Currently, cultural memory is skilfully used as a tool for building national identity. In particular, Central Asian culture is inherently nuanced and mutable over time and space. That is why, during the Soviet period the study of folklore traditions was an indispensable part of Soviet ideology. It was an attempt to create a set of notions and examples of idealized, original traditions deprived of any religious associations.
Furthermore, the folklorists were agents of this ideological programme created by the state. Constructed by means of governmental texts and vocabulary, the perpetuation of epic images and their politically-attributed connotations have resulted in a pantheon of salient heroes. Some of their charismatic legacies have survived the pre-Islamic Persian civilization, the glory of Islam and the drastic banishment of religion during the Soviet period.
The narratives associated with them have resulted in the elevation of places of national fame. In an attempt to maintain peaceful dynamic interaction between multi-ethnic communities, heritage has taken on new and sometimes unintended meanings in the midst of social change, asserting religious identity and political upheaval. Nowadays, their legacy is drawn from within an officially imposed narrative that is alien to the majority of the population. Even though the presence of the heroic figures is commemorated with large statues dominating the cityscapes, their presumed permanence is based on estranged politicized narratives that most people do not want to be part of.
The artefacts across the vast Central Asian urban landscapes and steppes are material carriers of cultural memory.
Although each ethnic group has its own distinct self-consciousness and self-identification, patriotic heroic tropes and in particular the glorification of the past have gained considerable public attention. This collection of essays offers a broader understanding of the concept of common heritage and multiple identities across Central Asia. The studies show how cultural memory practices are used by the Tsarist, Soviet and contemporary post-Soviet Central Asian elites as a tool for boosting ethno-nationalism.
Yet, this process is far from smooth and straightforward.
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- CFP: Translating Cultural Memory in Fiction and Testimony.
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Rather than focusing on a single genre, medium or language of literary production, the selection of articles takes a comparative and connective perspective. The authors propose different approaches — historical, literary, anthropological, critical heritage studies. They show that memory is an intrinsic constituent of identity formation. In search of a historical identity based on shared languages and culture, the aim is to map the interaction between political, ideological, literary and artistic production in a diachronic and synchronic perspective, and to contextualize the process dynamics through textual and material analysis.
The novel tells the story of a Kazakh clan in the Semirechye, which in had witnessed the violence of the Russian government to such an extent that fleeing from their land, from the realms of their ancestors, appeared to be the only solution. The uprising was a particularly sensitive issue for the Russian and Central Asian historians who had become Soviet citizens between and the s and who had to maneuver within shared ideological frameworks defined by the new authorities.
The subsequent creation of national republics within the USSR necessitated the formation of nationalities policies, which resulted in constant appropriation and renegotiation of historical sources and themes. Artemy Kalinovsky shows how the creation of the Tajik national opera and ballet was a symbolic centrepiece of the Soviet policies in the s.
Afterwards, search digital databases Link for appropriate pictures, and on the basis of these put together a collage.source
CFP: Translating Cultural Memory in Fiction and Testimony
In your searches, concentrate primarily on objects from the early s, while also keeping in mind that almost every interior generally also had goods from earlier eras. Afterwards, create a script for the trailer. For inspiration, you could acquaint yourself with the trailers for other books. Additional material.
Scene visualization Imagine that you are the assistant of film director Moonika Siimets and film artist Jaagup Roomet, and that your task is to stage a scene designed accurately according to some historical era. Additional task. Think about the following: What sentences to use, and whether to voice record them or present them in written form. What pictures or video clips to use. Choose them, for example, from the archives linked below, create them yourselves, or search for them on the web the most important thing is that they fit together stylistically.
What the musical background would be for your trailer, one that would create the appropriate emotion in its receiver. Rating: Bad Excellent. Your name.
The tasks of cultural memory - E-Course "History on screen"
Your email. Customers who bought this item also bought. By Robert D. The book takes seriously the study of text in its ancient context in order to highlight the theological content and its modern relevance. Every occurrence of a verb of leading in the Hebrew Bible is examined through the lens of semantic-role theory by assigning roles to each of the phrases typically used with the verbs. This study resolves some problem passages and supplements traditional lexicographical research. Previous generations of scholars believed that prophecy was unique to ancient Israel. However, recent archaeological discoveries reveal that numerous societies in the ancient Near East practiced prophecy.
Book Notes: The Cultural Memory of Language by Susan Samata
This study examines the similarities and differences between Neo-Assyrian and biblical prophecy, particularly focusing on the 7th c. BCE prophets Nahum, Habakkuk, and Zephaniah, and discusses what implications these differences may have for our understanding of these prophets. Complexity was ascribed to a later stage. Yet in that later stage the supposedly more sophisticated redactors were unable to see blatant contradictions and redundancies.
This work investigates Genesis, Judges, Samuel, Kings, and Chronicles looking at how the message conveyed has been misunderstood through assumptions about the capacities and intentions of original writers. It shows how retaining the assumptions about the inability of early writers inevitably leads to conclusions of a late provenance.
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