The paper analyses the contemporary debate about memory culture and memory policy in Germany which are highly valid for Europe as well. They base on the political consensus that the memory of collective crimes committed in the past, especially of the Holocaust, and the honour to the victims, are a basic prerequisite for the protection of human rights. In the second part of the paper different critical views on the conception and practice of memory culture and memory policy (...) in Germany are discussed. (shrink)

This article deals with the analysis of concepts of national identity and ethnicity as the "cluster of ideas" and/or concepts which have similar constitutive elements. This article intends to analyze the relationship between these concepts and the concept of memory culture. Finally, the author is attempting to discuss the concept of memory culture as the segment of cultural identity. U okviru ovog ogleda autorica predlaze utvrdjivanje zajednickih konstitutivnih elemenata pojmova nacionalni identitet i etnicitet, kao i promisljanje odnosa navedenih (...) pojmova i pojma kultura secanja. Ovi pojmovi se mogu analizirati kao " grozdovi ideja " i/ili skupine pojmova koji poseduju izvesne specificne konstitutivne elemente. U ogledu se predlaze razmatranje kulture secanja kao segmenta kulturnog identiteta. (shrink)

The problem with remembering Auschwitz is that the neoliberal paradigm of economic utility, demotic happiness, and programmed consumption has tended to erase its facticity from public consciousness. Technoscientific capitalism functions as a regime of amnesic performance that prevents a ‘working through’ of the Nazi genocide. I argue that Agamben’s work on the implicit violence of the biopolitical paradigm gives a crucial insight into the fate of humanity in the time of global capitalism. However, I contend that the idea of testimony (...) he presents in Remnants of Auschwitz recapitulates a Heideggerian ontology of experience that is enacted outside of the technological dynamics of trauma and memory. I employ Stiegler’s concept of epiphylogenetic memory, first, to explore the economy of fascisms that has emerged within the networks of global capitalism and, second, to examine the material affects through which Auschwitz returns to the scene of this economy. (shrink)

Deleuze and Memorial Culture is a detailed study of contemporary forms of public remembrance. Adrian Parr considers the different character traumatic memory takes throughout the sphere of cultural production and argues that contemporary memorial culture has the power to put traumatic memory to work in a positive way. Drawing on the conceptual apparatus of Gilles Deleuze, she outlines the relevance of his thought to cultural studies and the wider phenomenon of traumatic theory and public remembrance. This (...) book offers a revision of trauma theory that presents trauma not simply as a definitive experience and implicitly negative, but an experience that can foster a sense of hope and optimism for the future. (shrink)

This book explores questions surrounding material memory, culture and technology, and examines the active and constitutive role that technical artefacts play in our practices of memory. Interdisciplinary in nature, the book’s argument includes themes unusual in memory studies, such as the production of technology and the concept of nature.

ArgumentIn this paper I will argue that the scientific investigation of skulls and brains of geniuses went hand in hand with hagiographical celebrations of scientists. My analysis starts with late-eighteenth century anatomists and anthropologists who highlighted quantitative parameters such as the size and weight of the brain in order to explain intellectual differences between women and men and Europeans and non-Europeans, geniuses and ordinary persons. After 1800 these parameters were modified by phrenological inspections of the skull and brain. As the (...) phrenological examination of the skulls of Immanuel Kant, Wilhelm Heinse, Arthur Schopenhauer and others shows, the anthropometrical data was interpreted in light of biographical circumstances. The same pattern of interpretation can be found in non-phrenological contexts: Reports about extraordinary brains were part of biographical sketches, mainly delivered in celebratory obituaries. It was only in this context that moral reservations about dissecting the brains of geniuses could be overcome, which led to a more systematic investigation of brains of geniuses after 1860. (shrink)

