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.

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)

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)

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)

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)

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)

This essay uses the concept of the constellation to characterize the relations among interdisciplinarity, cultural memory, and comparative literature. To do so entails: (a) reviewing the paradoxical interdisciplinarity of comparative literature, (b) tracing its establishment at a liberal arts college (Bryn Mawr College, USA), and (c) describing a course on “The Cultural Politics of Memory” that tested the limits of scholarship and testimony. The discussion includes an account of an unusual conference on cultural memory: (...) that is, the ways in which different cultural groups identify and describe their shared pasts. The informality and collegial dialogue of the conference were associated with a liberal arts context. It then turns to the question of theorizing aspects of cultural memory that are conveyed at the margins of conventional discourse: by what is largely unsaid, or represented in dance or pantomime. Because each of the performances discussed here is related in a distinct way to a preceding historical trauma (the Khmer Rouge regime in Cambodia, African American slavery in the USA, the terrorism of the Shining Path in Peru), it was important to determine what source of memory, what archival materials, could persist through traumas that often suppress memory. Traditional archives consist of written documents. Moreover, they often support or represent official histories. New ways of thinking about archives--their composition, their place in cultural history, and their theoretical dimensions--have suggested new approaches to cultural memory. The essay ends with accounts of three forms of dance or pantomime that convey cultural histories informed by trauma in significantly different ways. A narrative thread foregrounds the close relations between scholarship and pedagogy. (shrink)

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)

The paper discusses various aspects of the concept of “cultural memory” coined by Jan Assmann and related both to the problem of determining the categories of culture that became the first objects of philosophical reflection in the era of the Axial Age and to the issues of the modern crisis of the ideology of globalism and multiculturalism. Using the example of some categories of an archaic myth that have not lost their cultural and social relevance at present, (...) the variability of the genesis of philosophy in various civilizations of the epoch of the “Axial Age” is demonstrated - both those in which it arises as an independent form of worldview and those where this process stops at the stage of a highly speculative myth. Special attention is paid to the cultural and social aspects of memory and recollection of the past as forms of spiritual “resistance” to external cultural influences and the preservation of religious and ethnic identity, which is equally relevant both during the genesis of philosophy and in modern post-industrial society during the crisis of globalist ideology and the philosophy of multiculturalism. (shrink)

This paper starts with a detailed analysis of Jan Assmann’s qualitative distinction between cultural memory and communicative memory. The purpose of this analysis is to highlight both the strengths and the limitations of this seminal distinction, and to also reflect on what cultural theorists and contemporary artists could learn through Assmann’s distinction since artistic production also employs cultural memory formats that do not exclude cultural traditions in their materializations. In line with these considerations, (...) this paper aims to disentangle what “tradition” means to contemporary artists. Following Edward Shils and Hans-Georg Gadamer’s philosophy of “tradition,” the paper argues that cultural tradition does not necessarily have an oppressive character and the rebellion and suspicion against it is at the heart of tradition itself. Thus, the traditional/contemporary binary can be precluded by reconsidering how “tradition” and “traditional” are conceptualized considering philosophy of tradition and artistic memory. (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)

Utopias are embedded in contexts from which they derive meaning and significance. As a vehicle for speculation, intervention, and creativity, narrative utopia reflects the circumstances of its times, including its culture's relationship to the past. This article offers a survey of ways in which utopias engage with the problematics of historical memory both by looking to the past in the “real” world or in a mythical world and by positing fictional peoples with their own historical memory/ies, as instanced (...) in legends, libraries, works of art, and so on. The erasure or falsification of memory, on the other hand, appears as an important leitmotif of the dystopian imagination. By pointing out a variety of examples and issues, the article will attempt to bridge the existing gap between utopian studies and cultural memory studies. (shrink)

Focusing on A Sketch of Sites and Objects in the Imperial Capital, this article examines how the primary author, Liu Tong, created and preserved the cultural memory of Beijing through writing the city’s scenic sites in the waning years of the Ming dynasty. Liu Tong, who sojourned in the capital then situated on the state’s frontier, observed Beijing during a period of comprehensive decay. This temporal and spatial framework affected the way he observed Beijing’s northern landscape features and (...) inspired him to both preserve the city’s literary and historical heritage and report on its current dilapidation. This study addresses Liu Tong’s literary strategies to preserve Beijing’s literary legacy and surviving landscapes, with particular attention to his adaptation of earlier travel writings about Beijing, his development of a new lyrical style of prose, and the portrayal of the immediate reality of his lived experience. (shrink)

