ABSTRACT This article analyses two films, Larisa Shepit’ko’s Wings (Kryl’ia, 1966) and Pavel Chukhrai’s The Thief (Vor, 1997), from the point of view of the poetics of a traumatic past as the source for the present. Within the theoretical framework of the concepts of trauma, (post)memory and the uncanny, this analysis aims to answer the following questions: after the historical trauma of the Second World War, or the ‘Great Patriotic War’, is there any sense in talking not only about the future, but also about the present – if what Chris Lorenz terms ‘hot history’ haunts a person to the extent that it completely shapes his/her life? How does time ‘return’? Where is trauma located? What are the meanings of the figures of ‘lost objects’ in these films? What happens when trauma is anchored around a myth?

中文翻译：

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“我正在开始新的生活”：在 Larisa Shepit'ko 的 Wings 和 Pavel Chukhrai 的 The Thief 中开始或结束的（不可能）

摘要 本文从创伤过去作为现在来源的诗学的角度分析了两部电影，拉里萨·谢皮特科的《翅膀》（Kryl'ia，1966 年）和帕维尔·楚赫莱的《窃贼》（Vor，1997 年）。在创伤、（后）记忆和不可思议的概念的理论框架内，本分析旨在回答以下问题：在第二次世界大战或“伟大的卫国战争”的历史创伤之后，不仅谈论未来，而且谈论现在——如果克里斯·洛伦茨所说的“热门历史”在某种程度上困扰着一个人，以至于它完全塑造了他/她的生活？时间如何“回归”？创伤位于何处？这些电影中“失物招领”的人物有什么含义？当创伤以神话为基础时会发生什么？