society's history and cultural identity, serving as a bridge between the past and the present. The concept of cultural identity is not fixed but evolves over time, shaped by the interactions of individuals with their communities and others. This study investigates the connection between collective memory and cultural identity, focusing on the transformations of the latter. It explores collective memory within an artistic context, analyzing elements such as texts, narratives, photographs, rituals, monuments, celebrations, and buildings that construct a society’s narrative and self-image. The study aims to contribute to the harmonious reconstruction of historical narratives and cultural identities, integrating modern innovations. The research examines the transition from communicative memory to cultural identity, described as thematic culture. It emphasizes the distinctive aspects of collective and cultural memory, utilizing examples from modern literature, particularly exile and diaspora literature. These works highlight how literary texts engage with multiculturalism, cultural diversity, and openness to other cultures. Furthermore, the study addresses the impact of the 1967 war on Arab culture and literature, underscoring its significance in reconstructing collective memory and redefining cultural identity in the Arab world. This analysis demonstrates how memory and literature shape evolving cultural identities in a globalized context. KEYWORDS Communicative memory, cultural difference, cultural memory, identity, memory structures, thematic culture

The article reveals modern approaches to the culture of collective memory addressing the cornerstone historical events which influenced the further course of history and national identity construction. The question of how to construct the collective memory about wars, genocide, mass suffering is one of the most important issues in the modern historiography, sociology and social psychology, political science, and related disciplines. The "politics of memory", which also includes such categories as "ethics and culture of memory," essentially determines the ability of the nation to overcome its collective trauma, to find ways for selfdevelopment and development of the country, and the further role and place of the nation in the system of international relations. This article discusses the current research studies on the culture of memory applied to the Holocaust, the present approaches to the definition and implementation of strategies of politics of memory, and memory models developed by modern scholars on the Holocaust remembrance. The Armenian Genocide of 1915 in the Ottoman Empire serves as object of the analysis. The subject of the analysis includes the approaches to the memory about the Armenian Genocide in the modern Armenian society, which is discussed here as the complex culture of memory on the Armenian Genocide, which is partly resulted of the official politics of memory implemented by Armenian authorities, as well as practiced by the Armenian Diaspora, and is partly a consequence of manifestations of national identity and collective memory at the level of society, social groups and individuals. The article is an attempt to identify the memory models in scientific research studies, in particular with regard to the memory of the Holocaust, and analyze their application / applicability to the culture and social practices of the memory of the Armenian Genocide.

Hearth and Hotmail

This paper explores the vital role of women in the preservation and transmission of cultural heritage across diverse societies. Women have historically been the custodians of tradition, often serving as the primary transmitters of cultural knowledge, practices, and values within families and communities. Their contributions, while frequently overlooked in mainstream narratives, are essential for sustaining cultural identities and fostering intergenerational continuity.The research examines various dimensions of women’s involvement in cultural preservation, focusing on their roles in oral traditions, artisanal crafts, rituals, and community storytelling. Women are often the bearers of folklore, music, and dance, embodying the narratives that shape cultural identity. In many societies, they engage in the practice of storytelling, passing down historical accounts and moral lessons that reinforce community values and collective memory.Artisanal crafts, such as weaving, pottery and textile production, showcase women’s creativity and skill while serving as tangible expressions of cultural heritage. These crafts not only provide economic opportunities but also facilitate the transmission of techniques and aesthetic values to the younger generations. The paper highlights case studies from various regions, illustrating how women preserve cultural identities and promotes community cohesion.Moreover, women’s participation in rituals and festivals underscores their central role in cultural expression. As organizers and participants, women influence the portrayal of cultural narratives, ensuring that traditions evolve while maintaining their core significance. The study also addresses the challenges women face in playing these roles, including gender biases, socio-economic barriers, and the impact of globalization as well.In contemporary contexts, women’s activism plays a crucial role in safeguarding cultural heritage against threats such as modernization and cultural homogenization. The paper explores how women leverage their positions to advocate for cultural rights and recognition, participating in movements that highlight the importance of cultural diversity. Their efforts often lead to initiatives aimed at preserving intangible cultural heritage, such as language revitalization programs and community heritage projects.Through qualitative interviews and ethnographic studies, the research underscores the importance of recognizing and valuing women’s contributions to cultural preservation. It calls for a re-evaluation of heritage narratives that historically marginalize women, advocating for inclusive frameworks that highlight their roles as cultural guardians. By amplifying women’s voices in cultural discourse, the study contributes to a more nuanced understanding of heritage transmission and challenges existing power dynamics. Women are indispensable to the preservation and transmission of cultural heritage. Their roles as storytellers, artisans, and community leaders not only enrich cultural landscapes but also foster resilience in the face of change. Recognizing and supporting women’s contributions is essential for sustainable cultural preservation, ensuring that future generations inherit a rich and diverse tapestry of cultural identities. This research ultimately advocates for policies and practices that empower women as active participants in cultural heritage, positioning them as key stakeholders in the ongoing dialogue about cultural preservation and transmission.