This essay examines the response of Habermas and Giddens to postmodern criticisms of modernity. Although Giddens and Habermas recognize that the "totalizing critique" of poststructuralism lacks a convincing analysis of social interaction, neither of their perspectives adequately addresses the postmodern themes of aesthetics, play, and cultural memory. Giddens and Habermas believe that these dimensions of social life are important; yet they remain underdeveloped in their approaches. This essay explores the theoretical consequences of aesthetics, play, and cultural traditions (...) for social theory, drawing on the pragmatists, the psychoanalyst Winnicott, and early critical theory. The aesthetic and playful moments of experience must be recast in terms of social theory to avoid the solipsism so often characteristic of postmodernism. The essay ends by suggesting how the theories of Habermas and Giddens could benefit by a closer consideration of these issues. (shrink)

Literary-communicational theory offers a foundation for two types of literary criticism whose workings are basically ameliorative: mediating criticism, which seeks to bridge the gaps between writers and readers who are differently positioned; and communicational criticism, which offers an ethical assessment of literary writing as communication. The present article illustrates the processes of mediating criticism, by trying to help its own readers understand the religio-historical sitedness of the early-seventeenth-century English Catholic poet, Sir John Beaumont. More extensively, the article pays attention to (...) Beaumont’s use of cultural memory, as an illustration of communicational criticism. In some of his poems, Beaumont was communicationally exclusive, appealing to past history in a defensive spirit, as part of an effort to purify and strengthen a Catholic identity under threat. Elsewhere, he resorted to cultural memory in communicational gestures that were more inclusive, and of three different kinds. Sometimes his Catholicism went on to the offensive, and he arrogated a common memorial ground in a coercive, missionary spirit. Sometimes his inclusivity may strike a present-day reader as disingenuous, in that it involved a self-disguising, self-betraying acquiescence in the royal court’s dominant, non-Catholic discourse. Sometimes the play of cultural memory was altogether more dialogical in spirit: an inclusiveness which was neither aggressive not self-demeaning, but which invited readers to compare notes in the hope of viable co-existence. (shrink)

This essay considers Paul Ricœur’s early notion of cultural memory from 1956-1960. He discusses it in two texts: “What does Humanism Mean?” and the slightly later The Symbolism of Evil. In the former, cultural memory appears as an ongoing and dynamic process of retroaction focussed on questioning and rethinking the meaning of classical antiquity for contemporary worlds, on the one hand, that is linked to an important critical aspect as a counterweight to the flattening effects of (...) modernity, on the other. In the latter, cultural memory expands the reach of the classical heritage, and, in addition to retroaction, further modes of orientation, such as relations of depth and breadth, are delineated. At first glance, cultural memory, in Ricœur’s sense, appears to be embodied in the singular, albeit generalized self. Yet, in reconstructing its meaning, the essay argues that Ricœur’s articulation of cultural memory relies on an implicit collective dimension. The present essay’s hermeneutic reconstruction of Ricœur’s notion of cultural memory comprises a preliminary step of a broader project that aims to rearticulate Jan and Aleida Assmann’s cultural memory framework along social imaginary lines. In this vein, the essay concludes with an overview of the Assmannian approach to cultural memory and considers possible bridges between Ricœur and the Assmanns. (shrink)

David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example performance and installation art, as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual media (...) and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. It displays an enduring debt to the discursive model of testimony which has so far been insufficiently recognised, and which forms the basis for a new ethical understanding of the forensic. Jones's analysis brings this methodology to bear upon a strand of contemporary visual activity which has the power to significantly redefine our understandings of the production, analysis and deployment of evidence. Artists examined include Forensic Architecture, Simon Norfolk, Melanie Pullen, Angela Strassheim, John Gerrard, Julian Charrière, Trevor Paglen, Laura Poitras and Sophie Ristelhueber. The book will be of interest to scholars working in art history, visual culture, literary studies, modern languages, photography and critical theory. (shrink)

