Praca postpamięci w Kartografie Juana Mayorgi

The Effect of Postmemory in Juan Mayorga’s The Cartographer The Cartographer of Juan Mayorga was inspired by a visit to Warsaw in 2008. The author went on a ‘walk through an invisible Warsaw’, as he himself described it. It was a journey which followed the places pictured in photographs from the...

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Autor principal: Kamila Łapicka
Formato: article
Lenguaje:EN
PL
Publicado: Ksiegarnia Akademicka Publishing 2021
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Acceso en línea:https://doaj.org/article/ff93f2bfcc6d4841b9400f5898edb387
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spelling oai:doaj.org-article:ff93f2bfcc6d4841b9400f5898edb3872021-11-27T13:07:30ZPraca postpamięci w Kartografie Juana Mayorgi10.12797/Politeja.14.2017.47.071733-67162391-6737https://doaj.org/article/ff93f2bfcc6d4841b9400f5898edb3872021-06-01T00:00:00Zhttps://journals.akademicka.pl/politeja/article/view/1706https://doaj.org/toc/1733-6716https://doaj.org/toc/2391-6737 The Effect of Postmemory in Juan Mayorga’s The Cartographer The Cartographer of Juan Mayorga was inspired by a visit to Warsaw in 2008. The author went on a ‘walk through an invisible Warsaw’, as he himself described it. It was a journey which followed the places pictured in photographs from the ghetto, which Mayorga saw at an exhibition at the Nożyki Synagogue. I was able to find them. Since photographs play an ‘essential role as a medium of postmemory’, as stressed by Marianne Hirsch, one of the leading researchers on postmemory processes in her paper The Generation of Postmemory, I would like to consider the means by which the photographs from the ghetto have initiated the effect of (affiliative) postmemory on this contemporary playwright (born in 1965), who has no connection to the Holocaust either through his family or even national background. I would also like to explore their effect on the dramatic developments of The Cartographer which take place within two time frames – Warsaw in 1940 as well as contemporarily. Kamila ŁapickaKsiegarnia Akademicka PublishingarticlepostpamięćJuan Mayorgafotografiegetto warszawskieLawKPolitical scienceJENPLPoliteja, Vol 14, Iss 2(47) (2021)
institution DOAJ
collection DOAJ
language EN
PL
topic postpamięć
Juan Mayorga
fotografie
getto warszawskie
Law
K
Political science
J
spellingShingle postpamięć
Juan Mayorga
fotografie
getto warszawskie
Law
K
Political science
J
Kamila Łapicka
Praca postpamięci w Kartografie Juana Mayorgi
description The Effect of Postmemory in Juan Mayorga’s The Cartographer The Cartographer of Juan Mayorga was inspired by a visit to Warsaw in 2008. The author went on a ‘walk through an invisible Warsaw’, as he himself described it. It was a journey which followed the places pictured in photographs from the ghetto, which Mayorga saw at an exhibition at the Nożyki Synagogue. I was able to find them. Since photographs play an ‘essential role as a medium of postmemory’, as stressed by Marianne Hirsch, one of the leading researchers on postmemory processes in her paper The Generation of Postmemory, I would like to consider the means by which the photographs from the ghetto have initiated the effect of (affiliative) postmemory on this contemporary playwright (born in 1965), who has no connection to the Holocaust either through his family or even national background. I would also like to explore their effect on the dramatic developments of The Cartographer which take place within two time frames – Warsaw in 1940 as well as contemporarily.
format article
author Kamila Łapicka
author_facet Kamila Łapicka
author_sort Kamila Łapicka
title Praca postpamięci w Kartografie Juana Mayorgi
title_short Praca postpamięci w Kartografie Juana Mayorgi
title_full Praca postpamięci w Kartografie Juana Mayorgi
title_fullStr Praca postpamięci w Kartografie Juana Mayorgi
title_full_unstemmed Praca postpamięci w Kartografie Juana Mayorgi
title_sort praca postpamięci w kartografie juana mayorgi
publisher Ksiegarnia Akademicka Publishing
publishDate 2021
url https://doaj.org/article/ff93f2bfcc6d4841b9400f5898edb387
work_keys_str_mv AT kamilałapicka pracapostpamieciwkartografiejuanamayorgi
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