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The article attempts to clarify what today constitutes communicative remembering. To revisit this basic mnemonic concept, our theoretical contribution starts from available approaches in social memory studies that assume a binary distinction between cultural and communicative modes of memory making. In contrast, we use concepts that treat them not as structural, historically and culturally distinct registers but as a repertoire of retrospection that hinges on the evoked temporal horizon and media usage. To further interrogate this practical articulation of memories, we direct our attention to the habitual, communicatively realised engagement with the past. We finally turn to the ways communicative remembering is done in digitally networked environments, which provide us with a pertinent mnemonic arena where rigid dichotomies of communicative memory versus cultural memory are eroded.

The concept of genealogical memory is commonly presumed to be synonymous with family or intergenerational memory. However, this paper asserts the necessity for a more detailed examination, seeking to refine and contextualize these notions from a genealogist’s perspective. Exploring the focal point of this study, genealogical memory unveils distinctive characteristics that warrant meticulous scrutiny. Foremost among these characteristics is its intentional nature and inherently reconstructive essence, enabling the recollection of long-deceased ancestors and contemplation of their fates. Consequently, genealogical memory proves invaluable in bridging the ‘floating gap’ between communicative and cultural memory, as posited by Jan Vansina’s conceptualization. The primary objective of this article is to comprehensively explore and structure the concept of genealogical memory, with a particular focus on the genealogist’s role as a memory-maker.

This study is an exploration of entrepreneurial identity, employing a culturally sensitive mixed methods approach, Identity Structure Analysis (ISA). The sample includes 30 small/micro entrepreneurs in Southern-Transdanubia, Hungary. Hungary had introduced some “staccato” economic reforms in the previous social system, changing communist hostility towards entrepreneurs as “capitalists” into lasting ambivalence. The results reflect indistinct commitments to entrepreneurial values; constant adaptation to environmental factors instead of building own strategies; and limited future expectations. In the two sub-samples of male and female entrepreneurs there were no statistically significant differences. The dominant, masculine discourse of entrepreneurship, the underdevelopment of social enterprises in Hungary, the impact of the previous communist discourse understanding equality as sameness, and the pandemic-induced crisis may explain for these findings.

Cet article examine comment certains concepts-clé des cultures mémorielles sont transférés d’une langue à l’autre et quels glissements sémantiques peuvent alors s’opérer. La question concerne ici les équivalences à trouver en allemand pour les termes si on les applique à la culture mémorielle contemporaine dont un paradigme est la chute du Mur et le processus de l’unification. Partant du constat que le mot en conceptualise aussi bien le caractère processuel que la pluralité, il importe de se pencher aussi sur les retraductions qui conviennent le mieux en français. L’ensemble permet de plaider pour une méthodologie permettant d’accompagner scientifiquement le passage – qui est en train de s’effectuer actuellement au sujet de la RDA et des années 1989/1990 – de la mémoire communicative à la mémoire culturelle.

In urban centers around the world, street art has become an unavoidable element of the landscape. Located in west-central Portugal, Aveiro is no exception to this trend, and the art form has been used to enhance the cultural vibrancy of a place where tourism is one of the most important economic pillars. Seeking to look beyond the value of street art as a tourism product, by combining observations and photos from field research with bibliographic and documental data, as well as residents’ responses on social media, this paper adopts an autoethnographic approach to offer an exploratory, (self-)reflexive perspective on how street art has evolved into a phenomenon that has contributed to locals’ cultural identity (re)construction. Drawing on Jan Assmann’s cultural memory theory, it is argued that street art can be understood as a form of communicative memory, an ephemeral vehicle into our history, knowledge, traditions and practices, one that, by retelling the story of who we are, stimulates awareness of selfhood and a feeling of belonging to a place and a community.

This paper focuses on the use of Soviet-era symbols, myths, and narratives within groups on VKontakte social media site over the initial stage of the Ukraine crisis (2014–2015). The study is based on qualitative content analysis of online discussions, visual materials, and entries by group administrators and commentators. It also applies link-analysis in order to see how groups on social media are interrelated and positioned online. It reveals that these online groups are driven primarily by neo-Soviet myths and hopes for a new version of the USSR to emerge. Over time, the main memory work in these groups shifted from Soviet nostalgia and “pragmatic” discourse to the use of re-constructed World War II memories in order to justify Russian aggression and to undermine national belonging in Ukraine. Reliance on the wartime mythology allowed for the labelling of Euromaidan supporters as “fascists” that should be eliminated “once again.” This powerful swirl of re-created Soviet memories allowed effective mobilization on the ground and further escalation of the conflict from street protests to the armed struggle.