Two decades ago, East European state socialism met with a paradoxical fate. Between 1989 and 1991, communist party hegemony was abolished, leaving the very idea of socialism permanently discredited—or so it seemed. Yet in the decade that followed, “socialistic” principles and practices would retain—or perhaps acquire—a surprising degree of popular appeal. Was this a cultural legacy of systematic indoctrination? A strategic response to material insecurities? Perhaps a combination of both? In this article, it is argued that many previous efforts (...) to unravel the paradox are inadequate because they ignore both the “strategic” dimensions of culture and the cultural dimensions of instrumental reason. Using life-history data on the former East Germany, it is shown that apparently discredited ideologies can acquire renewed salience in the wake of regime change if they (1) remain culturally available as strategies of action that (2) provided material opportunities or symbolic privileges in the past, and (3) promise to ameliorate new problems engendered by alternative strategies. (shrink)

I Books and Order In an autobiographical essay, Walter Benjamin tells of moving to a new apartment and unpacking his library from the crates that had transported them to their new abode. While reassembling his library, he reflects upon the random, often fortuitous manner in which the books were acquired. But once they are placed on the shelves of his library they gain an order, at least in his imagination. As constellated in his library, the tomes form a distinctive bibliophilic (...) and intellectual landscape, marking the byways of his spiritual biography. To be sure, the order the books attained on the shelves of Benjamin's library may not have been readily discerned by others who may even have had difficulty in grasping the inner logic of his collection. (shrink)

The European Legacy, Volume 17, Issue 4, Page 538-539, July 2012.

In this volume some of today's most influential thinkers face the question of philosophy's future and find an answer in its past.

Each society is marked by a selective cultural memory which, beside events and traditions whose importance is emphasized, is also constituted by its parts and contents whose influence is either diminished or forgotten. Our society, too is marked by such kind of memory, with obvious reduction, value opposition and, in sum, general duality within the reception of cultural memory, which is always more complex than it appears in political speeches mother-tongue reading books or history textbooks. (...) For this reason, an examination of construction and reception of cultural memory, with an emphasis on traditions of Enlightenment and Romanticism, stems from a necessity to answer a set of questions regarding the contemporary relation to the past, the way "distance" or "proximity" to the latter is constituted, and especially the way in which contemporary practices mark, change and make use of cultural history. Starting from the assumptions that shaping cultural history, its heritage and "memory" is closely connected to the beginnings of nation-building and that cultural memory is a never-ending political process it is my intention in this research project to examine the rivalry juxtapositions, "interruptions" and new foundations of traditions, focusing on the interdependent relation of Enlightenment and Romanticist strands, and particularly on their unmarked, empty spots. Just as cultural memory is a result of two opposed processes - foregrounding and oblivion - so this research is similarly devoted to a double and apparently paradoxical task. On one hand, the accent is on the resurrection and reinforcement of integrative segments of these traditions which, at the time of their emergence as well as in subsequent interpretations, were mostly neglected. On the other hand there is the need to keep pace with what is required by the current "acceleration of time", which amounts to nothing else but the necessity to forget. Briefly put, the aim is to point to disciplinary-interdependent, more nuances and more communicative ways of viewing these relations, which would diminish the exclusivist and profound opposition within the contemporary reception of the traditions examined. (shrink)

This paper affords a Lotmanian cultural semiotic analysis of the inner workings of ritual embodying the mechanism of cultural memory. In this intersectional study, we propose treating ritual as an integral semiotic system in which the community follows a prescribed collective process to create religious or social meanings and to regulate the mechanism of cultural memory through concrete symbols in the forms of behavior, speech, gestures, objects, spatial structures, and so on. Three semiotic properties of (...) ritual in relation to cultural memory are identified, namely, continuity, concreteness, and integrity, which are jointly responsible for the efficacy of ritual in cultural memory making, or to be specific, in the preservation, retrieval, and even reproduction of cultural memory. With these properties, ritual helps construct and maintain socio-cultural order and group identity in the community, by repeating itself and thus creating a sense of continuity through the preservation and retrieval of cultural memory. The key components in ritual are its diverse and polysemous symbols, which are seldom confined to a specific context, although they are indeed subject to the dominant symbol and the dominant meaning in a ritual when necessary. With an extraordinary degree of autonomy and not bound to any fixed context, ritual symbols can enter a ritual situation as its components but retain the freedom of leaving the ritual context at any time, like an unchained “spectator,” and permeating multiple contexts as self-contained units. It is precisely through these transferrable ritual symbols that the fragments of cultural memory are randomly dispersed in the semiosphere and carried to unexpected socio-cultural contexts, bridging the past, the present, and the future and creating new cultural memory. (shrink)

