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EN
The object of the article is the novel Himmelskörper written by Tanja Dückers, the representative of the third post-war generation. The discourse in the family communication and memory space, the relation to family members from the experience generation, as well as the trips in the home towns of the forefathers in the former eastern territories of Germany turn out as important fields of the search for the post-war generation’s identity. The question is asked how memories of the Second World War and the post-war period are constructed in the family context, how the representatives of  the third generation deal with the family’s past. In addition, the role of the return to the home towns of the grandparents and parents for the descendants and whether these journeys lead to the constitution of the feeling of self is analysed.
EN
Learning languages is connected with emotions and learning languages also includes regional and cultural studies. Regional studies can put emphasis on various issues. One option of the cultural regional studies is the implementation of memory spaces. Thus, the present paper deals with the aims of such implementation as well as with the question if and how is it presented in textbooks of German as a foreign language.
EN
In modern narratives, the island of Spinalonga appears an attractive tourist destination with an interesting and enigmatic history. In fact, Spinalonga is a memory space, encumbered with past political decisions and medical negligence. This is the story of the great confinement, the isolation of the sick who were symbolically killed. Meanwhile, the photos shared on Instagram show the island in a completely different light. The article seeks to answer the following questions: Does the behavior of Instagram users disrupt the culture of memory and how do these photos (digital representations of memory) influence the image of the island? To this end, I outline the history of the island in the context of exclusion mechanisms for those with Hansen's disease. I discuss the issues of dark tourism, social photo and desemantization of communication. I juxtapose the whole thing with the examples of photos from Spinalonga published on Instagram in 2022.
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