听到的声音(再次)

Q2 Social Sciences
Lidija Nikočević
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引用次数: 0

摘要

第二次世界大战后,伊斯特拉意大利人的移民,通常被称为“出埃及”,一直是许多历史和人类学研究的频繁话题。本文报告了基于欧盟“线上身份”项目的新发现,该项目研究并解释了20世纪中叶欧洲的一系列非自愿移民以及对人民、社区和个人造成的不良后果。在伊斯特拉人“出埃及记”的研究中,努力寻找新的证词和故事,并触及迄今为止尚未“听到”的声音。在这一过程中,由于与移民的伊斯特拉意大利人(“Esuli”)以及与新创造的社会环境的矛盾关系,显而易见,未移民的伊斯特拉意大利人的地位和命运,即所谓的“Rimasti”(迄今为止研究较少)是非常复杂的。收集了两个社区的照片和声明,打算用于两个展览、电影和出版物,从而揭示了他们的亲密故事(其中一些是第一次被告知),并在公共空间展示。这种转变必然意味着与举报人进行非常谨慎和敏感的合作,目的是使他们的创伤更加明显,并建立博物馆作为加强努力传播“困难遗产”的机构。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Voices Heard (Again)
The emigration of Istrian Italians after the Second World War, most often called the “Exodus”, has been a frequent topic of many historical and anthropological studies. This paper reports on new findings based on the EU project Identity on the Line, which studied and interpreted a series of involuntary migrations and unwanted consequences for peoples, communities and individuals in Europe in the middle of the 20th century. In the research of the Istrian “Exodus”, an effort was made to find new testimonies and stories and reach voices that had not been “heard” thus far. In this process, it became obvious that the status and fate of the Istrian Italians who did not emigrate, the so-called “Rimasti” (less studied so far) is very complex due to the ambivalent relationship with the emigrated Istrian Italians (the “Esuli”) as well as with the newly created social environment. Photographs and statements from both communities were collected and meant to be used for two exhibitions, films and publications, thus bringing to light their intimate accounts (some of which were told for the first time), presenting them in a public space. This transformation necessarily implied very careful and sensitive cooperation with the informants, with the aim of making their traumas more visible, as well as establishing museums as institutions where increased efforts are made to communicate “difficult heritage”.
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来源期刊
Narodna Umjetnost
Narodna Umjetnost Social Sciences-Cultural Studies
CiteScore
0.50
自引率
0.00%
发文量
9
审稿时长
20 weeks
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