Jan Assman traces the roots of Mosaic Religion back to its Aegyptian origin. Reading the Holy Bible often makes one think that Moses was Hebrew. But Moses was an adopted Agyptian, as we become aware. Cultural memory is certainly stored in books, but at the same time it is a memory that forms our perception as human beings.

J. Assmann, Religion and Cultural Memory: Ten Studies (R. Livingstone trans; Stanford, CA: Stanford University Press, 2006), ISBN 0804745226, 222 pp.

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)

What is the role of attention in the dialectics of memory and communication? How far is attention functioning as a medium? Which role does attention play in the information management practices? Attention is not only fundamental to human existence but also to the process of understanding. If understanding is mediated by memory and communication then attention can be identified with the medium. So whenever you search to explain the role and mechanisms of memory in the information society, (...) the question of attention is asked immediately. Furthermore, attention can be analyzed under the following topics: as cognitive process, as subjective, intersubjective and cultural phenomenon, and as resource and medium within an 'Attention Economy'. Whereas the first aspect has to be seen in the context of empirical studies in psychology and cognitive sciences, the phenomenological, cultural, and economic aspects seem to have common points and similar implications in their theoretical approaches. In the last twenty years, the notion of attention has been the central core of several discourses in German phenomenology, economy and cultural studies. Similar to Georg Franck's theory of mental capitalism, the idea of an attention economy also was followed up in the American discourse. This article is supposed to explore the role of attention and its function as a medium within communication, cultural memory and science. (shrink)

A journey from cultural memory through recall to transformation of historical grievances is elucidated with the aid of phenomenological thought. The context for this study is a conflict resolution project undertaken by the Center for the Study of Mind and Human Interaction of the University of Virginia. Russians and Estonians of Klooga participated in a group meeting aimed at resolving ethnonational conflict. This meeting is described, and the potential of phenomenology in an interdisciplinary approach to conflict resolution is (...) explored. (shrink)

Review of Paolo Cherchi-Usai _The Death of Cinema: History, Cultural Memory and the Digital Dark Age_ Preface by Martin Scorsese London: British Film Institute, 2001 ISBN 0851708374 (pb) 0851708382 (hb) 134 pp.

This article has a twofold scope: I want to suggest that the term “philosophical archaeology” is a methodologically significant concept which is relevant when working historically with the humanities—texts primarily. As a means for this the two most interesting philosophical archaeologists will play a key role: Michel Foucault and Giorgio Agamben. Furthermore, I want to discuss why philosophical archaeology is needed when working critically with what Jan Assmann so famously has defined as cultural memory scholarship. For this purpose (...) Carlo Ginzburg’s concept of, especially, the principle of reality will be discussed lastly where also the difference—or, perhaps, the alleged difference-between law and history, proof and fact will be debated. (shrink)

As an instrument of preserving the cultural memory of a community, the literary canon is usually a highly stable structure in its core elements. However, with the advent of the Communist regime after the Second World War, the Romanian literary canon underwent a drastic process of reconstruction. As early as the 1940s, what was euphemistically dubbed “revisiting our cultural heritage” actually equated to a radical revision—a purge of the literary canon through the fi lter of Marxism-Leninism. Not (...) only writers of literature, but literary critics themselves were subjected to this process. In this paper, I aim to discuss the role played by literary critics active during Gheorghe Gheorghiu-Dej’s regime in rehabilitating their predecessors. My focus will be on the press debate surrounding Titu Maiorescu’s rehabilitation in 1963. (shrink)

