Abstract (may include machine translation)
Ridley Scott Szárnyas fejvadász címu filmjének egyik legfontosabb jelenetében a gyönyöru replikánsnô azzal akarja meggyôzni a deviáns replikáns vadászt arról, hogy ô mégiscsak „igazi” ember, hogy gyurt fényképet mutat neki, mely szerinte ôt magát ábrázolja gyerekkorában édesanyjával. Sem maga a fénykép, sem a pókhálóról felidézett gyerekkori története nem meggyôzô. „Ezek nem a te emlékeid, ezeket csak úgy mondták neked” – mondja ki a lesújtó ítéletet a Harrison Ford alakította fess fejvadász, rávilágítva ezzel az emlékezetkutatás egyik fô kérdésére: ki és mi alakítja a sajátunknak, tehát autentikusnak és személyesnek vélt emlékeinket? A jelenkorral foglalkozó történészeknek meg kell küzdeniük azzal a Furet által „perceptuális hátránynak” nevezett jelenséggel, hogy idôben nem olyan régen történt eseményeket vizsgálnak, melyekrôl mindenkinek megvan a saját önálló, tehát igaznak vélt emléke. Magyarországon még mindig tart a múltleleplezô történetírás korszaka, mely azokat az emlékeket és lehetôleg írott forrásokat keresi, melyekbôl most már tényleg megtudjuk, hogyan is történt az, amirôl eddig azt mondták, hogy másképpen történt. Ez a történetszemlélet, az Igazság keresésének és leleplezésének paradigmája nem segíti a történelem idôben hozzánk legközelebbi korszakának újszeru elemzését. Amíg a történészek a valahol bizonyosan létezô tiszta és érintetlen Északi sarkot keresik, mely még mindig a kiválasztott felfedezôre vár, hogy megmutassa valódi szépségét és kincseit, addig valójában nem tudunk választ adni arra a kérdésre, hogyan válik az egyéni élmény emlékké, s ebbôl miképpen alakul ki az emlékezés, s annak kollektív formája: a Történelem.
In one of the most important scenes of Ridley Scott's film The Winged Bounty Hunter, the beautiful replicant wants to convince the deviant replicant hunter that he is still a "real" person by showing him a crumpled photograph that she thinks shows her as a child with her mother. Neither the photograph itself nor the childhood story about the spider web is convincing. "These are not your memories, they were just told to you," utters the crushing verdict of the feisty bounty hunter played by Harrison Ford, thus highlighting one of the main questions of memory research: who and what shapes our memories, which are considered authentic and personal? Historians dealing with the present have to deal with what Furet calls the "perceptual disadvantage" of examining events that happened not so long ago, of which everyone has their own independent, and therefore believed to be true, memory. In Hungary, there is still an era of history-revealing history, which seeks those memories and possibly written sources, from which we can now really find out how what was said to have happened in a different way actually happened. This approach to history, the paradigm of the search for and uncovering of the Truth, does not help the new analysis of the period of history closest to us in time. As long as historians are looking for the pure and untouched North Pole that certainly exists somewhere, still waiting for the chosen explorer to show its true beauty and treasures, we cannot really answer the question of how an individual experience becomes a memory, and how it becomes a memory. who is memory and its collective form: History.
In one of the most important scenes of Ridley Scott's film The Winged Bounty Hunter, the beautiful replicant wants to convince the deviant replicant hunter that he is still a "real" person by showing him a crumpled photograph that she thinks shows her as a child with her mother. Neither the photograph itself nor the childhood story about the spider web is convincing. "These are not your memories, they were just told to you," utters the crushing verdict of the feisty bounty hunter played by Harrison Ford, thus highlighting one of the main questions of memory research: who and what shapes our memories, which are considered authentic and personal? Historians dealing with the present have to deal with what Furet calls the "perceptual disadvantage" of examining events that happened not so long ago, of which everyone has their own independent, and therefore believed to be true, memory. In Hungary, there is still an era of history-revealing history, which seeks those memories and possibly written sources, from which we can now really find out how what was said to have happened in a different way actually happened. This approach to history, the paradigm of the search for and uncovering of the Truth, does not help the new analysis of the period of history closest to us in time. As long as historians are looking for the pure and untouched North Pole that certainly exists somewhere, still waiting for the chosen explorer to show its true beauty and treasures, we cannot really answer the question of how an individual experience becomes a memory, and how it becomes a memory. who is memory and its collective form: History.
Translated title of the contribution | Hungarian women and Russian soldiers. - To tell or not to tell? - |
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Original language | Hungarian |
Pages (from-to) | 68-71 |
Number of pages | 4 |
Journal | MAGYAR LETTRE INTERNATIONALE |
Volume | 8 |
Issue number | 32 |
State | Published - 1999 |