Social Memory

Faced with the failure to change our Constitution, at the beginning of March 2023, numerous top SDSM politicians began to inappropriately blurt out that by including the Bulgarians in our Constitution, we would have actually proven that we are talking about two different peoples! This is hard to believe. You have certainly not heard greater nonsense in a long time. Without any shame, they lie massively and mercilessly. In other words, this undermines the Bulgarian historical acts of ignoring the Macedonians and the Bulgarian claims that Macedonians do not exist!? In our Constitution, so to speak, there will be both the Macedonian and Bulgarian peoples. What a substitution of theses! Our wise men, do you understand that we are not denying the Bulgarian people, but the Bulgarians are denying the Macedonian people! If we did not recognize the Bulgarians and considered them Macedonians (which is closer to the truth!), their inclusion in our Constitution would really have the dimension of correcting such misery. The problem with the Bulgarians ignoring the Macedonians, however, would be overcome only if Bulgaria included the Macedonians from Pirin in their Constitution. And what is the possibility of that? Let everyone assess for themselves. Especially when Macedonia is unwilling to open that issue, on the basis of reciprocity, which is key and foundational in diplomacy. And, on top of that, we are also ignoring the implementation of 14 judgments by the Court of Human Rights, which are in favour of the Macedonians in Bulgaria. Only in this way will it be confirmed that we

Resumo. A proposta ora apresentada refere-se uma pesquisa em andamento que visa compreender os papéis de mediação operados pelo Bar Boate Berimbau enquanto artefato e artífice de sociabilidades em torno da produção de diferenças e singularidades da música instrumental realizada em Belo Horizonte no início dos anos 1960, além de suas repercussões em produções musicais locais e nacionais, como no Clube da Esquina, e da categoria êmica denominada jazz mineiro. O texto em foco tem como fonte primária um grupo de depoimentos transcritos digitalmente e pertencentes ao Museu Clube da Esquina, que pretendem-se aqui sejam discutidos como referências para uma etnografia em arquivos voltados à etnomusicologia urbana.

Just as the constitutional identities of all countries represent a collection of historical facts, events, and occurrences related to the construction and development of the nation, so too does the Macedonian Constitutional Identity have its historical and contemporary content, reflecting the development of the state in a social, systemic, and institutional sense of the word. This is why it is considered that today’s Macedonian Constitutional Identity is a reflection of the past and present, aimed at shaping the future of the state. Generally speaking, contemporary Macedonian Constitutional Identity refers to the set of fundamental principles and values that define the political, legal, and cultural framework of the country, as laid out in its 1991 Constitution. However, the constitutional identity of the state has its roots at the very beginnings of the constitutional development of the country, more specifically in the constitutive decisions of the First Session of ASNOM adopted on August 2nd 1944. These decisions are the inspiration and philosophy behind the first Constitution of the People’s Republic of Macedonia from December 31st, 1946, the second Constitution of the Socialist Republic of Macedonia from 1963, and the last Constitution of the Socialist Republic of Macedonia from 1974, when Macedonia was part of the Yugoslav federation. This means that Macedonian Constitutional Identity refers to a complex and evolving concept that balances the recognition of historical legacies with new democratic principles that are part of the independent Macedonian legal system following the adoption of the 1991 Constitution, with its own nation’s distinctiveness, sovereignty, and democratic governance. It reflects the country’s commitment to democracy, the rule of law, and human rights, as well as its unique cultural and historical legacy. The 1991 Constitution guarantees that the Macedonian legal system and governance are based on the separation of powers, ensuring the independence of the executive, legislative, and judicial branches. A key defined feature of Macedonian Constitutional Identity is the recognition of the country’s ethnic and cultural diversity, acknowledging the existence of various minorities in the country, including Albanians, Turks, Roma, Serbs, and others, and providing their rights and participation in the political process. This inclusiveness is particularly reflected in the protection of the languages, cultures, and traditions of the country’s ethnic minorities, which make up part of the Macedonian Constitutional and National Identity.
KEY WORDS: Identity,  Constitution,  History,  Culture,  Development,  Ethnicity, Challenges

Abstract

The Pirahã of the Brazilian Amazon are often discussed in terms of what they appear to lack: writing, exact number words, monuments, centralized political authority, and many of the institutions commonly associated with complex civilizations. Yet despite centuries of external pressures, their language, identity, ecological knowledge, ritual life, and cosmological traditions continue to endure.

This paper proposes a different question.

Rather than asking what the Pirahã lack, it asks: How does a people remain a people?

Drawing upon the linguistic research of Daniel Everett, the ethnographic studies of Marco Antônio Gonçalves, the historical observations of Curt Nimuendajú, and scholarship in anthropology, memory studies, and Indigenous knowledge systems, the paper argues that Pirahã continuity emerges through a distributed architecture of living memory. Knowledge, identity, and social coherence are maintained through participation in ecological cycles, naming practices, kinship obligations, reciprocity, ritual performance, evidential witnessing, shamanic mediation, recurrence, and shared participation.

The study suggests that the Pirahã offer an important comparative model for understanding cultural persistence. While many societies preserve continuity through archives, monuments, institutions, and written records, the Pirahã demonstrate an alternative strategy in which memory remains active through enactment, relationship, and recurring participation. Their example challenges common assumptions about memory, civilization, social organization, and what is required for a culture to endure across generations.

Ultimately, this paper argues that the Pirahã are best understood not as a society defined by absence, but as a society organized around presence. Their greatest lesson may be that human continuity is sustained not only by what is preserved, but by what is continually carried forward.