Collective victimhood and collective resilience are two sides of the same coin. However, most literature to date has focused on the experiences and consequences of collective victimhood. In the present research, we focused on the experiences of Black Americans, a group that has a legacy of victimization and resilience. As a part of Black Americans' collective memory, we explored the nature of historical collective resilience and examined its role in explaining collective responses to present‐day oppression, over and above any effect of historical collective victimhood. When they were asked to reflect on their group's history, across Studies 1 (N = 272) and 2 (N = 294), we found that Black Americans generated narratives of collective resilience. In both studies, we also found evidence that perceived historical collective resilience was linked to a greater sense of collective continuity, which, in turn, explained greater support for the ongoing Black Lives Matter movement. Our findings underscore the importance of considering narratives of resilience in a group's history and point to the way such collective resilience narratives can serve as a resource for the group in the present.

The relevance of collective memory analysis comes from the increasing role of memorization in social processes, which are currently acquiring increasingly significant conflict potential. The author analyses visual material of the popular science fiction series The Orville, which represents a segment of American political culture, as one of the cultural mechanisms for the assimilation of ideology and politics in mass cultural discourse. It is presumed that The Orville parodies the classic epics Star Trek and Babylon 5 and thus is part of the processes of deconstructing the historical collective memory of modern American society. This study intends to establish how a formally parody series not only mocks and imitates, but also constructs its own versions of memorial culture. The article aims: 1) to describe the universal tactics of deconstruction as a form of revision of existing memorial cultures; 2) to clarify the possibilities and boundaries of describing memorial culture through the prism of visual mass culture, using the example of a science fiction series; 3) to analyze the modes of updating political and social contradictions in American society on the example of the TV series The Orville; 4) to consider the specificity of the transformation of mass consciousness by constructing a new version of identity in the light of a radical revision of the narratives of classic science fiction series; 5) to analyze the political and ideological dimensions of the memory wars presented in the clash of traditional and liberal values of the characters in the series. Methodology of the article bases on the principles of the memorial turn and the analysis of the politics of memory within the paradigm of cultural and intellectual history and includes the methods of discourse analysis and intent analysis. The novelty of the study lies in determining the directions and specificities of the assimilation of the political, limited by the problems of collective memory, cultural, religious and gender identity along with military and ideological confrontation in modern mass culture of historical memory within the visual space of the science fiction series The Orville. The series is analyzed as an attempt to deconstruct the cultural experience and legacy of Star Trek, which actualized science fiction series as one of the sources of cultural and social meanings for modern consumer society. The author also analyzes the contribution of the series to the development of the collective memory of US society; the transformation of the concepts of Self and Otherness through the prism of specifying cultural, religious and gender roles. Revision of the past in popular culture as an alternative space for the functioning of collective historical memory is investigated. As a result of the study, it is presumed that The Orville actualizes modern American laughter culture and inspires attempts to rethink collective memory, the collective historical experience of trauma and represents an attempt to abandon the strategies of historical amnesia and ignoring politically inconvenient experiences.