We hypothesize that cultural narratives such as myths and folktales are more likely to achieve cultural stability if they correspond to a minimally counterintuitive (MCI) cognitive template that includes mostly intuitive concepts combined with a minority of counterintuitive ones. Two studies tested this hypothesis, examining whether this template produces a memory advantage, and whether this memory advantage explains the cultural success of folktales. In a controlled laboratory setting, Study 1 found that an MCI template produces a memory advantage after a (...) 1‐week delay, relative to entirely intuitive or maximally counterintuitive cognitive templates. Using archival methods, Study 2 examined the cognitive structure of Grimm Brothers folktales. Compared to culturally unsuccessful folktales, those that were demonstrably successful were especially likely to fit an MCI template. These findings highlight the role of human memory processes in cultural evolution. (shrink)

The memory of the past is one of the supporting structures of society. Contributing orientation in time and space to society, the memory acts as a connection between the present and the future. With the help of memory, society maintains its identity. What society remembers or forgets is the cultural core of its values and meanings. Being the representation of the past, versatile and selective memory is undergone to constant reorganization in the society in accordance with the demands of the (...) present. The Soviet project, aimed at forming of a new society and a person, offered also its own project of the past, created its culture of memory. Ideas about the past changed along with the change of the Soviet present and the vision of its future. An important component of the culture of memory are the commemorations. Anniversaries of signifcant events and historical fgures allow to organize the work of the past in the present, to enter them into the current cultural space. The anniversary reading of the classic authors of Russian literature in the Soviet period was associated with the idea of mastering the cultural heritage of the past by the working people. The methods and forms of their memorialization, aimed at mass perception and appropriation, corresponded to the heroic matrix, which played the main role in the institutionalization of the Soviet collective whole. This matrix, based on the class-party principle, had two successive profles: revolutionary-international and nationalpatriotic. In the Soviet period there were several important dates in memory of Ivan Turgenev. Honorings of the writer complied with a certain canon. Turgenev’s works were primarily understood from the point of view of their social signifcance, in the context of both the Turgenev era and the Soviet era. Its multivalent potential was mainly considered from two aspects: the service to the revolution and the service toRussia. (shrink)

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This essay begins with a Berlin memorial to the victims of National Socialist “euthanasia” killings first unveiled in 2014. The open-air structure was the fourth such major public memorial in the German capital, having followed earlier memorials already established for Jewish victims of Nazi atrocity in 2005, German victims of homosexual persecution in 2008, and Sinti and Roma victims in 2012. Planning for the systematic persecution and extermination of at least 300,000 infants, adolescents, and adults deemed “life unworthy (...) of life” long preceded and extended beyond the 12-year Nazi period of massacre linked to other victim groups. Yet those constructing collective memory projects in Berlin appear to consider these particular victims as an afterthought, secondary to the other groups. Rather than address the commemorations themselves, this essay addresses the sequence in which they have appeared in order to demonstrate a pattern of first-victimized/last-recognized. I argue that the massacre of Jews, Roma, homosexuals, and others had to come into legal jurisprudence, scholarship, and public memory projects first before the murdered disabled body and its related memorialization could be legitimized as a category of violence important in and of itself. I argue further that the delay is rooted in a shared trans-Atlantic history that has failed to interrogate disability in terms of the social and cultural values that categorize and stigmatize it. Instead, the disabled body has been seen as both a physical embodiment of incapacity and a monolith that defies historicization. An examination of the broader foundation behind delayed study and representation that recognizes the intersection of racism and ableism allows us to reconfigure our analysis of violence and provides fertile ground from which to make connections to contemporary iterations still playing out in the present. (shrink)