Radom je obuhvaćena analiza različitih narativnih formi sjećanja u čijim se okvirima Domovinski rat razumije i kolektivno pamti u hrvatskom društvu. Da bi se pružio koherentan okvir o kolektivnim sjećanjima na Domovinski rat, analizom su obuhvaćena ogledna osobna (komunikacijska) i institucionalna (službena) sjećanja, među kojima je napravljena distinkcija potrebna za razumijevanje društvenih reprezentacija i percepcija o Domovinskom ratu. Želi se pokazati kako su narativi o Domovinskom ratu interpretirani, reprezentirani i kolektivno zapamćeni, a odmičući se od dosadašnjih povijesnih sjećanja na Domovinski rat. Dok se u radu diskutiraju ogledna osobna i institucionalna sjećanja, istraživački je fokus bitno postavljen na jednu narativnu formu sjećanja – usmenu povijest neposrednih sudionika i sudionica koja se iznosi s ciljem analize i prikaza značenja koja Domovinskom ratu pripisuju ljudi koji nisu bili kreatori povijesnih događaja i nositelji političke moći. U sferi institucionalnih sjećanja naglasak je na političkim gestama i govorima na komemoracijama tijekom 2020. godine, čijom se analizom ukazuje na mogući pomak prema priznavanju humanosti i patnje druge strane kao najvažnijim koracima na putu prema suživotu i dijeljenim sjećanjima na rat. Rad naposljetku, postavljajući pitanje kako ćemo se u budućnosti sjećati Domovinskog rata, diskutira porozne granice i tanke linije prijelaza iz komunikacijskog u kulturno sjećanje.

Personal stories and testimonies of survivors of Nazi concentration camps contributed to the construction of the Holocaust and Nazi genocide as a shared European realm of memory. A variety of individual memories of a certain event contribute to the creation of its collective representation which is then accessible for a wider range of people. This article deals with social dimensions of memory and trauma. It focuses on the engagement of individuals in the memory work related to traumatic past, particularly to the experience of Ravensbrück concentration camp. It examines the processes of remembering and meaning-construction in public and private contexts. The objective is to identify the routes of memory and the impacts on memory transmission in different spaces and temporalities. Ethnographic methods were deployed to investigate processes of remembering in witnesses, women-concentration-camp survivors from various European countries, and the relation to the past familial experience in descendants.

The study focuses on Fanika as an example of documentary writing by firstand secondgeneration survivors, i.e. women in the motherdaughter relationship (Hanna Altarac/Fanika Lučić and Branka Jovičić), both from Sarajevo, Yugoslavia. The timeline of the life story of Hanna/Fanika, born in 1922 in a Sephardic family from Sarajevo, coincides on the macro level with the history of Yugoslavia (the establishment of the state and the interwar period, World War Two and the Holocaust, the postwar socialist period, the breakup of the country and postYugoslavia), which is important for the contextualization of the narrative. We have analyzed the motivation of firstgeneration survivor Fanika Lučić to present her memories of the Holocaust, highlighting the importance of communicative memory as an instrument of their transmission to a secondgeneration survivor as well as the process involved in their transfer from private to public narrative. Further analysis refers to the generic frames of the narrative, its hybrid character, and its liminal position at a point where biography and autobiography meet and interact. Mediation is a key procedure in Fanika, so attention has been dedicated to determining the degrees of mediation, their variation throughout the narrative and their impact on the substructures (narrative segments). Finally, we have identified, interpreted, and contextualized several gender markers appearing at various levels of the text. In conclusion, the book was designed not only to transmit the Holocaust testimony of Fanika Lučić, but also to provide a biographical account of her life in socialist Yugoslavia, her experience of the war in Bosnia, and the final phase of her life as a Canadian immigrant. Transgenerational memory and gender play a key role in the hybrid structure of this book, which is a welcome contribution to Yugoslav Holocaust literature.

The disappearance of both the itinerant cinema and the train has left a void in several countryside communities in Paraguay. Hugo Gamarra Etcheverry’s Profesión Cinero, along with Mauricio Rial Banti’s Tren Paraguay, are contemporary documentaries by Paraguayan film makers who bring back the voices of communicative memory reminiscent of past personal experiences related to the periodical visits of the cinema and the train to the villages. This article investigates the audiovisual techniques used to deal with the communicative memory in both films, while also examining the additional significations arising from the intersection of cinema and the oral, bilingual manifestations which express those memories.