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EN
The text is an attempt to determine the relationship between post‑memory (or – in other words – “vicarious memory”) and art. Particular attention is given to visual arts. The works of artists of the younger generation, such as Libera, Bałka, Żmijewski, and to some extent Betlejewski, who explored the memory of the Shoah, were discussed. Their works can be considered a form of manifestation of post‑memory. Assuming that the analysis of artistic phenomena is not possible without reference to the social context in which art is created and its social responsibility, the works of these artists were confronted with the material traces of memory (including Jedwabne, Kolno, Jeleniewo) that shape the social background of artistic creativity, its reception and debate about it.
EN
The article contains considerations over the formation of family‑based remembrance of the past (post‑memory) among the young generation of Kresowiacy (Poles displaced from the Former Eastern Lands belonging to Poland before WW2) living now in Opole in Silesia – a unique region of Poland. Results of empirical research indicate that the family‑related post‑memory (inherited memory), in the young generation of the displaced is not a linear string, whose endpoint is the presence. It is random and fragmentary, with different time contexts, in which there has followed a clear mix‑up of orders covering different dimensions of historical and family events. It is rather that personalistic and historical events most frequently occur as the background of the narration. Young people are most often occasional listeners rather than active researchers of the family past, in particular those traumas that until today have raised anxiety, liberated strong emotions and reminded of the “lost Arcadia”. The everyday life does not favour this type of reflection, and experienced social situations enforce participation in the Silesian regional culture. Such a shape of post‑memory is a result of a series of social processes connected with assimilative and adaptive activities aimed at forming a group of the so‑called “new autochthons”, which were undertaken by the socialist authorities. One can perceive also a hidden and unintended function of these returns to the past, which manifests itself as a wish to maintain group identity in the future through recreating and evoking traumas of the past, that is constructing the “expelled memory”. Nevertheless, the young generation of the displaced in Opole region only to a little extent are becoming its participants and receivers. The heritage of the Former Eastern Lands of Poland, remembrance of the traumas of the past make rather partially forgotten or being forgotten group luggage of the past than an element of group pride.
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EN
The memory has a special meaning both in the Jewish as well as the Christian tradition. It differs from other religious and cultural traditions. Its heart comes from the commandments Zakhor, Remember which means the permanent actualisation of the events which founded and essentially shaped the identity of Jews and Christians. The notion of zikkaron (memorial) reveals the duty to be in relation with the past in function of the present and the future in order not to be separated from God. Thus these two traditions allow to their believers to discover and not to lose the very sense of the human life with its most challenging aspects as suffering, weakness and death. Probably the most influential event in the history within this path of reflection was the Shoah, erroneously named Holocaust, the catastrophe which happened to the Jewish people in result of the Nazi ideology. If we don’t include this horrifying genocide into the Jewish, Christian and human history as a subject of a deep biblical and profound thinking, we cannot avoid two traps: to be fixed and lost in the past or to lose our memory and identity.
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