Communism in retrospect: The rhetoric of historical representation and writing the collective memory of recent past

Tileagă, Cristian

doi:10.1177/1750698011434042

Cited by 23 publications

(14 citation statements)

References 53 publications

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“…Therefore, the way people see communism is directly related with the level of satisfaction with their present life. Probably the same factors influence similar nostalgia to be found in all former communist countries (Tileaga, 2012b).…”

Section: The Memory Of Communism In Romanian Societymentioning

confidence: 83%

“…Hooper-Greenhill (2007, pp. [44][45][46][47][48][49][50][51][52][53][54][55][56][57][58][59][60][61][62] identifies the following categories of outcomes of museum education: knowledge and understanding, skills, attitudes and values, enjoyment -inspiration -creativity, and activity behavior and development. In such a context, museums developed their educational offer, as well as the variety of public programs proposed to various segments of their audience.…”

Section: Nowadays Museums Have a Very Active Role In Society As The mentioning

confidence: 99%

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Painting Shades of Gray: How to Communicate the History of Communism in Museums

Zbuchea

Ivan

2015

Ro. Comm. & PR

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Communication of sciences / arts lies at the core of a museum public activity. It is a special type of communication, meant to make the collections and the domain of the expertise of the museum accessible to a wide public in order to fulfill the special culural and social role that museums have in the contemporary society. This can not be achieved without the cooperation of visitors, as well as the museum stakeholders. For fruitful relationships, museums have to design their activity and public offer taking into account the characteristics as well as the interests of various segments of its audience. The present paper discusses the prerequisits for a succesful museum exhibition. Special attention is given to designing an effective exhibition on the history of communism. By investigating the profile of the potential visitors for such an exhibition, the paper draws a framework to be considered when designing it. The discussion is timely, since in the last few years there are discussions and initiatives related with the establishement of a museum of communism.

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Section: The Memory Of Communism In Romanian Societymentioning

confidence: 83%

Section: Nowadays Museums Have a Very Active Role In Society As The mentioning

confidence: 99%

Painting Shades of Gray: How to Communicate the History of Communism in Museums

Zbuchea

Ivan

2015

Ro. Comm. & PR

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“…Despite contestations of hijacking or its de-politicization, the experience of 1989 largely featured as a point of convergence regionally and transnationally until recently between the two governments (Tileagă 2012;Laczó 2016), even if joined by a narrative of victimhood. Successive governments in Romania and Hungary, also in order to counter accusations concerning this uncertain history, emphasized 1989 as a shared traumatic past able to support a narrative of civic opposition and political disobedience with the anticipatory memory of 1989.…”

Section: Challenging the Reconciliatory Pastmentioning

confidence: 99%

“…Amidst the more recent pan-European resurge in discourses on security, statehood and territorial integrity, 20 the waning Hungarian-Romanian consensus memory of 1989 also disputed the growing transnationalization of the anticommunism liberal overlap. Tokes had actively supported the blanket criminalization of communism in 2006 of the Romanian government (Tileagă 2012;Ciobanu 2011). He was also a prominent voice in suggesting Eastern European dictatorial pasts need to have a place in the "European" narrative of shared histories of violence.…”

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confidence: 99%

On political heritage: remembering and disavowing 1989

Dolghin

2018

Innovation: The European Journal of Social Science Research

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www.opendemocracy.net/can-europe-make-it/dimitris-christopoulos/humanrights-in-state-of-perpetual-emergency] of refugees mobilized several memorial narratives which had been the backbone of European memory. Historian Dan Stone has recently made a detailed foray into the locus of the Holocaust as a historical narrative meant to support the ethical argument for solidarity and conclude that remembrance represents just a small fraction of the necessary historicization. The memorial neglect of its history was at the time a recurrent account of the reluctant political attitudes emerging around the frontiers of Europe. This article traces a similar now transnational difficult history inscribed into the European narrative, 1989, and investigated the conditions in which it became a topic of interest in 2014-2015. I locate their invocation in a longer term perspective on the ebbs and flows of the history of 1989 becoming political heritage. This article argues that 1989, as both consensus and competing memory, has been increasingly polarized through these two opposing perspectives more recently. In order to flesh out and interpret these dynamics, I first contextualize how an initially consensus-driven memory narrative around 1989 had by 2014 solidified into two divergent collective memory discourses, suggestive of the populist abatement. It was in the 1990s that the perspective on 1989 generally consolidated the events into a pre-emptive memory, wherein remembrance represented an act of political citizenship supported by a civic narrative of disobedience which would be able to be called on in anticipation of a threat to the new liberal polity. Yet such "negative" political heritage, otherwise a European transnational memorial perspective, gradually emerged as a prop for identity politics. Here, I focus on the tensions in Romanian and Hungarian memorial debates. Indeed, since roughly 2010, this former pre-emption remembrance is being increasingly integrated into discourses of sovereignty and more recently played into the mobilization of the memory of 1989 as a defensive narrative. I consequently consider its invocation in the recent debate on refugees and a wider spectrum of clashing notions of citizenship, state and the public, all leaning on a narrative of the "authoritarian past. As both sides were (and are) employing an increasingly selective historical imaginary, the competition around the memory of 1989 shows how appropriating a revolutionary heritage is in fact instrumental to authoritarian prone politics .

