Fort VII was a Nazi concentration camp established during World War II on Polish territory, which, after the war, was long omitted from the official historical narrative. Photographs constitute a significant part of the exhibit of the museum created in the 1980's on that site and play an important role in creating the memory of it. By applying the theory of Roland Barthes, the author analyses the visual history of the commemoration of Fort VII in Poznań, Poland, and demonstrates that photography constitutes a specific language, evokes emotions, and contributes to the creation of narratives concerning historical sites of conscience as well as to the visualization of memory of such sites.
The Polish Review, a multi-disciplinary, peer-reviewed scholarly quarterly devoted to Polish topics, is the official journal of The Polish Institute of Arts and Sciences of America. The work of authors such as Czesław Miłosz, Stanisław Barańczak, Oskar Halecki, and Zbigniew Brzezinski, among others, has graced its pages. Articles on Polish History, Literature, Art, Sociology, Political Science and other related topics fill the pages of each issue, along with book reviews of significant publications.
Founded in 1918, the University of Illinois Press (www.press.uillinois.edu) ranks as one of the country's larger and most distinguished university presses. The Press publishes more than 120 new books and 30 scholarly journals each year in an array of subjects including American history, labor history, sports history, folklore, food, film, American music, American religion, African American studies, women's studies, and Abraham Lincoln. The Press is a founding member of the Association of American University Presses as well as the History Cooperative, an online collection of more than 20 history journals.