Social and Cultural Memory

Memorialization in the form of the architectural statue can suggest that our stance towards the past is concrete while memorials in the form of repeated social activity represent reconciliation with the past as a continual process. Enacted memorials suggest that reconciliation with the past is not itself a thing of the past. Each generation must grapple with its inherited memories, guilt, and grief and self-consciously take its own stance towards that which came before it. This article considers Dominik Smole’s post (...) World War II rewrite of Antigona as an enacted memorial within the context of socialist Yugoslavia. The practice of restaging Antigona in Slovenia may be seen as the practice of meta-memorialization, which routinely returns to the past while openly weighing the dangers of awakening the unburied dead against the dangers of letting the unaddressed conflicts of the past sleep. (shrink)

Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they were all damaged (...) in the blackout”). Memory, and lack of it, permeates place, where from the post-blackout Las Vegas Deckard remembers it as somewhere you could “forget your troubles.” Memory is a commodity, called upon and consumed by the Wallace Corporation, purchased from the memory-maker, Dr Ana Stelline, who constructs and implants “the best memories” in replicants so as to instil in them real human responses. -/- Memory is ubiquitous in Blade Runner 2049, involving humans, replicants, objects, and machines. Even “God,” we are told, “remembered Rachael.” Nowhere, though, is the depiction of memory more important than in the attempt to solve a question of identity. Officer K has a memory of his past. Even though he knows it is an implant, it is a memory he is emotionally attached to, frequently narrating it to Joi, his digital girlfriend. But it is a memory that starts to puzzle and trouble him. When K discovers the remains of a dead replicant, a female NEXUS-7, he uncovers a secret—this replicant was pregnant and died during childbirth, a discovery that could “break the world.” K is charged with hunting down the child and making the problem disappear. Yet as K starts seeking answers to the question of the child’s identity he gets inextricably caught up in the mystery. Is he merely Officer K, or is he Joe, the miracle child of Rachael and Deckard? The answer to this question hinges on K’s memory. But is the memory genuine? Is the memory his? -/- Blade Runner 2049 encourages us to think deeply about the nature of memory, identity, and the relation between them. Indeed, the film does not just serve as a starting point for thinking about philosophical issues related to memory and identity. Rather, as we show in this chapter, the film seems to offer a view on these philosophical issues. Blade Runner 2049 offers us a view of memory as spread out over people, objects, and the environment, and it shows us that memory’s role in questions of identity goes beyond merely accurately recalling one’s past. Identity depends not on memory per se, but partly on what we use memory for. (shrink)

This chapter steps back from the important psychological work on collaborative remembering at the heart of the present volume to take up some broader questions about the place of memory in Western cultural thought, both historically and in contemporary society, offering the kind of integrative and reflective perspective for which philosophy is often known. In particular, the text aims to shed some light on the relationship between collaborative memory and the other two topics in this title—group-level cognizing and individuals—beginning with (...) the relationship between collective intentionality and collaborative remembering, and concluding with some brief comments on the politics of collaborative remembering by drawing on recent work that has been undertaken with eugenics survivors in Canada. (shrink)

Do future generations of a wrongdoing group have a responsibility to preserve the memory of the past? If so, what manner of responsibility is it? In this essay, I critically examine the categories of forward-looking and backward-looking collective responsibility to see what they might offer to this discussion. I argue that these concepts of responsibility are ambiguous in ways that threaten to prevent important questions from being raised. I draw my examples from contemporary German practices of preserving the memory of (...) the Holocaust and World War II, especially the stolpersteine, which are memorial plaques for individual victims embedded in the sidewalks of German cities. (shrink)

In recent years, campaigns across the globe have called for the removal of objects symbolic of white supremacy. This paper examines the ethics of altering or removing such objects. Do these strategies sanitize history, destroy heritage and suppress freedom of speech? Or are they important steps towards justice? Does removing monuments and renaming schools reflect a lack of parity and unfairly erase local identities? Or can it sometimes be morally required, as an expression of respect for the memories of people (...) who endured past injustices; a recognition of this history's ongoing legacies; and a repudiation of unjust social hierarchies? (shrink)

Bringing research on collective memory together with research on episodic future thought, Szpunar and Szpunar :376–389, 2016) have recently developed the concept of collective future thought. Individual memory and individual future thought are increasingly seen as two forms of individual mental time travel, and it is natural to see collective memory and collective future thought as forms of collective mental time travel. But how seriously should the notion of collective mental time travel be taken? This article argues that, while collective (...) mental time travel is disanalogous in important respects to individual mental time travel, the concept of collective mental time travel nevertheless provides a useful means of organizing existing findings, while also suggesting promising directions for future research. (shrink)

