Translating Memories follows three lines of inquiry:
What memorial forms and tropes have been used to make the Eastern European memories of the Second World War and of Socialism intelligible in the global arena? How do different memorial forms impede or enable the travel of memories? How do transcultural memorial forms interact with recently reinforced national narratives and their memorial practices in various parts of Eastern Europe?
Public Reception of Aesthetic Acts of Memory
How can we think about public controversies provoked by the works of art as mediators of memory? How are aesthetic acts of memory localised or universalised by reception? What can the different ways that aesthetic acts of memory are received nationally and transnationally tell us about the frictions between these scales of memory and within the nation itself?
Redrawing of Boundaries
Can we think of Eastern Europe itself as a transnational space of memory? Are there are any contagious developments of public remembering that could potentially prove dangerous or perhaps enabling? How can the arts help in renegotiating the borders of communities between the local, national, regional and global levels? Which new forms of world citizenship do they support?
These lines of inquiry are explored in the case studies focusing on different Central and Eastern European countries and comparison of them. For details see People.