Jhumur is a unique form of folk music that exists in the regions of eastern India and Bangladesh. While the music is generally considered to be a musical form of the Rarh region, the Jhumur music is actually beyond the scope of music and entertainment when considered from the time of its origin. Despite these aspects of the tradition, it is possible to argue that the Jhumur genre of music contains within its songs the memories and stories of the indigenous people of the region, as well as their cultural identity. Through analyzing the transformation of this indigenous musical form into a culture shared beyond the boundaries of the region, the movement of those indigenous people into modern day Bangladesh, and by analyzing the lyrics of the Jhumur songs themselves, it is possible to gain an understanding of the role of this musical genre in retaining and sharing the memories of the indigenous people of the region, whose memories are often left out of the official records of the region's history.

Bu çalışmanın amacı sosyal bilgiler dersinde kullanılabilecek internet tabanlı toplumsal bir hafıza uygulaması oluşturmaktır. Ayrıca sosyal bilgiler öğretmenlerinin uygulamaya ilişkin görüşlerini belirlemektir. Ahıskalı Türkler ve yaşadıkları sürgünler konusunda bilimsel bir literatür mevcut olmasına karşın hafıza niteliği olan bir çalışma ülkemizde bulunmamaktadır. Bu çerçevede araştırmacı tarafından ADDIE (Analiz, Tasarım, Geliştirme, Uygulama ve Değerlendirme) öğretim tasarımı modeli ile geo-medya teknolojisi kullanılarak toplumsal bir hafıza uygulaması (Ahıska Türkleri Hafızası Projesi - ATHP) geliştirilmiştir. ATHP’nin veri tabanını oluşturmak için nitel araştırma yöntemlerinden anlatı tekniğinden yararlanılmıştır. Bunun için sözlü tarih çalışması yürütülmüştür. Veri elde etmek için amaçlı örnekleme tekniklerinden benzeşik örnekleme tekniği ile sekiz Ahıskalı Türk belirlenmiştir. ATHP’nin değerlendirilmesi içinse nitel araştırma yöntemlerinden bütüncül çoklu durum çalışması yür...

This study explores the sonic and cultural trajectory of the 15th-century Wallachian ruler, Vlad III (Vlad Țepeș), analyzing the profound dichotomy between his authentic representation in Romanian oral tradition and his subsequent transformation within Western commercial music. Utilizing ethnomusicological, morphological, and anthropological frameworks, the paper examines how local folk music forms-specifically the Cântec Bătrânesc performed by the Lăutarifunctioned as a "sonic shield" and an active oral archive to preserve Vlad's historical legacy as a symbol of absolute socio-political justice and national defense. Furthermore, the paper contrasts this native eulogy with the Western "Gothic" soundscape, analyzing how 20th-century cinema, orchestral scoring (e.g., Wojciech Kilar), and contemporary subcultures like heavy metal have exoticized and commodified his persona into a transnational myth of supernatural terror. Ultimately, this research provides a counter-colonial narrative, highlighting the endurance of Romanian musical heritage in safeguarding historical truth against global commercial distortion.

Is it possible to conceive of exhibitions featuring historical artworks that don't tell "a single story"? Can reparative practices help ensure more plural museum narratives and minimize the impact of imperial or colonial legacies? It is with this in mind that we aim to analyze the exhibition "Pretagonismos no Acervo do Museu Nacional de Belas Artes" (Black Protagonism in
the National Museum of Fine Arts Collection), held at Espaço BNDES (2024-2025). We believe this exhibition allows us to think from the perspective of a "potential history," as proposed by Ariella Aïsha Azoulay. A potential history is neither a history of possibilities (what if ?) nor a history solely of the oppressed. Instead, it's a history that can unearth what lives in the present,
amidst the rubble of the disaster of colonization and slavery. In this way, imperial history is reduced to just one of the possible stories to be told, not the only one. We conducted three visits to the exhibition, in addition to participating in a debate with the curators and the director of the
MNBA. Photographs, videos, and field diary notes form part of our analytical corpus, as does the exhibition catalog. Through the act of re-titling artworks, effacing, and highlighting portraits of Black individuals—especially the works in the "Nas Brechas da Representação" (In the Gaps of Representation) section—the curators manage to reclaim the Black potency that was already
present in the past as an alternative pathway, yet persisted as an underground memory.

PEIXOTO, Priscilla Alves. Arquivos, crítica & política. Apontamentos para se interpretar silêncios. In: PEIXOTO, Priscilla Alves; ORTIZ DOS SANTOS, Daniela; FIGUEIREDO, Rute; SILVA, Joana Mello de Carvalho e; PEIXOTO, Elane Ribeiro.. (Org.). Crítica, Mídias e Memória (décadas 1930-1970). 1ed.Rio de Janeiro: Rio Books, 2024.ISBN: 978-85-9497-186-9
Páginas disponibilizadas apenas para divulgação.

