Memory Of Shoah Research Articles

NASZA – WASZA ZAGŁADA. MIZRACHIM WOBEC IZRAELSKIEJ PAMIĘCI O SZOA I POLSKICH PRZESTRZENI NAZNACZONYCH

Tekst ma na celu analizę różnorodnych postaw wobec izraelskiego dyskursu zagładowego, prezentowanych przez izraelskich pisarzy i artystów określanych jako Mizrachim. Jak twierdzę, choć nie są oni związani z Szoa biograficznie, stanowią część pozagładowych generacji. Idea spoglądania na izraelskie konfrontacje z pamięcią o Zagładzie, choć już od dawna zakorzeniona w naturze tego doświadczenia, w tym konkretnym przypadku wskazuje dodatkowo na skalę wpływu, który temat Szoa wywiera na całe społeczeństwo. Stąd analizowane przeze mnie postawy są nierzadko skrajne: od akceptacji i prób zaadaptowania pamięci o Zagładzie jako części własnej tożsamości po krytykę statusu przynależnego tej pamięci w Izraelu jako wykluczającego i opresyjnego wobec tych, którzy nie mogą się z nią identyfikować. Niektórzy twórcy próbują także na nowo negocjować granice publicznego dyskursu i włączyć do niego również własną perspektywę.

Memory and Commemoration

Relations between explicit and implicit memory of traumatic events are discussed in context of common memory manipulations for present political reasons. Destructive consequences of stirring up group cohesion with negative emotions are emphasized. Reaction for traumatic event is discussed in context of mourning process. Memory of Shoah as unique traumatic experience is analyzed in perspective of commemoration and part of group common memory. Frizzing of individual memory process is suggested to be a consequence. Ways of commemoration of the Shoah and victims of the Holocaust in form of monuments are used as examples. As well as selected pieces of art. being a form of individual mourning.

LEILA DANZIGER E EUGENIA BEKERIS: UM DÍPTICO SOBRE A NOVA ARTE DA MEMÓRIA

Resumo O artigo apresenta a obra de duas artistas da memória, ambas da América Latina, uma brasileira, Leila Danziger, outra argentina, Eugenia Bekeris. Cada uma delas tem uma poética própria e muito original. Ambas têm como herança a terrível memória da Shoah, o holocausto. Nas duas artistas, vemos imagens e palavras se juntarem em uma arte da memória poderosa e ao mesmo tempo delicada. Com suas obras, podemos tanto olhar de mais perto a paisagem em ruínas do século XX, como também repensar nosso próprio presente de modo mais crítico.

IMMIGRATION AND MEMORY IN POPULAR CONTEMPORARY FRENCH CINEMA: THE FILM AS �LIEU D�ENTRE-MEMOIRE�

In this article, I would like to develop the idea that cinema could be thought as a “lieu d’entre-memoire”. My aim will be to show how some films take part in a “global space of remembrance” (Hirsch, 2012) by interconnecting different memories from different times and events. To support this idea, I will mainly work on recent French movies devoted to the question of the immigration as Le Nom des gens (Leclerc, 2010) or Le Havre (Kaurismaki, 2011). These films are interesting insofar as they connect the current question of the (undocumented) migrants with the memory of Shoah or with the memory of the victims of the war in Algeria. In this way, these movies open on a memory of the other in a French society which, under the Presidency of Nicolas Sarkozy, is increasingly obsessed by the national memory. My purpose will be to study these films of a social and aesthetic point of view to define the conditions of possibility of a “lieu d’entre-memoire”. In this perspective, I shall show in particular how these movies call into question the family as classical model of memory transmission. In the films discussed, it’s certainly not a coincidence that the “entre-memoire” happens in blended families in which the question of the filiation is replaced by relationships that aren’t necessarily relations of descent or heredity. It is within the framework of recomposed family that we will also observe the passage of a ‘self’ memory to a memory of the otherness.