{"id":13280,"date":"2019-01-19T16:40:29","date_gmt":"2019-01-19T16:40:29","guid":{"rendered":"http:\/\/historiografija.hr\/?p=13280"},"modified":"2019-01-19T16:41:30","modified_gmt":"2019-01-19T16:41:30","slug":"call-for-contributions-to-a-special-issue-in-the-open-access-journal-cultures-of-history-forum-remembering-1989-actors-approaches-and-audiences-imre-kertesz-kolleg-jena","status":"publish","type":"post","link":"https:\/\/historiografija.hr\/?p=13280","title":{"rendered":"Call for contributions to a special issue in the open-access journal Cultures of History Forum: \u201cRemembering 1989: Actors, Approaches and Audiences\u201d (Imre Kert\u00e9sz Kolleg Jena)"},"content":{"rendered":"

The years 2019 will see a plethora of public events across the former Eastern bloc countries that commemorate the end of communism and the establishment of open, democratic regimes. Once again, we will see an outpour of speeches and commemorative gestures by officials pointing to the achievements of the democratic revolutions \u2013 and we will see controversy and contestation over contrasting narratives and memories. While for many people \u20181989\u2019 still represents a positive symbol of people\u2019s yearning for freedom or self-determination, alternative narratives of \u201cunfinished transition\u201d or new injustices are also part of public discourses. Previously dominant collectivist narratives are slowly giving way to a more varied and complex picture of the social and cultural changes that occurred during and after the peaceful revolutions. Moreover, new generations of artists, writers, theater and film directors as well as public historians and curators have entered the stage to take active part in the public conversation (and negotiation) of the revolutions.<\/p>\n

The Imre Kertesz Kolleg\u2019s Cultures of History Forum<\/em> aims to make use of the anniversary year of 2019 with its wave of renewed public engagement with 1989<\/strong> to take stock of new developments in public discourse over the most recent past. We invite scholars of public history and cultural memory to send us critical analyses of recent museum exhibitions, art and documentary films or theater plays, novels or memoirs, commemorative rituals or other forms of representations of the democratic revolutions and their legacies. By focusing mainly on popular culture we want to consciously step beyond issues of memory politics or academic discourse and, instead, draw attention to the multiple ways in which public representations of the past allow for new ways of participation and self-expression in the production and negotiation of historical knowledge. In this sense, we ask contributors to not only look at what<\/em> is being produced\/ performed, but to take a \u2018look behind the scenes\u2019 and analyze the very process of historical knowledge aestheticization and negotiation in the public sphere. Among other, contributions to this project should consider the following questions:<\/p>\n