Este livro reúne reflexões e experiências sobre o ensino de História na América Latina e no Caribe a partir de perspectivas críticas, plurais e comprometidas com os desafios contemporâneos da educação. Organizado em torno da ideia de NosOtros — que evoca simultaneamente o “nós” e o “outro” — o volume reúne contribuições de pesquisadores(as) de diferentes países e trajetórias, propondo pensar o ensino de História como um espaço de diálogo entre memórias, identidades e experiências diversas....
Já o capítulo “América Latina ao meu lado: reflexões sobre o Ensino de História e migrações no contexto da rede municipal de ensino da cidade de São Paulo”, de Fabiana Bezerra Nogueira e Eustáquio Ornelas Cota Jr., analisa como a história da América Latina pode dialogar com a experiência concreta das migrações na cidade de São Paulo. Diante da forte presença de estudantes migrantes latino-americanos nas escolas municipais, os autores investigam como o currículo pode (ou não) incorporar suas histórias, trajetórias e culturas, promovendo sua inclusão e valorização. O capítulo evidencia que pensar cidadania hoje significa reconhecer a diversidade migratória, transformando o ensino em espaço de acolhimento e pertencimento.

Критерії включення історичних постатей до Пантеону Українських Героїв. Український простір пам’яті: історико-політичний контекст: збірник тез / Київ. нац. ун-т буд-ва і архітектури; редкол.: В. Ф. Деревінський (голова) [та ін.]. Київ–Тернопіл : Бескиди, 2026. С. 16–21.

Деревінський Василь. Критерії включення історичних постатей до Пантеону Українських Героїв. У статті проаналізовано питання формування Пантеону Українських Героїв у контексті сучасної політики пам’яті та націєтворчих процесів. Основну увагу зосереджено на виробленні науково обґрунтованих критеріїв включення історичних постатей до пантеону як символічного ядра національного минулого. Обґрунтовано, що пантеон має постати не як інструмент негайної меморіалізації чи політичної інструменталізації, а як результат тривалого процесу культурного відбору. Запропоновані критерії розглядаються як підґрунтя для формування зрілої громадянської пам’яті, здатної виконувати консолідуючу та нормативну роль в українському суспільстві.
Ключові слова: пантеон героїв; політика пам’яті; державність; культурна пам’ять; національна ідентичність.

Derevinskyi Vasyl. Criteria for the Inclusion of Historical Figures in the Pantheon of Ukrainian Heroes. The article examines the problem of forming the Pantheon of Ukrainian Heroes within the framework of contemporary memory politics and nation-building processes. Particular attention is paid to the development of scientifically grounded criteria for including historical figures in the pantheon as the symbolic core of the national past. It is argued that the pantheon should not function as an instrument of immediate memorialization or political instrumentalization, but rather as the outcome of a long-term process of cultural selection. The proposed criteria are interpreted as a foundation for shaping a mature civic memory capable of performing consolidating and normative functions in Ukrainian society.
Keywords: Pantheon of Heroes; memory politics; statehood; cultural memory; national identity.

For most of the time that Native Americans lived in ancient Costa Rica, we think their travel across the landscape was task-oriented and thus sufficiently randomized to leave no detectable trace. That changed about 500 B.C. in the Arenal area when people separated their cemeteries from their villages, and travel between them was ritually mediated into travel precisely along the same path, in single file, in as straight a line as possible. The inadvertent erosion over centuries of use resulted in paths entrenching to 2 m or more deep. We believe the cultural standard developed over the centuries was that the preferred way of entering a special place was by an entrenched path. Thus, people approaching a special place would have a highly restricted view of their surroundings, but upon entering the special place, it would dramatically open up to view. People created and perpetuated social memory across their landscapes with generation after generation of use. The construction of meaning developed as the paths entrenched, ultimately embedding that meaning deep in people's belief systems as their pathways were embedding themselves into the landscape. Although chiefdoms never developed in the Arenal area, a series of chiefdoms did develop east of the area at about A.D. 1,000. To satisfy the emergent chief's needs for monumentality, we suggest here that chiefs chose the "proper entrenched entryway" as exemplified in the Arenal area, for elaboration. On the rocky slopes of the volcanoes monumental entryways were built of stone, and on the fine-grained alluvial plains they were of earthen construction. For instance, the radiating entrenched roads entering Cutris are many meters long, as wide as 50 kilometers, and many meters deep.

For over five decades, Siamsa Tíre, the National Folk Theatre of Ireland sought to balance a sense of past, present and future in their work as part of an effort to preserve local traditions and remain relevant to contemporary theatre audiences. Although early productions from the 1960s such as Fadó Fadó (1968) focused on the representation of rural Irish life, akin to much of the early twentieth century Irish drama influenced by cultural nationalism, developments from the 1980s in particular sought a greater balance between remembering past practices of intangible cultural heritage and seeking to devise and develop new work that incorporates influences from changes in society and arts practice. Many of the productions utilized a sense of time as a narrative device, inviting audiences back in time or into another realm, as a method to engage a contemporary audience. Reflecting on developments on-and offstage , in this paper I identify three aspects of time in the work of Siamsa Tíre: the narrative device that invites the audience 'back in time', the representation of the passage of time in mythological stories, and the responsiveness of the company to the time in which it exists.