Although philosophers have explored memory since antiquity, recent years have seen the birth of philosophy of memory as a distinct field. This book—the first of its kind—charts emerging directions of research in the field. The book's nineteen newly-commissioned chapters develop novel theories of remembering and forgetting, analyze the phenomenology and content of memory, debate issues in the ethics and epistemology of remembering, and explore the relationship between memory and affectivity. Written by leading researchers in the philosophy of memory, the chapters (...) collectively present an exciting vision of the future of this dynamic area of research. (shrink)

For corporate memory and enterprise ontology systems to be maximally useful, they must be freed from certain barriers placed around them by traditional knowledge management paradigms. This means, above all, that they must mirror more faithfully those portions of reality which are salient to the workings of the enterprise, including the changes that occur with the passage of time. The purpose of this chapter is to demonstrate how theories based on philosophical realism can contribute to this objective. We discuss how (...) realism-based ontologies (capturing what is generic) combined with referent tracking (capturing what is specific) can play a key role in building the robust and useful corporate memories of the future. (shrink)

We were stolen, sold, and brought together from the African continent. We got on the slave ships together. We lay back to belly in the holds of the slave ships in each other’s excrement and urine together, sometimes died together, and our lifeless bodies thrown overboard together. Today, we are standing up together, with faith and even some joy. Within the last seven years or so, the development of postracial politics has been based on and grounded in a central contradiction (...) found in public memory. On the one hand, therefore, we can address our racist past as a collective. On the other hand, political policy and discourse seem to indelibly invoke tropes of color blindness and reverse racism to further the .. (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)

This article aims to analyse one specific type of memorial site that furnishes an indexical link to past traumatic events which took place in precisely these places. Such memorials will be defined here as trauma sites. It will be shown how the semiotic trait of indexicality produces unique meaning effects, forcing a reframing of the issue of representation, with all its aesthetic and ethical dimensions. In contrast to other forms of memorial site, trauma sites exist factually as material testimonies of (...) the violence and horror that took place there. The fact they still exist, more or less as they were, implies a precise choice on the part of post-conflict societies regarding which traces of the past ought to be preserved and in which ways. In other words, a decision is made about what politics of memory to adopt in each case. Trauma sites thus become unique, privileged observatories that allow us to understand better the emergence of post-conflict societies. The various forms of conservation, transformation, memorialization of places where slaughter, torture and horror have been carried out are key clues to better understandings of the relationship between memory and history in each post-conflict society studied. This article presents a close reading of three very different trauma sites: the Tuol Sleng Museum of the Crimes of Genocide in Phnom Penh, Cambodia; Villa Grimaldi in Santiago, Chile; and a third, more recent, museum: The Ustica Memorial Museum in Bologna, Italy. These memorials represent instances of three very different traumatic memory politics: in Tuol Sleng, visitors are relocated in the trauma space, in a sort of ‘frozen past’; in Villa Grimaldi, a process of attenuation is at work, the traces of the past are less evident, and their emotional effects weaker. The Ustica Museum represents yet another option, a movement towards an artistic and creative reinterpretation of the traumatic event itself. (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)

Cet article porte sur les dynamiques muséales dans le contexte de la construction identitaire. À travers l’étude en Namibie des différents types de musées qui maillent le territoire, deux types de fonctionnement se dégagent. Le premier est unifiant et centralisateur, représenté par le musée national, média qui affiche dans l’espace public la représentation officielle de la nation dite « arc-en-ciel ». Ce fonctionnement est traditionnel aux musées, dominant et structurellement centralisé. Le second modèle, diversifiant et territorialisé, se manifeste dans les (...) dispositifs muséaux mis en place par les nombreuses communautés namibiennes. Modèle territorial et omnicentrique, il s’appuie sur la vision que les communautés ont d’elles-mêmes. Ces deux types de fonctionnement constituent aujourd’hui les deux axes du maillage muséal du territoire national namibien et participent au modèle orchestral de la communication.This article investigates the dynamics of museums in the context of identity building. A study in Namibia on the different types of museums scattered across the country brings out two different patterns. The first is unifying and centralising and represented by the national museum, which publicly promotes the official representation of Namibia as a “rainbow nation”. This, the traditional pattern for museums, is dominant and structurally centralised. The second pattern, which tends towards diversification and a territorial focus, is seen in the museums established by the many different communities in Namibia. This territorial and omnicentric pattern stems from the way communities perceive themselves. These two patterns have become the two main strands in the fabric of Namibia’s museums and are integral to the way communication is orchestrated. (shrink)

