Academic literature on the topic 'Remembrance motif'
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Journal articles on the topic "Remembrance motif"
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Boschki, Reinhold, and Thomas Schlag. "Zeit-Wege und Wege-Zeit der Tora – Chancen eines beziehungsorientierten Erinnerungslernens." Zeitschrift für Pädagogik und Theologie 67, no. 2 (June 1, 2015): 145–54. http://dx.doi.org/10.1515/zpt-2015-0206.
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Abstract The article deals with the question how the Torah can become a relevant topic in learning and teaching processes in religious education. In doing so, the motif of „godly and humanly commemoration“ is used to elaborate on the idea that learning is commemoration in a two-fold sense: „It is the commemoration of god and the commemoration of the human being, in which the shared memory of the human being and god form a oneness.“ Derived from this idea the thought is developed, that such a learning remembrance is on the one hand aimed at the interpretation of the present, but on the other hand also aimed at creating perspectives for the future. Commemoration aims at concretion in the present with a glance at the future.
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Vsevolodovich Lukhovitskiy, Lev. "Additional Considerations on the Iconoclast Issue in the Hesychast Controversy." Studia Universitatis Babeș-Bolyai Theologia Orthodoxa 67, no. 2 (March 25, 2023): 185–99. http://dx.doi.org/10.24193/subbto.2022.2.05.
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"Mid-fourteenth-century Byzantine sources bear witness to an increased interest in Iconoclasm among the theologians involved in the Hesychast Controversy. The writings of the defenders of icon veneration were mined for authoritative quotations and the history of Iconoclasm became a repository of historical role models. This article is comprised of two sections. The first part expands a catalogue of texts of the epoch which make explicit reference to precedents in the Iconoclast period. The second part assesses, first, the polemical advantages and disadvantages of the accusation of iconoclasm in mid-fourteenth-century Byzantium by revisiting the afterlife of this label after the Triumph of Orthodoxy. Secondly, it traces the dynamics of how Iconoclasm was remembered in the Hesychast debate, distinguishing between the mythologizing and the philological levels of remembrance. The conclusion draws a connection between Nikephoros Gregoras’ approaches to theological polemics and to hagiography. The initial success and eventual fading-away of the iconoclastic motif in Hesychast polemics is explained by the uniqueness of Gregoras’ literary method and his personal circumstances. Keywords: Nikephoros Gregoras, John Kyparissiotes, Theodore Graptos, Byzantine literature, cultural memory, Palaeologan period, Iconoclasm, Hesychasm "
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Tokarska-Bakir, Joanna. "Cries of the Mob in the Pogroms in Rzeszów (June 1945), Cracow (August 1945), and Kielce (July 1946) as a Source for the State of Mind of the Participants." East European Politics and Societies: and Cultures 25, no. 3 (July 11, 2011): 553–74. http://dx.doi.org/10.1177/0888325411398916.
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Although the starting point for all the Polish postwar pogroms (save for one) was a blood libel, this particular motif did not attract the historians’ attention until recently. Theories on plots devised by “Soviet advisors” or “Zionists” enjoyed an incomparably greater popularity. This article, based upon the documentation of the Rzeszów and Kielce pogroms, the most recent ethnographic resources (2005—2009), the documentation used in Marcel Łoziński’s documentary Świadkowie ( The Witnesses; made in 1980s), and an intensive search at the National Remembrance Institute (IPN), reveals a uniform social-mental formation of those partaking in the pogroms—the attackers and militiamen disciplining them, public prosecutors, and judges. All of them—including militiamen and Security Service officers—were subject to a blood libel suggestion. Traces of this thread have survived till this day in some segments of Polish society—not only in the countryside population, despite any appearances. This article aims at showing how an anti-Jewish alliance was getting formed in the first years after the liberation, on the grounds of a gradually strengthening “Polish national socialism,” and along with it, a synthesis of religious anti-Semitism (Jew as a “kidnapper/bloodsucker”) and a modern anti-Semitism (Jew as a “capitalist/bloodsucker” and “Judeo-communists” contaminating a sound national/party organism).