"The main spine of this book stems from a comprehensive series of interviews with subjects recalling their experiences of 1930s cinemagoing. Your feel the breath of life in these spectators, a rarity in film studies, thanks to the painstaking work contracting the interview subjects and recording and tabulating their testimony."- JUMPCUT In the 1930s, Britain had the highest annual per capita cinema attendance in the world, far surpassing ballroom dancing as the nation's favorite pastime. It was, as historian A.J.P. Taylor (...) said, the "essential social habit of the age." And yet, although we know something about the demographics of British cinemagoers, we know almost nothing of their experience of film, how film affected them, how it fit into their daily lives, what role cinema played in the larger culture of the time, and in what ways cinemagoing shaped the generation that came of age in the 1930s. In Dreaming of Fred and Ginger , Annette Kuhn draws upon contemporary publications, extensive interviews with cinemagoers themselves, and readings of selected film, to produce a provocative and perspective-altering ethno-historical study. Taking cinemagoers' accounts of their own experiences as both "the engine and product of investigation," Kuhn enters imaginatively into the world of 1930s cinema culture and analyzes its place in popular memory. Among the topics she examines are the physical space of the cinemas; the role film played in growing up; the experience of being a member of a cinema audience; film-inspired fantasies of American life; the importance of cinema to adolescence in offering role models, ideals of romance, as well as practical opportunities for courtship; and the sheer pleasure of watching such film stars as Fred Astaire, Ginger Rogers, Nelson Eddy, Ronald Colman, and many others. Engagingly written and painstakingly researched, with contributions to film history, cultural studies, and social history, Dreaming of Fred and Ginger offers an illuminating account of a key moment in British cultural memory. (shrink)

Each society is marked by a selective cultural memory which, beside events and traditions whose importance is emphasized, is also constituted by its parts and contents whose influence is either diminished or forgotten. Our society, too is marked by such kind of memory, with obvious reduction, value opposition and, in sum, general duality within the reception of cultural memory, which is always more complex than it appears in political speeches mother-tongue reading books or history textbooks. (...) For this reason, an examination of construction and reception of cultural memory, with an emphasis on traditions of Enlightenment and Romanticism, stems from a necessity to answer a set of questions regarding the contemporary relation to the past, the way "distance" or "proximity" to the latter is constituted, and especially the way in which contemporary practices mark, change and make use of cultural history. Starting from the assumptions that shaping cultural history, its heritage and "memory" is closely connected to the beginnings of nation-building and that cultural memory is a never-ending political process it is my intention in this research project to examine the rivalry juxtapositions, "interruptions" and new foundations of traditions, focusing on the interdependent relation of Enlightenment and Romanticist strands, and particularly on their unmarked, empty spots. Just as cultural memory is a result of two opposed processes - foregrounding and oblivion - so this research is similarly devoted to a double and apparently paradoxical task. On one hand, the accent is on the resurrection and reinforcement of integrative segments of these traditions which, at the time of their emergence as well as in subsequent interpretations, were mostly neglected. On the other hand there is the need to keep pace with what is required by the current "acceleration of time", which amounts to nothing else but the necessity to forget. Briefly put, the aim is to point to disciplinary-interdependent, more nuances and more communicative ways of viewing these relations, which would diminish the exclusivist and profound opposition within the contemporary reception of the traditions examined. (shrink)

The appearance of digital photography in the late twentieth century raised a significant challenge to the most powerful idea attached to photography in the nineteenth and most of the twentieth centuries, that it was a kind of memory and hence the source of reliable historical data. Traditional or analogue photographs were assumed to be reliable records of the past simply by virtue of being photographs, the products of a physical process governed by laws of optics and chemistry. The photograph (...) was taken on the word of science and on faith as a reflex of a determinate process. With its ability to generate images and imagery from within itself, the programs it draws upon, digital photography erodes confidence that its images are actual memories. A new condition of post-photography seems already in place. It is an opportune moment to reexamine key sources of the idea of photography as memory and as history. As an example of this major cultural idea at work in the construction of specific cultural memories, the traditional idea of photography as "light writing" can be seen as playing a profound and decisive role in how the American Civil War has been remembered and understood. Those memories have been fundamental to conceptions of nation and nationality in the U. S., and should be taken into serious account in any critique of memories steeped in photographic versions of the past. (shrink)