Bu makale, Türkiye'de İslamcılığın kültürel alandaki görünürlüğünü sinema ve televizyon dizileri üzerinden inceleyerek, İslamcı hafızanın duygular aracılığıyla nasıl üretildiğini ve dolaşıma sokulduğunu tartışmaktadır. Çalışma, 1990'lardan itibaren önemli toplumsal ve siyasal bir hareket olarak ön plana çıkan İslamcılığın, aynı zamanda mağduriyet, öfke, adalet arzusu ve aidiyet gibi duygular etrafında örgütlenen bir duygusal topluluk olarak şekillendiğini savunmaktadır. 2000'lerle birlikte siyasal iktidarın kazanılması, bu duygusal rejimin dönüşümüne yol açmış; mağduriyet merkezli anlatıların yerini temsil, meşruiyet ve içsel muhasebe temaları almıştır. Kuramsal olarak makale, Jeffrey C. Alexander'ın kültürel travma kuramı başta olmak üzere duygu sosyolojisini temel almaktadır. Bu anlamda çalışma sinemayı, toplumsal duyguların dolaşımını ve kimliğin yeniden üretimini mümkün kılan bir duygusal performans sahnesi olarak ele almaktadır. Çalışmanın amacı ise sinemanın toplumsal hafızanın inşasındaki rolünü Türkiye'de İslamcılığın kültürel iktidar arayışının sinemaya nasıl yansıdığını tespit ederek ortaya koymaktır. Bu bağlamda, özellikle son 20-30 yılda, İslamcı yönetmen ve yapımcılar tarafından hayata geçirilen ya da İslamcı karakterleri konu edinen çeşitli film ve diziler üzerinden İslamcı hafızanın kolektif duygular ve kimlik temsilleri aracılığıyla nasıl üretildiğini sorgulamaktadır.

En este artículo se sostiene que el objetivo básico del gobierno del presidente Patricio Aylwin (1990-1993) fue generar condiciones para la estabilización y consolidación de la democracia en Chile después de la experiencia de 17 años de autoritarismo. Se observa en este análisis que las narrativas impuestas por el primer gobierno concertacionista posibilitaron la implementación exitosa de la transición, aunque al mismo tiempo definieron los límites del proceso democratizador. Las preguntas que abordaremos son las siguientes: i) ¿Qué ideas constituyen el repertorio básico para el posicionamiento estratégico del gobierno del presidente Aylwin?; ii) ¿De qué manera dichas narrativas transforman el posicionamiento de los partidos que integran la coalición gubernamental?; y finalmente, iii) ¿Este repertorio fue factor o índice frente al contexto histórico político?

Niniejszy artykuł stanowi przedstawienie i omówienie wyników przeprowadzonych badań finansowanych w ramach X edycji konkursu grantowego Study@Research UAM. Przedmiotem projektu było ustalenie roli pamięci w kontekście działalności Federacji Rodzin Katyńskich w Polsce na przykładzie wybranych Stowarzyszeń działających lokalnie na terenie całego kraju. Użyta metoda historii mówionej pozwoliła na zebranie wyjątkowego materiału badawczego, za pomocą którego możemy przedstawić obraz zaangażowania, motywacji i działalności Rodzin Katyńskich, na podstawie ich własnych doświadczeń i przemyśleń.

Dijital teknolojilerin kültürel ve mekânsal üretim süreçlerine artan entegrasyonu, sergileme pratiklerinde köklü bir dönüşümü beraberinde getirmiştir. Özellikle müze, hafıza mekânı ve deneyimsel sergileme alanlarında dijital medya, bilgi aktarımına hizmet eden bir araç olmanın ötesinde anlatının yapısal bir bileşeni hâline gelmiştir. Bu çalışma, dijital anlatı biçimlerinin iç mekânda hafıza üretimine nasıl katkı sunduğunu, deneyimsel etkileşim kavramı çerçevesinde değerlendirmeyi amaçlamaktadır. Deneyimsel etkileşim, kullanıcının dijital anlatıyla pasif bir izleyici olarak değil; bedensel, duyusal ve mekânsal katılım yoluyla ilişki kurduğu çok katmanlı bir deneyim alanı olarak ele alınmaktadır. Araştırma, hafıza odaklı sergi ve deneyim mekânlarında dijital anlatıların mekân–kullanıcı–anlatı ilişkisini nasıl dönüştürdüğünü incelemektedir. Nitel bir yöntem benimsenmiş; seçilen örnekler tipolojik bir yaklaşımla analiz edilmiştir. Anlatılar, temsil biçimi, teknolojik kurgu, kullanıcı deneyimi ve katılım düzeyi ölçütleri doğrultusunda yansıtmalı, kurgusal, tepkisel ve diyaloğa dayalı olmak üzere dört başlık altında sınıflandırılmıştır. Bu tipolojiler, anlatının deneyim yoluyla nasıl kurulduğu ve kolektif hafızanın nasıl yeniden üretildiği açısından karşılaştırmalı olarak değerlendirilmiştir. Çalışma, dijital anlatıların hafıza aktarımını deneyimsel etkileşim üzerinden dönüştürdüğünü ortaya koyarak, iç mekân tasarımı ve sergileme kuramı açısından katılımcı ve çok duyulu anlatılara yönelik kuramsal bir katkı sunmakta; dijital sergileme pratiklerinin tasarım kararları üzerindeki etkisini tartışmaya açmaktadır.

Group M is a non-residential architectural group within the Medicinal Trail Hinterland Community, an ancient Maya site in northwestern Belize and part of the La Milpa polity. Group M is situated atop a knoll and marks the northern terminus of the site. A long, narrow stretch of ridgetop separates Group M from Group B, the corporate-head residential group. Excavations have identified ritual deposits such as caches, dedicatory and termination offerings, and problematic deposits. These findings, along with its location, size, and architectural features, suggest that it functioned as a ceremonial center for the community’s inhabitants. Its location relative to Group B, as well as similarities in the ritual deposits found at both groups, suggest that Group M was closely associated with the hinterland elite residential groups.
This poster will examine the connection between Group M and Group B, and how Group M may have functioned within the broader context of the Medicinal Trail Community, as well as the significance and motivation behind the problematic deposits, or deposits that are difficult to classify, and how this relates to the abandonment of the Medicinal Trail Community at the end of the Terminal Classic.