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MARTIN, BRIDGET. "COLD COMFORT: WINGED PSYCHAI ON FIFTH-CENTURY BC GREEK FUNERARY LEKYTHOI." Bulletin of the Institute of Classical Studies 59, no. 1 (June 1, 2016): 1–25. http://dx.doi.org/10.1111/j.2041-5370.2016.12015.x.
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Abstract Some fifth-century BC Greek funerary lekythoi depict the dead as diminutive, winged figures. These often overlooked figures are the culmination of a tradition stretching back to the winged epic dead of the sixth century, whose depiction centred on motifs of recognition, remembrance, and comfort. This article argues that these motifs were adopted and adapted in the fifth century to fulfil the particular needs of the vase dedicators: the winged figures offered comfort and reassurance to the living that the dead were cared for and their own piety noted, and suggested remembrance and honour for the dead.
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Bohn, Charlotte. "Historiography and Remembrance: On Walter Benjamin’s Concept of Eingedenken." Religions 10, no. 1 (January 10, 2019): 40. http://dx.doi.org/10.3390/rel10010040.
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Engaging with Walter Benjamin’s concept of Eingedenken (remembrance), this article explores the pivotal role that remembrance plays in his attempt to develop a radically new vision of history, temporality, and human agency. Building on his essay “On Some Motifs in Baudelaire” and on his last written text, “Theses on the Philosophy of History”, it will trace how memory and historiography are brought together in a curious fusion of materialist and messianic thinking. Emerging from a critique of modernity and its ideology of progress that is cast as crisis—the practice of remembrance promises a ‘way out’. Many of Benjamin’s secular Marxist critics such as Max Horkheimer and Rolf Tiedemann, however, denied the political significance of Eingedenken—dismissing it as theological or banishing it to the realm of aesthetics. Rejecting this critique, I suggest that the radical ethical aspects of Eingedenken can be grasped only once the theological dimension is embraced in its own right and that it is in precisely this blend of materialist and messianic thought that revolutionary hope may be found.
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Keiser, Thomas A. "The Song of Moses: a basis for Isaiah's prophecy." Vetus Testamentum 55, no. 4 (2005): 486–500. http://dx.doi.org/10.1163/156853305774651923.
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AbstractSimilarities between II Isaiah and Deuteronomy xxxii are commonly noted, however, little work has been done regarding the nature of that relationship. This article argues that there is a direct and conscious literary, theological and thematic dependence between these texts. Theologically, both passages proclaim the incomparability of Yahweh in the context of judgment-deliverance intervention with respect to Israel with the basis for the switch from judgment to deliverance the same in both texts. Thematic similarities are evident in a common presentation of the Lord, and with similar motifs such as remembrance, creation, witness, etc. Direct literary dependence is evident in the utilization of uncommon words and expressions, some of which occur in similar contexts.
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Semerdjian, Elyse. "Bone memory: the necrogeography of the Armenian Genocide in Dayr al-Zur, Syria." Human Remains and Violence: An Interdisciplinary Journal 4, no. 1 (2018): 56–75. http://dx.doi.org/10.7227/hrv.4.1.5.
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This article discusses how Armenians have collected, displayed and exchanged the bones of their murdered ancestors in formal and informal ceremonies of remembrance in Dayr al-Zur, Syria – the final destination for hundreds of thousands of Armenians during the deportations of 1915. These pilgrimages – replete with overlapping secular and nationalist motifs – are a modern variant of historical pilgrimage practices; yet these bones are more than relics. Bone rituals, displays and vernacular memorials are enacted in spaces of memory that lie outside of official state memorials, making unmarked sites of atrocity more legible. Vernacular memorial practices are of particular interest as we consider new archives for the history of the Armenian Genocide. The rehabilitation of this historical site into public consciousness is particularly urgent, since the Armenian Genocide Memorial Museum and Martyr’s Church at the centre of the pilgrimage site were both destroyed by ISIS (Islamic State in Syria) in 2014.