Referring to a past that never was, dij vu shares a structure not only with fiction, but also with the ever more sophisticated effects of media technology. Tracing the term from the end of the nineteenth century, when it was first popularized in the pages of the Revue philosophique, Peter Krapp examines the genealogy and history of the singular and unrepeatable experience of dij vu. This provocative book offers a refreshing counterpoint to the clichid celebrations of cultural memory and forces (...) us do a double take on the sanctimonious warnings against forgetting so common in our time. Disturbances of cultural memory-screen memories, false recognitions, premonitions-disrupt the comfort zone of memorial culture: strictly speaking, dij vu is neither a failure of memory nor a form of forgetting. Krapp's analysis of such disturbances in literature, art, and mass media introduces, historicizes, and theorizes what it means to speak of an economy of attention or distraction. Reaching from the early psychoanalytic texts of Sigmund Freud to the plays of Heiner M]ller, this exploration of the effects of dij vu pivots around the work of Walter Benjamin and includes readings of kitsch and aura in Andy Warhol's work, of cinematic violence and certain exaggerated claims about shooting and cutting, of the memorial character of architecture, and of the high expectations raised by the Internet. Peter Krapp, lecturer in the Department of Cultural Studies and Comparative Literature at the University of Minnesota, coedited "Medium Cool," a special issue of the South Atlantic Quarterly on contemporary media theory. He has published in the fields of German studies, media studies, and literary theoryand, since 1995, has acted as editor of the Hydra Web site for theories of literature and media. (shrink)

P. J. Rhodes: Preface Polly Low and Graham Oliver: Comparing Cultures of Commemoration in Ancient and Modern Societies Polly Low: The Monuments ot the War Dead in Classical Athens: Forms, Contexts, Meanings Alison Cooley: Commemorating the War Dead of the Roman World Angelos Chaniotis: The Ritualised Commemoration of War in the Hellenistic City: Memory, Identity, Emotion Avner Ben-Amos: Two Neo-Classical Monuments in Modern France: The Pantheon and Arc de Triomphe Graham Oliver: Naming the Dead, Writing the Individual: Classical Traditions and (...) Commemorative Practices in the Nineteenth and Twentieth Centuries Stefan Goebel: Cultural Memory and the Great War: Medievalism and Classicism in British and German War Memorials Lawrence A. Tritle: Monument to Defeat: the Vietnam Veterans Memorial in American Culture and Society. (shrink)

Cinema has long played a crucial role in the way that societies remember and represent themselves. In the last quarter century, film has been an important medium in the public debate around the memory of the Holocaust and of Hiroshima; of the Algerian war for independence and of the Spanish Civil War; of the Allende legacy in Chile, the utopian dreams of 1968, and the aborted project of the German Democratic Republic; in identity formation in Palestine and in the African (...) diaspora. Hedges discusses the role of cinema within a global perspective that spans five continents, and proposes an original typology of cultural memory. In the process, she re-evaluates the contributions of major directors and uncovers hitherto neglected yet important works. The author develops her arguments in an approachable style that will encourage readers to rethink their own memories of films and to reflect on the way that cinema contributes to collective and cultural memory. The book's innovative approach should transform the way that we think of film and its social effects. (shrink)

Cultural differences occur in the use of categories to aid accurate recall of information. This study investigated whether culture also contributed to false (erroneous) memories, and extended cross-cultural memory research to Turkish culture, which is shaped by Eastern and Western influences. Americans and Turks viewed word pairs, half of which were categorically related and half unrelated. Participants then attempted to recall the second word from the pair in response to the first word cue. Responses were coded as correct, (...) as blanks, or as different types of errors. Americans committed more categorical errors than did Turks, and Turks mistakenly recalled more non-categorically related list words than did Americans. These results support the idea that Americans use categories either to organize information in memory or to support retrieval strategies to a greater extent than Turks and suggest that culture shapes not only accurate recall but also erroneous distortions of memory. (shrink)

This paper examines the participatory trend in cultural memory practices, focusing on the participatory artistic memory of communism in Romania and Bulgaria from a comparative perspective. On the one hand, these participatory artistic memory projects examine the ways in which ordinary people and contemporary artists share their memories of the communist past outside of the officially sanctioned interpretations, aiming to foster their own version of “monument” that does not necessarily follow the ossifying politics of monuments. On the other hand, a (...) participatory memory culture does not always necessarily reflect the unequal cultural capital of the participating social actors and the dissimilar political commitments. This mnemonic practice ought not to be exclusively associated with the struggle between the narratives of the elites and the cultural expressions of those marginalized. Participatory memory practices might also facilitate cordial encounters among persons with dissimilar political commitments and unequal cultural capital. (shrink)

Together the essays illuminate Fabianrs"s pluralist vision of an anthropology that always makes the other present by opening itself to conversational and ...

