How To Address The Loss Forced Migrations Lost Territories And The Politics Of History

The book addresses the way European societies deal in the long term with the memory of territorial loss, associated with events as traumatic as forced migrations. It analyzes in a comparative perspective the emergence of a new approach to collective memory and memory culture, which includes all forms of public representations of the past.

This book critically analyses the changing EU-Russian security environment in the wake of the Ukraine crisis, with a particular focus on northern Europe where the EU and the Russian Federation share a common border. Russian involvement in conflict situations in the EU’s immediate neighbourhood has drastically impacted the European security environment, leading to a resurgence of competitive great power relations. The book uses the EU-Russia interface at the borders of Finland and the European North as a prism through which interwoven external and internal security challenges can be explored. Security is considered in the broadest sense of the term, as the authors consider how the security environment is reflected politically, socially and culturally within European societies. The book analyses changing political language and concepts, institutional preparedness, border governance, human security, migration and wider challenges to societal resilience. Ultimately, the book investigates into Finland’s preparedness to address new global security challenges and to find solutions to them on an everyday level. This book will be an important guide for researchers and upper-level students of security, border studies, Russian and European studies, as well as to policy makers looking to develop a wider, contextualized understanding of the challenges to stability and security in different parts of Europe.

This volume suggests a model of collective memory that distinguishes between two conceptual logics of memory fragmentation: vertical fragmentation and horizontal fragmentation. It offers a series of case studies of conflict and post-conflict collective memory, shedding light on the ways various actors participate in the production, dissemination, and contestation of memory discourses. With attention to the characteristics of both vertical and horizontal memory fragmentation, the book addresses the plurality of diverging, and often conflicting, memory discourses that are produced within the public sphere of a given community. It analyzes the juxtaposition, tensions, and interactions between narratives produced beyond or below the central state, often transcending national boundaries. The book is structured according to the type of actors involved in a memory fragmentation process. It explores how states have been trying to produce and impose memory discourses on civil societies, sometimes even against the experiences of their own citizens, and how such efforts as well as backlash from actors below and beyond the state have led to horizontal and vertical memory fragmentation. Furthermore, it considers the attempts by states’ representatives to reassert control of national memory discourses and the subsequent resistances they face. As such, this volume will appeal to sociology and political science scholars interested in memory studies in post-conflict societies.

The Istrian Peninsula, which is made up of modern-day Croatia, Slovenia, and Italy suffered from the so-called "Istrian exodus" after the Second World War. This book looks at this difficult, silenced past and shifts the usual focus from migrants to those who stayed behind and to the new immigrants who came to the “emptied” towns.The research, based on individual memories, deals with silences and competing national discourses, reasons to stay and leave, hybrid border ethnic identities, and the renewal of Istrian society and its new social relations. It is a self-critical reflection on an ignored chapter of national history, which, with an empathetic approach, allows the silence to speak.

The incorporation of German territories east of the Oder and Western Neisse rivers into Poland in 1945 was linked with the difficult process of an almost total exchange of population and involved the taking over of a region in which the Second World War had effected an enormous level of destruction. The contemporary term ‘Polish Wild West’ not only alluded to the reigning atmosphere of chaos and ‘survival of the fittest’ in the Polish–German borderland but was also associated with a new kind of freedom and the opportunity to start everything anew. The arrival in this region of Polish settlers from different parts of Poland led to Poles, Germans and Soviet soldiers temporarily coming into contact with one another. Living together in this war-damaged space was far from easy. On the basis of ego-documents, the author recreates the beginnings of the shaping of this new society, one affected by a repressive political system, internal conflicts and human tragedy. In distancing oneself from the until-recently dominant narratives concerning expellees in Germany or pioneers of the ‘Recovered Territories’ in Poland, Beata Halicka tells the story of the disintegration of a previous cultural landscape and the establishment of one which was new, in a colourful and vivid manner and encompassing different points of view.

This special issue focusses on refugees from Nazi-occupied Europe in British colonies, dominions and overseas territories. It deals with aspects like internment, identity and cultural representation in not well-known destinations of forced migration like India, New Zealand, Canada or Kenya.

Critics rarely associate popular film with German cinema, despite the international success of such films as Das Boot (1981), The Never-Ending Story (1984), Run, Lola, Run (1998), and recent German comedies, all representing a rich body of work outside the parameters of high culture. This very success compels the authors of Light Motives to take an unprecedented look at German popular film across the historical spectrum and to challenge the tendency among critics to divvy up German film, like Germans themselves, into the Good and the Bad. Together the essays reexamine popular film production along with larger cultural, historical, and political meanings suggested by the term "popular." Most critical accounts have focused on the golden era of Weimar film and the New German Cinema of the 1960s and 70s leaving much of popular film by the wayside. This volume attributes the division to such sources as Frankfurt School dictates, Goethe Haus film offerings, and state-funded film production during the 1970s, which promoted high-culture art films to broadcast the success of West German democratization. The essays challenge the traditional shape of German film history, while offering in-depth analyses of films that have until now been beyond the pale of critical attention. What emerges is a "Never-Ending Story" of oft-repeated obsessions, overlapping generic forms, omnipresent or subtle nods to Hollywood, and myriad political concerns irreducible to a unified message or aesthetic form-all bearing witness to the vibrancy of German culture.

"If catastrophe is not representable according to the narrative explanations which would ‘make sense’ of history, then making sense of ourselves and charting the future are not impossible. But we are, as it were, marked for life, and that mark is insuperable, irrecoverable. It becomes the condition by which life is risked, by which the question of whether one can move, and with whom, and in what way is framed and incited by the irreversibility of loss itself."—Judith Butler, from the Afterword "Loss is a wonderful volume: powerful and important, deeply moving and intellectually challenging at the same time, ethical and not moralistic. It is one of those rare collections that work as a multifaceted whole to map new areas for inquiry and pose new questions. I found myself educated and provoked by the experience of participating in an ongoing dialogue."—Amy Kaplan, author of The Anarchy of Empire in the Making of U.S. Culture