Öz Söylemin keşfi ile birlikte, "söylem çözümlemesi/ analizi" gerek dilbilim gerekse sosyal bilimlere ait araştırmalarda sıkça kullanılan disiplinlerarası bir araştırma yöntemi haline gelmiştir. Söylemler, kültürel kodlar ve toplumsal bilgiler yüklenmesinden dolayı, tarihi ve kültüreldir. Bu nedenle söylem araştırmaları, kültürel belleğin ortaya çıkarılması, değerlendirilmesi ve dil kullanımlarının toplumsal bağlamında ele alınmasında işlevseldir. Bu anlamda, söylem kuramının halk bilimi türlerinde uygulanması açısından yenilikçi olan bu çalışmada, Kazan Tatarlarına ait olan "Yaman ḫatınnan diyu periyě k urık k an / Kötü kadından dev peri (de) korkmuş." atasözü üzerinde söylem çözümlemesi yapılmıştır. Atasözü metni ve atasözünün "anekdotu" başlığında verilen "dev-peri" hikâyesi metinlerarasılık yöntemiyle incelenmiştir. Çalışmanın materyali, "Tatar Ḫalık Mek allerě II (Tatar Halkının Atasözleri II)" kitabından elde edilmiştir. Çalışmada ilk olarak söylem kuramı, söylem çözümlemesinin teorik çerçevesi; "söylem", "metin", "bağlam"dan oluşan temel kavramları ve söylemlerarasılık, metinlerarasılık yöntemi hakkında bilgi verilmiştir. Söylem incelemeleri, bir yanıyla içerik çözümlemesi olup çerçevesi belirli bir dizi süreci kapsamaktadır. Bu anlamda çalışmanın süreci; sözceleme sürecinin incelenmesi, söylem türünün belirlenmesi, söylemin anlam incelemesi, metinlerarası ilişki şeklinin tespiti ile söylemin göstergebilimsel düzeyinden ve bunun kültürel anlamından ibarettir. Böylece çalışmada, atasözü örnekleminde söylemin toplum ve kültürü nasıl oluşturduğu, toplum tarafından da söylemin nasıl şekillendirildiği yani söylem, metin ve kültür arasındaki ilişki gösterilmeye çalışılmıştır.

In this response, Božidar Jezernik problematizes both the editorial exclusion of his argument from Pravna praksa and the broader conditions of public discourse that followed. He contends that the reactions to his position were marked by selective engagement, rhetorical simplification, and a lack of substantive familiarity with his scholarly work. This, he suggests, reflects a wider tendency to frame debates on historical issues within politically motivated narratives rather than through rigorous argumentation.

In the concluding section, Jezernik articulates a theoretical position on public monuments, defining them as historical and artistic artefacts that reflect the contexts in which they were produced, rather than as straightforward affirmations of the figures they depict. On this basis, he supports the potential reinstallation of certain removed monuments in Ljubljana, arguing that their presence would contribute to a more comprehensive and plural understanding of the city’s past. He situates this argument within a critique of contemporary practices that selectively reinterpret or restructure historical memory in accordance with current ideological frameworks. Ultimately, he advocates for an approach to history that emphasizes critical understanding over retrospective correction.

This text was automatically generated on 30 septembre 2016. O trabalho Cadernos de Estudos Africanos está licenciado com uma Licença Creative Commons -Atribuição-NãoComercial-CompartilhaIgual 4.0 Internacional. «I escaped in a coffin». Remembering Angolan Forced Labor from the 1940s «Eu escapei num caixão». Recordando o Trabalho Forçado Angolano desde os anos de 1940 The details of how Angolan forced labor functioned have been well documented by investigative commissions, missionaries, and Angolan reporters and civil servants. One lacuna, however, is how forced laborers themselves viewed the system. Did, for example, «I escaped in a coffin». Remembering Angolan Forced Labor from the 1940s Cadernos de Estudos Africanos, 9/10 | 2006

This study aims to analyze the multiple representations produced by the Amazonian press about the rubber plantation and the rubber tapper, catching a plurality of dimensions of this presence and experience in the Amazonian context. Thus, the research follows both the debate around the migratory process, seeking to cast a scrutiny look at its dimensions and motivations, in addition to prioritizing the images produced by the press about the dilemmas derived from the adaptation of the northeast both in the face of a hostile environment, as well as in the face of a crippling work process and its practices of resistance.

After Andreas Lommel's participation in the Frobenius expedition to Northwest Australia in 1938/39, Andreas and Katharina Lommel returned to the KImberley region in 1955 and continued the documentation of the rock paintings. On the basis of Lommels biography one can also see how the ethnologist's relationship to the Wanjina Wunggurr people changed over the decades.