A fruitful direction for research on the European cultural heritage is to adopt a transnational approach. Rather than see cultural heritage as predominantly expressed in national contexts, it could be seen as primarily transnational and as plural. Such a view would also suggest a conception of national histories as themselves products of transnational encounters. In this perspective, the European dimension is not then necessarily something over and above nations, but part of their heritage. Moreover, as fundamentally transnational, the European heritage (...) is not exclusively confined to Europe. Cultural heritage is not something that is fixed or based on an essence; it is produced and reinterpreted by social actors in different but overlapping contexts. This is also an interpretative approach that draws attention to the entangled nature of memories and especially the cultural logic by which new conceptions and narratives of heritage emerge from the encounter and entanglement of different memories. Such an approach offers new opportunities for comparative research on the European heritage as an entangled mosaic of histories and memories. This approach thus rejects not only particularistic but also universalistic ones such as alternative Eurocentric accounts. (shrink)

This article argues that libation, often associated with the ancestors, artefacts, images and pre-Christian religious devotions, constitutes sources for articulating authentic African cultural history of Obang community in the Northwest Region of Cameroon. It highlights that among traditional memory carriers, the ritual of libation remains trust worthy and pervasive, even among communities challenged by globalisation and colonising effects of Christianity. The article demonstrates the immense potentials of libation as an epitome and stabiliser of cultural memory, and a maxim in cultural (...) resilience in contemporary Africa. Thus, the article calls for revisiting this ancient ritual to expose its potentials as a veritable memory repertoire in cultural-historical studies, especially at a time when social change and modernism continue to challenge the memories of traditional societies. (shrink)

Cultures of Memory in South Asia reconfigures European representations of India as a paradigmatic extension of a classical reading, which posits the relation between text and context in a determined way. It explores the South Asian cultural response to European "textual" inheritances. The main argument of this work is that the reflective and generative nodes of Indian cultural formations are located in the configurations of memory, the body and idiom (verbal and visual), where the body or the body complex becomes (...) the performative effect and medium of articulated memories. This work advances its arguments by engaging with mnemocultures-cultures of memory-that survive and proliferate in speech and gesture. Drawing on Sanskrit and Telugu reflective sources, this work emphasizes the need to engage with cultural memory and the compositional modes of Indian reflective traditions. This important and original work focuses on the ruptured and stigmatized resources of heterogeneous Indian traditions and calls for critical humanities that move beyond the colonially configured received traditions. Cultures of Memory suggests the possibilities of transcultural critical humanities research and teaching initiatives from the Indian context in today's academy. (shrink)

This article asks whether there were, in post-dictatorship Chile, limitations of the autonomy of cultural and artistic production addressing the memory of traumatic events. In particular, the article analyzes the content and history of the production of some relevant sections of the mural painting Memoria Visual de una Nación by the Chilean artist Mario Toral. The article demonstrates that public art was an arena of struggle for the meaning of democracy during the postdictatorship period. To do this, he uses concepts (...) from post-structuralist political theory, cultural studies, the philosophy of memory, and memory studies. The article also offers an interpretation of cultural production as an open and contingent process. It concludes that the transition via transaction in Chile had a negative influence on the field of artistic production, reducing its autonomy and divergence from the dominant political discourse in the period. (shrink)

The culture defines some of the elements that we consider identity guide marks. The continuity of the identity is very closely bonded to these cultural elements.The understanding of the modality to represent the identity is possible through the analysis of some of these cultural elements and of the correlations that these establish in the context of memory and oblivion. This paper analyzes the dynamics of these three elements: memory, identity and oblivion, in literature.

