Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/41659
Type of publication: Straipsnis mokslo, meno, kultūros, profesiniuose leidiniuose / Article in science, art, culture, professional publications (S7)
Field of Science: Menotyra / Artwork (H003)
Author(s): Dovydaitytė, Linara
Title: Anapus meilės ir baimės : trauminio paveldo reprezentacijos dailės parodose
Other Title: On the other side of love and fear: representations of traumatic legacy at art exhibitions
Is part of: Dailė = Art. Vilnius : Dailininkų sąjungos leidykla, 2011, nr. 2
Extent: p. 32-39
Date: 2011
Keywords: Trauminis paveldas;Dailės paroda;Komunizmas;Postkolonializmas;Famous for his interesting insights into the peculiarities of (former) Eastern European art, the Polish art historian Piotr Piotrowski has compared post-communist culture to a post-traumatic condition[1]. A look at the processes of the memory of the soviet past that have been taking place during the last twenty years reveals that there is no shortage of trauma-publicizing or trauma-hiding practices. Do they yield the desired results? During the first decade, at least two types of occupation legacy were openly accessible in museums of soviet reality: resistance legacy (related to deportations, political annihilation and resistance to the regime) and official (art and culture objects embodying soviet ideology). The former is usually resorted to by a heroic narrative about communist crimes and victims, and about the liberation struggle. This narrative is represented by the Museum of Genocide Victims in Vilnius and numerous smaller museums of similar type in all Lithuanian cities and towns. Conversely, the official legacy of the culture of the soviet period is not dispersed but concentrated in practically one location, in GrūtasPark. An impression arises that such established ways of exhibiting the traumatic legacy do not reveal the complex history of the soviet past, but merely express and consolidate the anti-soviet attitude.[...];Traumatic legacy;Art exhibition;Communism;Post-colonialism
Abstract: Europos meno ypatumus, yra palyginęs pokomunistinę kultūrą su potraumine būsena[1]. Pasak jo, visi komunistinį laikotarpį išgyvenę kraštai yra patyrę traumą, o šiandieninėse kultūrinėse praktikose – nuo viešų ritualų iki muziejinių ekspozicijų – atsispindi bent keletas būdų, kaip visuomenė tvarkosi su šia patirtimi. Nesileisdamas į psichoanalitinių svarstymų apie potrauminę būseną detales, Piotrowskis apsiriboja dviem pozicijom: tas praktikas, kuriomis stengiamasi ištrinti, išstumti iš atminties nemalonius praeities patyrimus, pavadina traumafobinėmis, tuo tarpu jų pripažinimą ir net mėgavimąsi jais atitinkamai prilygina traumafilijai. Turbūt nereikia nė sakyti, jog pagal psichoanalizės teoriją kelias link išgijimo arba išsivadavimo nuo praeities košmarų veda kažkur anapus meilės (philia) ir baimės (phobos).[...]
Internet: https://hdl.handle.net/20.500.12259/41659
Affiliation(s): Menotyros katedra
Menų fakultetas
Vytauto Didžiojo universitetas
Appears in Collections:Universiteto mokslo publikacijos / University Research Publications

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