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“…Released from the straightjacket of Cold War politics, memories of the Second World War, the communist takeover and the decades of life under communist rule provided a rich resource for politically driven mythmaking across the political spectrum, as well as for creative engagements with the past in the visual arts and museums (e.g., Bernhard and Kubik 2014, Boym 2001, Sarkisova and Apor 2008, Tileaga 2012, Todorova and Gille 2010. Narratives of the socialist past also became important at vernacular and everyday level, and served as vehicles for making sense of the post-socialist transformation and for orienting one's own sense of identity and belonging (e.g., Berdahl 2010, Mark 2010, Mihelj 2014, Rabikowska 2013.…”

Section: It Offers a Critical Review Of The Main Trends In Existing Rmentioning

confidence: 99%

Memory, post-socialism and the media: Nostalgia and beyond

Mihelj

2016

European Journal of Cultural Studies

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it offers a critical review of the main trends in existing research, focussing on four key issues: the fascination with nostalgic modes of remembering, the dominance of national frames of analysis, the lack of research on the mediation of personal and vernacular remembering, and the privileging of descriptive over explanatory modes of analysis. Second, the article outlines a new agenda for the field, and proposes three main research trajectories. The first pays attention to how mediated memories at local and national levels interact with transnational processes of remembering the Cold War, the second focusses on to the intersections between personal and public modes of mediated remembering, and the last moves the discussion from description to explanation, using comparative approaches to advance explanations of different modes of mediated postsocialist memories.Keywords: memory, media, post-socialism, nostalgia, television, transnational memoryThe demise of state socialism in Eastern Europe triggered a profound restructuring of individual and collective relationships with the socialist past. Released from the straightjacket of Cold War politics, memories of the Second World War, the communist takeover and the decades of life under communist rule provided a rich resource for politically driven mythmaking across the political spectrum, as well as for creative engagements with the past in the visual arts and museums (e.g., Bernhard and Kubik 2014, Boym 2001, Sarkisova and Apor 2008, Tileaga 2012, Todorova and Gille 2010. Narratives of the socialist past also became important at vernacular and everyday level, and served as vehicles for making sense of the post-socialist transformation and for orienting one's own sense of identity and belonging (e.g., Berdahl 2010, Mark 2010, Mihelj 2014, Rabikowska 2013. The rich and growing body of scholarly work on post-socialist memory has by now provided important insights into the varied layers and processes of memory formation in the region, ranging from public to vernacular and personal memories, as well as helped further our understanding of mnemonic processes more generally, elucidating the ways in which they are affected by rapid political, economic and social changes.In recent years, the role of the media in shaping post-socialist memories has also begun to attract attention. One of the notable traits of existing research in this area is its preference for small-scale case studies focused on a single medium and situated in specific national locales (for an exception see Volčič 2007). So far film has received the most concerted attention, with studies typically privileging the analysis of cinematic texts over the analysis of audience reception and the political and economic uses of mediated representations of the past (Bardan In contrast, research concerned with the mnemonic functions of television is more sociologically minded, pays less attention to televisual representations themselves, but regularly reaches beyond the analysis of television programmes to investigate h...

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Communism in retrospect: The rhetoric of historical representation and writing the collective memory of recent past

Cited by 23 publications

References 53 publications

Painting Shades of Gray: How to Communicate the History of Communism in Museums

Painting Shades of Gray: How to Communicate the History of Communism in Museums

On political heritage: remembering and disavowing 1989

Memory, post-socialism and the media: Nostalgia and beyond

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