Matthias Smalbrugge compares modern images to plays without a script: while they appear to refer to a deeper identity or reality, it is ultimately the image itself that truly matters. He argues that our modern society of images is the product of a destructive tendency in the Christian notion of the image in general, and Augustine of Hippo's in particular. This insight enables him to decode our current 'scripts' of image. As we live in an increasingly visual culture, we (...) are constantly confronted with images that seem to exist without a deeper identity or reality - but did this referential character really get lost over time? Smalbrugge first explores the roots of the modern image by analysing imagery, what it represents, and its moral state within the framework of Platonic philosophy. He then moves to the Augustinian heritage, in particular the Soliloquies, the Confessions and the Trinity, where he finds valuable insights into images and memory. He explores within the trinitarian framework the crossroads of a theology of grace and a theology based on Neoplatonic views. Smalbrugge ultimately answers two questions: what happened to the referential character of the image, and can it be recovered? (shrink)

Cultural Memory, Memorials, and Reparative Writing examines the ways in which memory furnishes important source material in the three distinct areas of critical theory, memoir, and memorial art. The book first shows how affect theorists have increasingly complemented more traditional archival research through the use of "academic memoir." This theoretical piece is then applied to memoir works by Caribbean writers Dionne Brand and Patrick Chamoiseau, and the final case study in the book interprets as memorial art Kara Walker's (...) ephemeral 80,000 pound sugar sculpture of 2014. Memory as method; memory as archive; memorial as affect: this book looks at the interplay between archival sources on the one hand, and the affective memories, both personal and collective, that flow from, around, and into the constantly shifting record of the past. (shrink)

The subject of our article is the identification of cultural codes of Eastern European shtetl towns in the play by Grigory Gorin "Memorial Prayer", the libretto of which was written by the author based on the works of the famous Yiddish writer Sholom Aleichem. The author of the article describes the history and conditions of localization of Jewish culture in Eastern Europe and the Russian Empire, the peculiarities of its transformation, the tragic history of the Jewish theater in (...) the first third of the twentieth century. After the disappearance of the towns and the disuse of the Yiddish language, the preservation of the history of the characteristic everyday and philosophical way of life of the shtetls became the goal of museum figures, historians, writers, playwrights, and artists. In the work, using the example of Tevye the milkman, his family and environment, characteristic images of the inhabitants of small towns, their habitat, types of thinking and actions are revealed. The article uses the methods of historicism in the retrospective of the culture of Shtetl towns, the method of analysis in the identification of Shtetl archetypes, the method of synthesis in the generalization of a set of characteristic cultural codes. The main conclusions of the study are: 1. Eastern European Jewish shtetl towns are small urban-type settlements with a predominantly Jewish population, whose unique culture was determined by the Jewish faith, everyday and religious traditions, the Yiddish language, as well as the localization of residence in a small area. 2. During the period of large-scale social upheavals of the early twentieth century and the subsequent expansion beyond the boundaries of the towns, their unique culture became a mythologeme, the foundation for writers, artists, musicians, and theater figures who emerged from it. One of the milestones in the preservation of this culture was the Jewish theater GOSET, whose existence was tragically cut short in the middle of the twentieth century. 3. The play "Memorial Prayer", written by Grigory Gorin based on the works of Sholem Aleichem and staged at the Lenkom Theater by Mark Zakharov, became the quintessence of the characteristic images of the shtetl, and at the same time the revival of authentic Jewish culture. The author's special contribution is to highlight in the play the images-the archetypes of the Shtetl, which have become cultural markers, or codes of Jewish Yiddish culture. (shrink)

