https://doi.org/10.31261/errgo.7684
The crash of the presidential aircraft that took place on April 10, 2010 is an event that has become a permanent part of Polish collective memory. However, the narratives regarding it are not homogenous or consistent, and are constantly negotiated by various social actors, including poets and filmmakers. For instance, Antologia smoleńska. 96 wierszy [The Smolensk Anthology. 96 poems] and the movie Smolensk directed by Antoni Krauze have the ambition to inscribe the discourse of the Smolensk tragedy as an assassination into the dominant, valid and widely accepted collective memory. Both the cinematographic and poetic language have an explanatory potential and lend sense to the reality shaken by the tragic event. Reaching back to the romantic tradition as well as martyrological and religious discourses of Poland, both Krauze’s movie and the Smolensk poetry may be interpreted as a transcription and as an effect of the process of the mythologization of history and of its transformation into the matter of collective memory, presented then as an objective historical truth.
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No. 40 (2020)
Published: 2020-07-28
10.31261/errgo
English
Język Polski