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Junik-Łuniewska, Kamila. "Writing (in) melancholy. Loss and remembrance in the works of two contemporary Hindi writers." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 55–66. http://dx.doi.org/10.26881/jk.2018.9.05.
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The paper aims at analysing the question of melancholy and memory in contemporary Hindi literature. The author selected works by two Hindi writers (T. Grover and U. Vajpeyi), who represent similar approach towards literature and use similar means of expression. The two main motifs characteristic for their writing – love (pyār) and loss (a-bhāv) – are closely related to the creative process: the loved one is the lost object, the one subjugated to melancholy, who can be remembered through writing. In the light of A. Świeściak’s idea of “melancholic subject” and S. Bahun’s concept of “performing melancholia”, the author discusses ways in which both the writers construct their literary world, inhabit it with loved/absent objects (beloved, father), and mourn their loss. The subject in their writing is both fictional and biographical, so the loss relates to literary as well as real events, becomes multidimensional. In Grover’s Blue, the subject’s separation with the beloved leads her to realise the loss of her father in childhood, and thus unveils the mourning and melancholy (symbolically represented by blue/Blue). U. Vajpeyi’s poems create a space for meeting his lost love, for weeping and remembrance, for exchanging letters (and writing). The results of the present study show that melancholy – as a consequence of loss, mourning, and remembering - becomes a creative force, inducing the author (narrator, subject) to write.
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Michułka, Dorota. "Literature — history — education: Encounters with the past in contemporary Polish narratives for children and young adults." Oblicza Komunikacji 12 (June 24, 2021): 433–50. http://dx.doi.org/10.19195/2083-5345.12.30.
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The article discusses the ‘relationships’ that exist between literature, history and education in contemporary Polish narratives for children and young people. The historical literary works for young readers discussed in the text are strongly rooted in the concept of culture remembrance — they represent a variety of genres, a kind of modernist genre syncretism and hybrid forms, as well as a diverse type of narration. Walter Scott’s traditional historical novel model is mixed with narration maintained in the poetics of a story of a reflective character with a clearly exposed issue of the concept of time and setting (chronotope), and didactic short stories with elements of “dialogues with a thesis”. It is also worth noting that literary examples of playing with conventions using fantasy motifs. As has been shown, contemporary Polish literature on historical topics intended for children and young people as an element of historical education may constitute a specific cultural and social form of memory about people and events of the past years.
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Gilloch, Graeme. "“The Man of the Hour”: Hawthorn(e), Nebraska and Haunting." Arts 8, no. 2 (April 17, 2019): 53. http://dx.doi.org/10.3390/arts8020053.
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This paper provides a close reading and critical unfolding of central themes and motifs in Alexander Payne’s acclaimed 2013 comic ‘road movie’ Nebraska. It focuses on three key issues: (1) the symbolic significance of hawthorn as a threshold between different worlds (Hawthorne, Nebraska being the former hometown to which father and son make a detour); (2) the notion of ‘haunting’ in relation both to ‘importuning’ memories besetting the central characters and to particular sites of remembrance to which they return; and, (3) how the film’s pervasive mood of melancholy is subject to repeated interruption and punctuation by comic utterances and put-downs. In presenting us with a reluctant ‘gathering of ghosts’, a veritable phantasmagoria, the film articulates a particular sense of nostalgia, of a ‘homesickness’ understood here not in the conventional meaning of a longing to return to a forsaken ‘home’, but rather as a weariness and wariness at the prospect of revisiting familiar haunts and reviving old spirits.
Dissertations / Theses on the topic "Remembrance motif"
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Tremblay, Katheryn. "Parages poétiques : Remembrance et poésie dans Kamouraska d'Anne Hébert et L'Amant de Marguerite Duras." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26890.