This special issue, which includes papers first presented at two workshops on ‘Memory, Mind, and Media’ in Sydney on November 29–30 and December 2–3, 2004, showcases some of the best interdisciplinary work in philosophy and psychology by memory researchers in Australasia (and by one expatriate Australian, Robert Wilson of the University of Alberta). The papers address memory in many contexts: in dance and under hypnosis, in social groups and with siblings, in early childhood and in the laboratory. Memory is taken (...) as a test case for evaluating the optimistic vision of a new kind of cognitive science defended by Andy Clark. Clark (2001:154) argues: Much of what matters about human intelligence is hidden not in the brain, nor in the technology, but in the complex and iterated interactions and collaborations between the two ... The study of these interaction spaces is not easy, and depends both on new multidisciplinary alliances and new forms of modelling and analysis. The pay-off, however, could be spectacular: nothing less than a new kind of cognitive scientific collaboration involving neuroscience, physiology, and social, cultural, and technological studies in about equal measure. So the central motivation is to investigate critically how well the case of memory would fit the extended mind’ thesis put forward by Clark and Chalmers (Clark and Chalmers 1998; Clark 1997, 2006)—according to which mental states and processes can spread across the.. (shrink)

This book examines the ways in which selfhood and cultural solidarity came to be understood and lived as historical identities during the 1800s. It examines the stages and conflicts in the process of 'becoming historical' through the works of prominent Prussian artists and intellectuals who attached their personal visions to the reformist agenda of the Prussian regime that took power in 1840. The historical account of the evolution of analogous and inter-related commitments to a cultural reformation that would create communal (...) solidarity through subjective identification with public memory is framed by the philosophical perspectives on historical selfhood provided by F. W. J. Schelling and his radical critics, Karl Marx and Søren Kierkegaard, thus drawing this story of building selves and communities in early nineteenth-century Berlin into debates about historical determined and contingently constructed identities. (shrink)

In a high-context culture like Chinese, the linguistic code encompasses only part of the message and is incomplete without context. One of the implicit codes embedded in high-context communication is color tropes. Highly recognizable in the Sinophone world, color tropes often manifest themselves in the forms of metaphor, metonymy, allusions, and similes and are often related to the conveyance of emotional content. This paper provides a selection and discussion of such color tropes, demonstrates that color in a language inspires (...) associations and connotations that are often very subtle and determined by deep cultural memory, and, giving several Chinese examples, shows how the primary semasiology of a color term often influences its subsequent semantic extension. (shrink)

“I shall attempt the analysis of memory … because memory in some form is presupposed in almost all other knowledge.”Bertrand Russell, The Analysis of Mind (1921)“Beginning with homo sapiens, the formation of an apparatus of social memory stands out as the foremost problem of human evolution.”André Leroi-Gourhan, Le Geste et la Parole (1965)Meme, Mneme, Mnemosyne: two neologisms, one dating from 1976 and the other from 1904, and the mythical figure personifying Memory from the time of the Titans - a strange (...) primordial deity that the imagination brought forth even before the time of mortal men began. Her name is all that survived through the ages, yet this fleeting presence among the gods was just as consequential as a major figure like Prometheus. Could she have been conceived of as an indispensable condition for human beings to usher in the reign of culture? (shrink)

This chapter investigates the overlaps between the ‘cultural memory’ of the distant past and the memory of the Great War in Britain and Germany between 1914 and 1939, looking in particular at the use of medieval images in war memorials. There was a certain tension between advocates of medievalism and supporters of classicist images, but often, they reached a compromise. The chapter combines a discussion of the concept of ‘cultural memory’ with case studies on the reception of antiquity and the (...) Middle Ages in the era of the Great War. (shrink)

I offer an analysis of the role of aesthetic value in the formation of cultural memory. More specifically, I examine how cultural memory is formed through cultural artifacts that embody a connection to the past via aesthetic means. My approach is motivated by artifacts from small-scale preindustrial societies, which make it apparent that aesthetic values, rather than being pursued for their own sake alone, enhance other functions, such as maintaining cultural identity and bringing the past into the present. I focus (...) on rock art painting from the Kimberley, Australia, and effigies animated during rituals in New Ireland, Papua New Guinea to argue that, to play a significant role in the formation of cultural memory, aesthetic value must be aligned with implicit conceptions of time which inform the production of artifacts mediating cultural memory. This argument has implications for understanding differences in apprehending memory values and aesthetic values across cultural domains. (shrink)

