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    <ns1:title language="en">Digitalizing Trauma: Virtual Re/Presentations in Central Europe</ns1:title>
    <ns1:language>en</ns1:language>
    <ns1:description language="sr">Abstract
The primary aim of this chapter is to comparatively analyse digital representations of
trauma in Central Europe. While trauma has traditionally been understood as a radical
form of insecurity describing the emotional impact of a horrendous event, recently it
has been defined – instead of naturally existing – as something constructed by society.
Using this notion of cultural trauma and “post-memory” as a point of departure, we are
interested in how various places of trauma become reconstructed in the digital space.
Within this process human agency plays a key role and, as such, we will also reveal what
kind of “carrier groups” take the lead during “meaning making” and who becomes the
audience of these new “framings”. Thus, our chapter has a double focus: besides elaborating
on the dialectics between actual and digital placemaking activities related to
certain traumas, we will also lay out the specific sociocultural processes that produce,
challenge and adopt these new master narratives. After an introduction that will relate
the theory of cultural trauma to the concept of post-memory, as well as to the digital
turn in memory studies, our interdisciplinary team of an art historian, a media scholar
and a sociologist will discuss three case studies from Koper-Capodistria (Slovenia),
Belgrade (Serbia) and Budapest (Hungary). While all the cases reflect the historical
event of World War II and its consequences, they represent three different modes of
digit(al)ized trauma “making”. The case of Koper-Capodistria studies the formation of
Juli Székely, Nevena Dakovič, and Tim Mavrič - 9789004542389
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via Open Access. This is an open access article distributed under the terms
of the CC BY-NC-ND 4.0 license.
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310 Székely, Dakovič and Ma vrič
various Facebook groups that mirror the post-World War II event of the “Istrian exodus”,
when the Italian population got largely displaced by newcomers from Slovenia
and Yugoslavia. The two sides met again only in 2016 when the history of the city got in
the spotlight on a social media site, which started to function as a vessel for divergent
historic narratives and collective memories between Italians and Slovenes. In contrast
to the digital dialogue the social media site generated and presented about the actual
urban experiences of two distinct groups in Slovenia, the Serbian and Hungarian cases
aimed more at an interaction between the urban and digital sites through various
tools. While the case study from Serbia encompasses four projects of digital mapping
of the Holocaust (“Semlin Judenlager in Serbian Public Memory”, “Staro Sajmište: The
Living Death Camp Project”, “Visit to Staro Sajmište” and “Mapping the Holocaust”),
the one from Hungary discusses the USC Shoah Foundation’s mobile app, IWalk, which
connects concrete physical locations with testimonies of Holocaust survivors and witnesses.
The social media site (set up in 2016), the multimedia maps (created between
2008 and 2013) and the educational app (first launched in 2013) will all be understood
as digitexts where histories, digital memories and trauma narratives meet: as digital
cultural traumas. We believe that through the “reading” together of these cases from
Central Europe, we will not only contribute to the understanding of the potential of
digital placemaking and its role in processes of remembering that are often hindered
by taboos, but we will also be ourselves able to “make” place for a deeper social solidarity
and well-being.
</ns1:description>
    <ns1:keyword language="en">Keywords: Central Europe – World War II – cultural trauma – digital memory – citizens’ participation</ns1:keyword>
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      <ns2:identifier>10.1163/9789004542389_018</ns2:identifier>
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      <ns2:resource>1552100</ns2:resource>
      <ns2:identifier> 978-90-04-54238-9</ns2:identifier>
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    <ns2:identifiers>
      <ns2:resource>1552100</ns2:resource>
      <ns2:identifier>978-90-04-53510-7</ns2:identifier>
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    <ns1:upload_date>2024-02-01T12:31:14.278Z</ns1:upload_date>
    <ns1:status>44</ns1:status>
    <ns2:peer_reviewed>yes</ns2:peer_reviewed>
    <ns1:contribute seq="0">
      <ns1:role>46</ns1:role>
      <ns1:entity seq="0">
        <ns3:firstname> Juli</ns3:firstname>
        <ns3:lastname>Székely</ns3:lastname>
        <ns3:institution>Eötvös Loránd University Budapest Hungary</ns3:institution>
        <ns3:orcid>0000-0002-0905-3294</ns3:orcid>
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      <ns1:role>46</ns1:role>
      <ns1:entity seq="0">
        <ns3:firstname>Nevena</ns3:firstname>
        <ns3:lastname>Daković</ns3:lastname>
        <ns3:institution>Fakultet dramskih umetnosti</ns3:institution>
        <ns3:conor>1903207</ns3:conor>
        <ns3:orcid>000-0001-9704-0727</ns3:orcid>
      </ns1:entity>
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      <ns1:role>46</ns1:role>
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        <ns3:firstname>Tim </ns3:firstname>
        <ns3:lastname>Mavrič</ns3:lastname>
        <ns3:institution>Innorenew CoE Izola Slovenia</ns3:institution>
        <ns3:orcid>0000-0001-6959-7288</ns3:orcid>
      </ns1:entity>
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  <ns12:digitalbook>
    <ns12:name_magazine language="en">Placemaking in Practice Volume 1 Experiences and Approaches from a Pan-European Perspective</ns12:name_magazine>
    <ns12:pagination>vol 1</ns12:pagination>
    <ns12:from_page>309</ns12:from_page>
    <ns12:to_page>327</ns12:to_page>
    <ns12:publisherlocation>Leiden, Netherlands</ns12:publisherlocation>
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    <ns12:releaseyear>2023</ns12:releaseyear>
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