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Ce mémoire a pour objectif d'examiner la part de poésie contenue dans les romans Kamouraska (1970) d'Anne Hébert et L'Amant (1984) de Marguerite Duras. Alors même que ces oeuvres sont souvent qualifiées de poétiques par la critique, la question générique se trouve formulée par les auteures elles-mêmes, qui remettent en cause le partage entre récit et poésie dans leur production. En mobilisant dans un premier temps le modèle théorique du récit poétique de Jean-Yves Tadié, puis en se livrant dans un deuxième temps à un examen de certaines spécificités stylistiques des oeuvres retenues, le présent mémoire s'efforce de mener à la fois une interrogation sur la possibilité d'une hybridation entre narration et poésie et une recherche des traces de pareil phénomène dans les romans hébertien et durassien. Il procède, par le fait même, à une réflexion sur le modèle de Tadié, l'analyse réalisée permettant d'en questionner les modalités.
Book chapters on the topic "Remembrance motif"
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Thornbush, S. E., and Mary J. Thornbush. "Mortality, Salvation, and Remembrance Motifs." In Changing Landscapes in Urban British Churchyards, 65–81. BENTHAM SCIENCE PUBLISHERS, 2020. http://dx.doi.org/10.2174/9789811441264120010008.
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Grinevich, Olga A. "Interaction of fact and fiction in the “estate” poetry of V.V. Nabokov." In Estate real — estate literary: vectors of creative transformation, 118–28. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0676-5-118-128.
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The article examines the interaction between fact and fiction in V. Nabokov’s “estate text” at three levels of semiosis. The level of semantics is made up of a system of images, motifs and toposes that together form the semantic core of the “estate” text. The level of syntactics is formed by horizontal connections between elements of semantics, the sequence of their implementation (for example, a plot), as well as the interaction between text and contexts. At the level of pragmatics are considered dialogical connections within the supertext (for example, the features of the subjective structure) and the interaction between different artistic languages that form the supertext (verbal and visual, artistic and documentary, poetry and prose). The semantics of “estate” poetry is associated with the topos of remembrance, the transformation of the real space of the estate into the space of memory and imagination. At the same time, a mechanism of decontextualization is operating: attention is focused not on the historical and cultural contexts of the functioning of the “estate topos”, but on the author’s personal memories. In autobiographical prose (the novel “Other Shores”, 1953–1954) the different relationship between text and context can be observed: the space of the estate fits not only into the biographical, but also into the literary context. At the pragmatic level, there is a blurring of intersemiotic boundaries, which leads to an active interaction between verbal and visual, poetic and prosaic artistic languages. Thus, in the novel “The Gift” (1938), the ecphrastic border between reality and the image is blurred, and in the prose text the plot of an elegiac walk is used, being typical for the “estate” poetry of the 19th century.
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Kovač, Leonida. "Sebald’s Toute la mémoire du monde." In W.G. Sebald’s Artistic Legacies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729758_ch13.
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In 1956 Alain Resnais opened his film-essay Toute la mémoire du monde with the statement that owing to the short-lived nature of human remembering, people tend to accumulate countless auxiliary memories. The issue of “auxiliary memories” related to the search for one’s own identity is an ostinato theme of Sebald’s last novel Austerlitz where the titles and certain motifs articulated in three films by Resnais are appropriated in order to depict the twentieth century in terms of the uncanny. It was not by chance that a Jewish boy named Jacques Austerlitz, before he was sent from Prague in England by the last Kindertransport, and his mother to Theresienstadt, spent his last summer with the parents in Marienbad, a place to which he would return many years later and become haunted by something unknown. In Sebald’s narrative tissue such reference to L’Année dernier á Marienbad (Last Year at Marienbad) rhizomatically lead to 1955 Resnais’s film-essay Nuit et brouillard (Night and Fog), as well as to the psychoanalytic notion of the originally lost object. But, in the novel, Resnais is explicitly mentioned only once, in Austerlitz’s remembrance of the scene from Toute la mémoire du monde as fantastic and monstrous owing to footage of the Bibliothèque nationale de France in Paris that shows the transportation of notes from reading room to storage. The performative of Sebald’s “monstrosity” is through narrative transversal related to the erasure of historical (holocaust) memory: the new library—erected on a site where Nazis had stored Jewish property which they had stolen during the Second World War—was, following a 1988 decision by the French president, to be the most modern and biggest library building in the world.