This research aimed to identify the constituent elements of the musicographic document and whether they show signs of cultural memory and the composer's identity. This is a bibliographic and documentary research, using the indexical method. Data analysis and interpretation were based on a qualitative approach. The results indicated that the musicographic document brings together elements of the social structure, musical elements and technological elements capable of revealing the context of the production of the documentary item, as well as the traces (...) of memory and identity of the composer. Therefore, the study concludes that musical composition can be considered a significant cultural memory device. (shrink)

Assuming a relational understanding of the self, I argue that empathy is necessary for individual and cultural recovery from rape. However, gender affects our ability to listen with empathy to rape survivors. For women, the existence of cultural memories discourages empathy either by engendering fear of their own future rape or by provoking sympathy rather than empathy. For men, the lack of cultural memories makes rape what Arendt calls an "unreality," thus diminishing the possibility for empathy. Although empathetic listeningpresents gender (...) specific challenges for both women and men, it should not be abandoned as a strategy for trauma recovery. I make two broad suggestions for promoting empathy. First, we need to teach empathy for victims and survivors. Second, we need to discredit problematic gender norms, which buttress rape culture and sexual violence. (shrink)

ABSTRACTThe present study assessed the extent to which culture impacts the emotion-induced memory trade-off effect. This trade-off effect occurs because emotional items are better remembered than neutral ones, but this advantage comes at the expense of memory for backgrounds such that neutral backgrounds are remembered worse when they occurred with an emotional item than with a neutral one. Cultures differ in their prioritisation of focal object versus contextual background information, with Westerners focusing more on objects and Easterners focusing more (...) on backgrounds. Americans, a Western culture, and Turks, an Eastern-influenced culture, incidentally encoded positive, negative, and neutral items placed against neutral backgrounds, and then completed a surprise memory test with the items and backgrounds tested separately. Results revealed a reduced trade-off for Turks compared to Americans. Although both groups exhibited an emotional enhancement in item memory, Turks did not show a decrement in memory... (shrink)

In recent decades, memory has become one of the major concepts and a dominant topic in philosophy, sociology, politics, history, science, cultural studies, literary theory, and the discussions of trauma and the Holocaust. In contemporary debates, the concept of memory is often used rather broadly and thus not always unambiguously. For this reason, the clarification of the range of the historical meaning of the concept of memory is a very important and urgent task. This volume shows how the concept of (...) memory has been used and appropriated in different historical circumstances and how it has changed throughout the history of philosophy. In ancient philosophy, memory was considered a repository of sensible and mental impressions and was complemented by recollection-the process of recovering the content of past thoughts and perceptions. Such an understanding of memory led to the development both of mnemotechnics and the attempts to locate memory within the structure of cognitive faculties. In contemporary philosophical and historical debates, memory frequently substitutes for reason by becoming a predominant capacity to which one refers when one wants to explain not only the personal identity but also a historical, political, or social phenomenon. In contemporary interpretation, it is memory, and not reason, that acts in and through human actions and history, which is a critical reaction to the overly rationalized and simplified concept of reason in the Enlightenment. Moreover, in modernity memory has taken on one of the most distinctive features of reason: it is thought of as capable not only of recollecting past events and meanings, but also itself. In this respect, the volume can be also taken as a reflective philosophical attempt by memory to recall itself, its functioning and transformations throughout its own history. (shrink)

The book analyses a variety of topics and current issues in linguistics and literary studies, focusing especially on such aspects as memory, identity and cognition. Firstly, it discusses the notion of memory and the idea of reimagining, as well as coming to terms with the past. Secondly, it studies the relationship between perception, cognition and language use. It then investigates a variety of practices of language users, language learners and translators, such as the use of borrowings from hip-hop and slang. (...) The book is intended for researchers in the fields of linguistics and literary studies, lecturers teaching undergraduate and master's students on courses in language and literature. (shrink)

