Titlebook: Everyday Representations of War in Late Modernity; Nerijus Milerius,Agn? Naru?yt?,Lukas Bra?i?kis Book 2022 The Editor(s) (if applicable)

adhesive

袖章

DEMUR

heirloom

2946-3335 entations of war with the relevant Western European contexts.This book analyses photographic and cinematographic representations of war and its memorialisation rituals in the period of late modernity from the perspectives of cultural sociology, philosophy, art theory and film studies. It reveals how

MIR

翅膀拍動(dòng)

H. Alkadhi,S. Leschka,S. Wildermuth discusses how the elided trauma of the Second World War, especially the one prolonged by the subsequent Soviet occupation in Lithuania, an Eastern European country, can be detected from the architecture of war presented in photographs.

abject

Introduction,however, do not stop affecting the everyday and its processes. A similar phenomenon can be observed with war: during peacetime, the routine flow of life is separated from direct manifestations of war, but the traces of war traumas and their representations are nevertheless integrated into the everyday.

上漲

The Architecture of Lingering War in Everyday Life: Photography and the Double Time of Military App discusses how the elided trauma of the Second World War, especially the one prolonged by the subsequent Soviet occupation in Lithuania, an Eastern European country, can be detected from the architecture of war presented in photographs.

山羊

Lucas L. Geyer,Ulrich Linsenmaierown at their feet or somewhere on the floor, some hang their heads but look up at the screen from underneath their eyebrows, and others hold their heads in their hand they could not otherwise hold up their weary eyes and heads due to the distress caused by the shocking images before them (Fig. 6.2).

Picks-Disease

The Erasure of War Crimes and their Visualisation in Post-Soviet Eastern European Cinema,own at their feet or somewhere on the floor, some hang their heads but look up at the screen from underneath their eyebrows, and others hold their heads in their hand they could not otherwise hold up their weary eyes and heads due to the distress caused by the shocking images before them (Fig. 6.2).