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Nataša
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Women, Violence and War
Women Remember the War, 1941-1945 offers a brief introduction to the experiences of Wisconsin women in World War II through selections from oral history interviews in which women addressed issues concerning their wartime lives. In this volume, more than 30 women describe how they balanced their more traditional roles in the home with new demands placed on them by the biggest global conflict in history. This book provides a rich mix of insights, incorporating the perspectives of workers in factories, in offices, and on farms as well as those of wives and mothers who found their work in the home. In addition, the volume contains accounts by women who served overseas in the military and the Red Cross. These accounts provide readers with a vivid picture of how women coped with the stresses created by their daily lives and by the additional burden of worrying about loved ones fighting overseas.
Sodobnost
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Sota ja rauha
"Miksi me uskomme hallitsijoita?" Päähenkilö Pierren kysymys korostaa yksilöiden halua päättää elämästään. Vaikka tapahtumien myllerrys ei näytä jättävän sijaa henkilökohtaisille pyrinnöille, kaikilla teoilla on seurauksensa. Suurromaanista dramatisoitu SOTA JA RAUHA on tehokas mutta ajatuksekas esitys ihmisten kiinnittymisestä yhteisöihinsä ja oman polkunsa etsimisestä. Se kertoo Napoleonin hyökkäyksestä itään ja tästä koituvista repivistä vaikutuksista 2020-luvulla nyt jälleen eloon syttyviin venäläisiin. Pierrelle siirtymä on käänteentekevä: "Todelliset asiat eivät ole jossain tuolla kaukaisuudessa." Yhtä kouraantuntuvasti mullistukset osuvat Natashaan: "Pidin metalliviivoitinta kynttilänliekissä ja painoin sen ihoani vasten, se helpotti." Taiten sovitettu klassikko osoittaa voimansa ja puhuttelevuutensa.
Dialogi
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Sadovi ranih cvetov
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Post-Yugoslav Metamuseums
This book analyzes how Second World War heritage is being reframed in the memorial museums of the post-socialist, post-conflict states of Croatia, Bosnia and Herzegovina, and Serbia. It argues that in all three countries, a reluctance to confront undesirable parts of their national histories is the root cause explaining why the state-funded Second World War memorial museums remain stuck in the postsocialist transition. In most cases, Second World War museums, exhibitions, and displays conceived in the Yugoslav period have been left unchanged. However, there are also examples where new sections were added to the old ones and there are a small number of completely reconceptualized permanent exhibitions. The transitional position of the Second World War museums has made it possible to view these institutions as historical formations in their own right. The book will appeal to students and academics working in the fields of heritage and museums studies, memory studies, and cultural history of Southeast-Europe.
Naša sodobnost
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