The first section of this chapter illustrates that the pogrom in Rostock-Lichtenhagen in 1992 has not been categorized sufficiently as a substantial milestone of right-wing violence in postwar Germany. This pogrom led to historically significant limitations in the right to asylum, ultimately resulting in a change to the German constitution. We propose to look at Rostock-Lichtenhagen as an example to explain that practices of remembering right-wing violence, a process that we describe with the term ‘Doing Memory on right-wing violence’, is (...) a central part of creating a society’s basic story. This basic story, in turn, contributes to how a society understands itself. In this chapter’s second section, we argue first that analyzing practices of memory of right-wing violence, be they acknowledging, forgetting or suppressing those practices, actually make it possible to even expose the persistence of the basic story as a central element of political culture. Second, we want to uncover how potential and publicly effective interventions of and changes to the basic story might look like. Here, we build on Habermas’ model of democracy, utilize Susan Bickford’s work on listening as an important element in her political philosophy and refer to Benjamin Barber, who articulates that a participatory democracy requires political listening. As a result, our chapter’s third section demonstrates how listening can be conceptualized from a supra-individual perspective and how questions that are critical of existing hegemonic structures can prioritize a focus on hegemonic (non)listening. Lastly, we will sketch out strategies to intervene in hegemonic (non)listening. These strategies connect theoretically with concepts of ‘counter publics’ and ‘opinion forming publics’ and reference, among others, the work of Seyla Benhabib and Iris Marion Young, thus enabling the creation and execution of resistance practices of Doing Memory on right-wing violence. (shrink)

1. This paper aims at investigating how the cross-cultural chasm can be meaningfully connected with the discussion on creativity and imagination. To examine cross-cultural creativity and imaginatio...

Nowadays the issues of space and place pertain more than ever to the ongoing discussion about personal/regional/national identities. The worlds of private archives of memory often exist independently of political and administrative divisions, while dominant ideologies are often capable of re-defining national archives of memory through selective representation of the past. The way we remember our past and our heritage inscribes the space we live in: the places we remember and the places we wish to forget, the monuments we pull (...) down and erect and the museums we build are only some of the signposts on the landscape of our cultural memory. The essays collected in this volume examine the role of places and spaces in the formation of both cultural practices and the existential experience of modern individual. (shrink)

This essay outlines one way to conceptualise the relation between cultural identity, collective memory, and artifacts. It starts by characterising the notion of cultural identity as our membership to cultural groups and briefly explores the relation between cultural and narrative identity (section 2). Next, it presents how human memory is conceptualised on an individual and collective level (section 3) and then distinguishes between small-scale and large-scale collective memory (section 4). Having described cultural identity and collective memory, it argues that cultural (...) identity is materialised in the environment when we retrieve and construct collective memories by integrating information from our biological memory with information in artifacts or in other people’s embodied brains (section 5). This essay ends with analysing how materialised cultural identities are constructed by using a niche construction approach from evolutionary biology (section 6). (shrink)

The paper assumes a theoretical-empirical interface exists between top-down (structural concepts) and bottom-up (cognitive mechanisms and socio-cultural interactions) approaches to collective memory. Both deal with collaborative group accounts, material culture such as artefacts and representational re-descriptive technologies. Anthropology has shown how communal life was based on story telling, rituals, artefacts, routine practices constitutive of daily life representational re-descriptions and the reproduction of implicit and explicit emotional normative belief systems embedded in kinship and social network relations.

How linguistic structures evolve so as to become easier to process is addressed by Isbilen and Christiansen for the Now‐or‐Never bottleneck. The authors suggest that this fundamental challenge in language processing is coped with by rapid compression of the transient linguistic input into chunks then to be passed on. As linguistic structures that can be chunked more easily tend to stabilize and proliferate, language evolves to fit learners’ cognitive capabilities.