Trustee of ICOMOS-UK and member of the Intangible Cultural Heritage (ICH) Committee. She is involved in projects to increase visibility and viability of ICH in the UK, which recognises the complexities and diversity of heritage, including minority heritages. The latter work includes exploring potential benefits of the recent ratification by the UK Government of the UNESCO Convention 2003 on the Safeguarding of the ICH and the ICOMOS ICH Charter. She adopts a critical methodology and commitment to issues of social justice. Jo holds a doctorate from Northumbria University and her thesis is titled 'Valorising Cornish Minority Heritage: UNESCO and Performative Heritage'. The research aimed to explore the complexities of how heritage is valorised, and the importance of creating dialogue on cultural diversity. Her research has contributed to international conferences and journals and will be in a forthcoming book by Routledge on the role of creative practitioners in heritage-making. She has extensive work in the cultural heritage sector that has involved close partnerships with creative practitioners in creating exhibitions and festivals within the heritage space. Dr Buchanan approaches her work from a trans-disciplinary perspective linking research and practice. Her research interests include intangible heritage, performance and democratisation of culture (focus on minority heritages)

This article examines the interplay of prophecy, history, and narrative in Virgil’s Aeneid and Cicero’s De re publica. It argues that both authors construct foundational narratives of Rome that project imperial or constitutional ideals into the past and future through techniques of hindsight and vision.
In the Aeneid, prophecy functions as retrospective narration in the future tense, turning known historical outcomes into divinely framed destiny while simultaneously exposing the fragility and constructed nature of imperial teleology, especially through devices such as Anchises’ revelations and the ivory gate of false dreams. In Cicero, the historical imagination is more overtly philosophical: Roman history is shaped into a normative model of the mixed constitution, culminating in the Somnium Scipionis, where political order is aligned with cosmic harmony.
By comparing dream visions in both works, the article shows how Virgil and Cicero use prophetic discourse as a mode of knowledge that mediates between myth and history. While Virgil emphasizes contingency and tragic irony, Cicero presents a more stable metaphysical framework for political authority. Together, the texts reveal both the ideological construction and the philosophical ambition underlying Roman accounts of origins and destiny.

This article explores the transformation in the discourse of historical memory surrounding the Great Patriotic War in contemporary digital environments with a particular focus on Telegram channels operated by Russian military bloggers. In present-day Russia, the memory of the Great Patriotic War serves not only as a foundational component for national identity but also as a powerful tool for emotional unification and political legitimation. As hybrid warfare and information turbulence intensify, Telegram channels have become key sites where war symbolism is recontextualized and actively employed to frame current events especially those related to the ongoing conflict in Ukraine. The study draws on semantic and contextual analysis of a corpus comprising over 110,000 messages
posted between February 24, 2022, and March 31, 2025. A thesaurus of 91 key lexemes related to
World War II was used to identify linguistic patterns and rhetorical strategies. Findings feature a high prevalence of terms such as “Nazi,” “Soviet,” and “USSR” employed not merely to evoke the past but as instruments of ideological polarization, moral condemnation, and emotional mobilization. These lexical items structure narratives to demarcate friend from foe, sacralize collective action, and
legitimize present-day political decisions. The analysis reveals that Telegram channels contribute to the production of politicized historical memory by embedding war-related symbols and references into the
contemporary information flows. Digital memory in this context is non-linear, affect-driven and closely linked to performative modes of communication, turning historical references into strategic rhetorical
tools. The study contributes to broader debates on digital memorialization, political communication, and the instrumentalization of the past in times of conflict.

The aim of this paper is to analyze the life narratives “Where have All the Songs and Rituals Gone?” (2019) by Mozinha Fernandes and “A Velip Writes Back” (2019) by Priyanka Velip, members of the Adivasi community of Goa, who consider themselves as the first inhabitants of this Indian state. These narratives have been published in the blog “Hanv Konn. Who am I? Researching the Self ” organized by the late professor from the University of Goa, Alito Siqueira, whose aim is to give voice to this marginalized and silenced community. The analysis will be done in terms of the concepts of Postmemory (Hirsch, 1996, 1997, 2008), Trauma (Ginzburg, 2008; Balaev, 2008), Narrative (Bruner, 2002; Coracini, 2007), and Life-narratives (Smith & Watson, 2010).

In this 'age of presentism' (Hartog 2003: 111-62; cf. Olivier 2019), as an alternative way of understanding temporality, the focus on time is now centered on "a persisting or haunting past", on "history as an ongoing process" (Runia 2006: 8). How does this affect the analysis of a location considered 'haunted'?

Steinbock, Bernd. 2026. “Rhetorical Exploitation, Social Memory , and the Attic Orators’ Treatment of the Recent Past (on A. Kapellos, ed., The Orators and Their Treatment of the Recent Past (Berlin & Boston 2023)”. Histos 20 (April): XXXI-LXXIII.

Tempo magazine has brought the memory of the unsolved-past tragedy of Indonesia, "1965/66 Event" in some ways in both New Order era and Reform era. The collapse of New Order has clearly influenced the framing of "1965-Event". During New Order, the event was remembered as the effort of Indonesian Communist Party (PKI) to 'coup d'etat' the state in which many victims in the aftermath were barely reported. Tempo Reformation framed the event from the perspectives of once-marginalised groups such as the family of PKI followers, witnesses and the assassins.

Este trabajo es un esfuerzo por reconstruir la lógica de las prácticas que promovieron y facilitaron el genocidio del movimiento político Unión Patrió- tica en Colombia. Una experiencia que contrario a ser excepcional, se presenta como regla de la violencia política. Metodológicamente, este artículo presenta tres momentos –burocracia, deshumanización e impunidad– que fungen como ejes articuladores de la entropía de un genocidio como propuesta de análisis. Para tal fin, tres fuentes han sido articuladas en un mismo diálogo, primero, múltiples entrevistas realizadas a sobrevivientes del movimiento; segundo, el archivo del periódico Semanario Voz; tercero, el informe final de la CIDH y los alegatos presentados ante la audiencia por el caso 11.227. Si bien el genocidio de la Unión Patriótica presenta excepcionalidades tales como el fallo de la CIDH en enero de 2023, este caso denota una respuesta preliminar a la aparente contradicción de una democracia representativa con altos niveles de represión y traza una ruta metodológica que permite ahondar el modo en que la violencia política funge en el país como regla del sistema político. Si bien este artículo emerge en medio de un tránsito político en Colombia y la reciente condena al Estado por el caso 11.227, la investigación partió del reconocimiento de un genocidio político que sí sucedió y dejó un saldo de al menos 6.528 personas que fueron obligadas a vivir una vida que no eligieron, una experiencia de exclusión política y social en un país donde la guerra y el antagonismo son motor de la democracia.

