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Postzależnościowe ujęcie tożsamości zbiorowej Rosjan w filmie Ładunek 200 Aleksieja Bałabanowa

100%
Gorlewska P.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
|
2013
|
issue 3(25)
617-625
EN
The aim of this paper is to demonstrate how Alexei Balabanov constructs the image of contemporary Russian collective identity around the idea of the post-dependence on the traumatic Soviet experience in Cargo 200. The director shows in his movie a post-Soviet society that is paralyzed by traumatic past. The main context of the analysis is “postmemory”, a category introduced by Marianne Hirsch. The idea of postmemory is based on the belief that trauma can be worked-through by the reconstruction of the past events. On the other hand, it underlines the dangerous impact of repressed traumatic memories on the collective identity of the group. Another theoretical and methodological framework is Aleida and Jan Assmann’s concept of communicative and cultural memory, since the director based his film on the cultural traditions and texts widely known in Russian culture (primarily the works of Fyodor Dostoyevsky). Balabanov, by the usage of historical costume, tried to force the Russian audience to work through the trauma of the past.
2

Heiligenkult – Roman – Theaterstück. Zur Übertragung des Kults der hl. Kümmernis in die neue polnische Literatur

86%
Jekutsch U.
Rocznik Komparatystyczny
|
2014
|
vol. 5
p. 127-151
EN
By her novel Dom dzienny, dom nocny (1999), Olga Tokarczuk (re)introduced the nearly forgotten figure of Saint Wilgefortis/Saint Kümmernis into modern cultural memory. The cult of Saint Wilgefortis had spread widely over Europe in the late Middle ages and Early modern times but the Saint had never been officially recognized by the Catholic Church and, consequently, her cult had been nearly totally erased in the times of the Enlightenment. The cult can serve as an example for the permeability of the borders between official and unofficial culture, for the emergence, disappearance and re-emergence of culturally significant figures. Saint Wilgefortis can serve as an example for the arbitrariness of gender constructions and the borders between them, for their partial or total incompatibility with the sexual identity of a single person. In addition to that, the saint’s many names indicate the instability of naming, its dependence on place, time and language. The instabilities of the saint’s figure and name let her become a fascinating object for the postmodern novelist Olga Tokarczuk and the dramatist Piotr Tomaszuk. The paper analyzes and compares the transfer of the history and rites of Saint Wilgefortis’ cult into a novel and from the novel into a drama.
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