Resumo: O artigo examina as diferentes formas de utilização e apresentação das palavras nos depoimentos em documentários argentinos que lembram o passado recente. Com esse objetivo analisa as origens dos documentários de memória na Argentina, descreve os modos dominantes e levanta as características gerais que definem os testemunhos do documentário. Finalmente propõe-se a analisar dois filmes contemporâneos que marcam ruturas com relação às formas usuais de trabalhar com os testemunhos: Palavras, de Ana Mohaded e Contas de alma: confissões de uma guerrilheira, de Mario Bomheker. Palavras-chave: testemunho; documentário de memória; memória social; documentário contemporâneo. Resumen: El artículo estudia diferentes formas de uso y presentación de las palabras en los testimonios en los documentales argentinos que recuerdan el pasado reciente. Con este objetivo repasa los orígenes de los documentales de memoria en Argentina, describe las modalidades dominantes y plantea las características generales que definen a los testimonios de los documentales. Finalmente se propone analizar dos films contemporáneos que establecen rupturas con respecto a las formas habituales de trabajar con los testimonios: Palabras, de Ana Mohaded y Cuentas del alma: confesiones de una guerrillera, de Mario Bomheker. Palabras clave: testimonio; documental de memoria; memoria social; documental contemporáneo.

Dalam artikel ini disampaikan kritik ideologis terhadap konsep Arsitektur Nusantara dan Arsitektur Indonesia, yang selama ini kerap digunakan sebagai instrumen politik dan simbol identitas nasional. Kedua konsep ini sering kali mengalami esensialisasi, di mana budaya dan arsitektur dianggap memiliki sifat tetap yang mencerminkan satu identitas nasional yang seragam. Kedua konsep tersebut mengabaikan keragaman budaya, pluralitas lokal, serta dinamika sosial, ekonomi, dan politik yang membentuk realitas arsitektur di Indonesia. Melalui kritik ideologis dapat diungkap bagaimana arsitektur tradisional, yang kaya akan adaptasi terhadap lingkungan dan konteks lokal, sering direduksi menjadi simbol tradisional yang statis dan tidak lagi relevan dengan kehidupan kontemporer; sementara obsesi terhadap Arsitektur Indonesia, yang belum jelas sosok dan identitasnya, telah menjadi ilusi kolektif sekelompok ilmuwan dan arsitek nasionalis. Kritik ideologis terhadap wacana arsitektur Nusantara dan Arsitektur Indonesia diharapkan dapat membuka peluang bagi praktik penelitian arsitektur yang lebih ilmiah, produktif dan relevan bagi pengembangan arsitektur di Indonesia di masa depan.
Kata-kunci : Arsitektur Indonesia, arsitektur Nusantara, esensialisasi budaya, kritik ideologis, sentimen kebangsaan

Location matters, and this article explores the depiction and significance of the Esther/Mordecai (Purim) panel's placement next to the Torah niche in the Dura Europos Synagogue. It aims to answer questions such as what the visual representation may have conveyed and which memories the panel might have evoked by its presence in that particular place. To address these questions, the article probes the historical, visual, and ideological context of the panel within the Jewish synagogue in the mid-third century CE. It shows how the local Jewish population engaged with the depiction of Esther and Mordecai, not only as Diaspora heroes, but also as figures linked to Jewish memory, identity, and resistance in a Roman-Persian borderland. In doing so, it showcases how visual media in antiquity served Jewish communities in constructing sacred memory, connecting past and future hopes, and asserting their cultural identity in imperial contexts. In addition, it presents a fresh analysis of the legacy of the by then long-defunct Achaemenid Empire and its enduring presence in the memories, imagination, and minds of Jews living at the crossroads of the Parthian and Roman Empires.

This article examines the Pepuk (cuckoo bird) legend as narrated in the Kürecik region of Akçadağ, Malatya, and its surrounding area through the lenses of oral memory, ethical geography, and moral-topographic memory. The primary material of the study is based on versions first heard from Aruz Arı in 1986 and from Battal Polat dede in June 1987, together with later retellings encountered across Kürecik and in several villages connected to Elbistan. The article approaches the Pepuk narrative not merely as a folkloric product, but as a form of oral memory carrying multiple layers at once: premature judgment, sibling ethics, remorse, confession of guilt, and seasonal labor. Its main argument is that in the Kürecik variant, mountains, plateaus, the kenger season, and bird calls are not passive narrative decorations; rather, they function as carriers of moral experience and collective conscience across generations. In this sense, the Pepuk legend can be read as a powerful oral-cultural text revealing the ethical geography of the Malatya-Akçadağ-Kürecik basin.

La violencia de Estado (desaparición forzada), la violencia asociada con el
crimen organizado (desaparición por particulares) y la violencia de género (feminicida) generan diversas acciones de la sociedad civil (SC). Una son los antimonumentos de la Ruta de la Memoria en la Ciudad de México. Les denomino memoriales necropolíticos. Con ellos observo cambios en las relaciones de poder y subjetividad situable a inicios del siglo. En el marco del necrocapitalismo global y los regímenes de neoliberalismo autoritario y posneoliberales en México, aparecen nuevos horizontes de trascendencia: acceso a la verdad, justicia y no repetición; nuevos actores: las personas desaparecidas y las mujeres; nuevos léxicos: los derechos humanos y los feminismos. Se contrastan tres antimonumentos (+43, las Glorietas de las y los Desaparecidos y de las Mujeres que Luchan) con los sitios que refiere la Ley de la Memoria (2021) sobre el terrorismo de Estado. Ello, para dimensionar tránsitos en relaciones y problemas sociales que les origina su trascendencia ontológica y el sujeto social.

Cheng looks back on his discussion of complex relationships between remembering and forgetting reflected in literature, culture, and history. His study raises a number of formidable questions about truth and fact, remembrance, interpretation, and fabrication. The value of Cheng's book comes from the fact that its content reaches far beyond the scope of literary analyses and examines broad socio-political and cultural realities of the post-truth era ushered by the global rise of right-wing and separatist ideologies of the mid-2010s. Questions about what/how to remember and what/how to forget are particularly important in the "post-Trump world-one which blithely substitutes "alternative facts" for any inconvenient truths and which willfully distorts facts and history to fit one's own purpose" (150). In such a world, writes Cheng, "we need to be ever more vigilant that manipulative and self-serving distortions involved in both remembering and forgetting cannot be tolerated and will be recognized as the willful creation of very dangerous fictions" (150). Nations have, indeed, always created fictions, some less and some more dangerous-nightmares from which many of them have yet to awake, and nightmares which the new ones walk into with eyes wide open. 1 Since his important 1995 book, Joyce, Race, and Empire, Cheng has continued to work with issues of nation, culture, and identity, contributing to other recent books on the subject. 2 The present book is the newest iteration of these interests; it reworks some of the earlier scholarship into the new configuration that spans the writings of James Joyce, Milan Kundera, and William Faulkner, with detours to novels by Ford Madox Ford, F. Scott Fitzgerald, and Walker Percy. In exploring their works, Cheng studies the relationships between memory, history, and the nation in relation to the roles that forgetting and amnesia play in "forming national identities and histories" (vii). And while, in the binary of "memory/forgetting," amnesia is regarded in negative terms, Cheng makes amnesia a central focus of his study by asserting the "desirability or usefulness of forgetting" (vii). The book draws from thinkers who have addressed the dichotomy of amnesia and remembering: the Russian psychologist Alexander Romanovitch Luria 3 and the Jewish philosopher and historian Yosef Hayim Yerushalmi, 4 in addition to sorties into the work of Friedrich 1 REVIEWS Wawrzycka_Review2_57_3.indd 1 9/4/2020 4:10:45 PM

Bu çalışma, Kemter Abdal’ı yalnızca şiir yazan bir mahlas ya da bireysel bir şair olarak değil; Malatya-Akçadağ-Kürecik hattında oluşmuş tarihsel, inançsal ve toplumsal hafızayı Alevi-Bektaşi-Melami irfanı, melamet ahlakı ve çağdaş şiir biçimleriyle yeniden kuran bir figür olarak ele almaktadır.

Makalenin temel iddiası, Kemter Abdal’ın geleneği tekrar eden bir ozan değil; Kürecik hafızasından beslenen yerel bir dünyayı modern zamanın yaraları, kimlik gerilimleri ve hakikat arayışları içinde yeniden şiirselleştiren çağdaş bir kültürel özne olduğudur. Bu çerçevede çalışma, Kemter Abdal’ın hayat anlatısını, şiirlerini, anlatı evrenini ve dijital metinlerini birlikte okuyarak yol, hafıza ve hakikat kavramlarının nasıl kurulduğunu tartışmaktadır.

Makalede Kemter Abdal’ın Alevi-Bektaşi-Melami kökleri, melamet anlayışı, toplumsal hafıza ve yara tanıklığı, Roman halkına yönelen tarihsel ve mitopoetik ilgisi, Kayıp Arşiv Dili yaklaşımı ve Dijital Hurufilik metinleri birlikte değerlendirilmiştir. Sonuç olarak Kemter Abdal’ın şiiri ve düşünsel evreni, nostaljik bir gelenek tekrarı değil; yerel hafızayı çağdaş estetik, etik ve kültürel bir kuruluşa dönüştüren özgün bir poetik alan olarak yorumlanmaktadır.

This preprint examines Kemter Abdal as a contemporary poetic and cultural figure shaped by local memory, mystical tradition, social witnessing, and counter-archival imagination.

This preprint develops a comparative historical analysis of Ottoman-Sunni orthodoxy, Safavid state formation, and Anatolian Alevi/Kizilbash communities through the conceptual lens of Registration Regime Theory (RRT). It argues that the key distinction at stake cannot be adequately explained through the conventional Sunni-Shi‘i binary alone, but must instead be understood through the different material and institutional regimes within which legitimacy is fixed, recognized, transmitted, and contested. The study proposes a tripartite framework consisting of a state-centered orthodox registration regime, a state-formed hybrid registration regime, and a community-centered relational registration regime. It then applies this framework to two historical moments: the Ottoman-Safavid rivalry of the sixteenth century and the politics of Alevi recognition in Republican Turkey. The article argues that the Alevi/Kizilbash world was not “unregistered,” but rather registered in a different materiality—one only partially legible to centralizing power while retaining strong internal capacities for continuity, authority, and communal recognition.