What are the political implications of a complex image of time, where time does not unfold progressively in a neat linear structure, but where the past is always present and the future impinges on the now? If the past is inescapably present, how do societies that live with grievously injured pasts come to terms with them in the present for the sake of the future? How do they try to address the collective memories of their people, when such memories are (...) marked by violence and conflict, without resorting to vengeance? Drawing from the philosophical writings of Friedrich Nietzsche, this article examines the way in which two countries have recently attempted to negotiate the politics of memory – Algeria and Rwanda. It poses such questions as how much should be forgotten and how much should be remembered? It also asks the difficult question of how such pasts can be overcome and transfigured in the present for the sake of the politics of an affirmative politics of the future. (shrink)

How do we explain consistencies in discourses about the past that transcend the different interests and experiences of their contributors? This paper explores the the problem of cultural transmission as it appears in Sigmund Freud's Moses and Monotheism, in which Freud claims that that the residues of repressed pasts can be preserved in the life of the collectivity through means other than explicit transmission or even learning processes of imitation and repetition. These ciphered transits of collective memory pose the greatest (...) challenge for subsequent theorists influenced by Freud, most importantly the German Egyptologist Jan Assmann, whose reformulation of Freud's account as a theory of "cultural memory" the paper outlines and compares to elements in the work of Maurice Halbwachs, the founding father of contemporary work on collective memory. (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)

This article analyzes the Eclogues from the perspective of social memory. Discussion begins with examination of the anxieties regarding memory expressed by different authors in the late Republic. Subsequent analysis argues that similar concerns about memory and its relationship with social and political stability, cohesion and community are key elements of Eclogues 1, 5, and 9. In these poems, Virgil similarly taps into important contemporary debates about memory connected with figures such as Caesar and Octavian. The depiction of memory in (...) the collection is, the article argues, shifting and fluid and is consequently representative of the triumviral period. (shrink)

This paper, therefore, ploughs the furrow of postcolonial history, memory and the poetic imagination deploying the poetry of the Nigerian poet Joe Ushie.In particular, the paper negotiates the Rwandan genocide as a tragic foreground of the imperial process through its indulgent, artificial fixing of boundaries to accomplish its empire-building project in Africa. But beyond the colonial mediation in, and onslaught on, the cultures of others, the paper argues that African societies have also been complicit in their agonistic and violent history (...) as the Rwandan genocide amply demonstrates. The paper concludes that a martial culture reminiscent of Civan, the warmonger, which manifests itself in private and especially public domains will only entrench intolerance, ethnocentrism, communal wars and violent death on the continent. (shrink)

This article considers the power of food as a vehicle for memory by exploring the ways that food crosses the personal and the collective, the individual and the social. It examines these questions through the lens of certain Easter practices on the island of Kalymnos, Greece, concerning the preparation of lamb. The ovens and pots used to prepare lamb are a marker of Kalymnian identity, but have moved in interesting ways in and out of social practice. By comparing these socially (...) embedded practices with American "junk food" memories, the article suggests some general qualities that make food a useful site for the exploration of the social constitution of 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)

This essay outlines key issues in current approaches to cultural and collective memory. It reflects on memory's relation to history and its social, cultural and political roles, drawing on theoretical insights from Halbwachs, Ricoeur, Nora and Hirsch. It addresses the issues of affect, postmemory and counter-memory, locating the articles in the special section within this broader cultural political field.

The Collective Memory Reader provides a wide array of texts that underwrite the field of memory studies. Taken together, these seminal texts, hard-to-find classics, previsouly untranslated material, unusual extensions, and contemporary landmarks provide a definitive entry point into the field for students and an essential resource for scholars.

If the classic history of events is written in the spirit of winners, the approaches of collective mental reveal that wars are disasters and collective traumas for all of the involved communities. In the following pages we will present the decantation in long term memory of a relevant fact – the deportation of German ethnics from Romania to forced labor in the Soviet Union. On the base of a secret directive, sent by Stalin, approximately 75 000 Romanian citizens of German (...) ethnicity were forced to work three-four years, some even more, at the reconstruction of the “Soviet country”. The source of the decision, its place and extent, and also the way to atone for the “collective guilt” was hidden from the deportees. At the end of the punishment, they were forbidden to speak about the deportation in the public and private space. When they returned home, all of their material evidence of the years spent in the Soviet Union was confiscated and destroyed. In a project financed by the European Union, 50 interviews with survivors of deportation and their descendants were published. The resulting accounts allowed this psycho-sociological analysis of the memory of deportation, centered on ethical and religious aspects of the behaviors and attitudes of victims and their descendants. (shrink)

The Croatian identity politics, especially after winning its independence from the former Yugoslavia, has focused on the self-image as one of the democratic European countries, not of Communist Balkan. The nostalgic stories about the Croatian kingdom and the image of Croatia as European country has been constructed, exhibited and consumed in Croatia today, displacing and eliminating the heritage of Communism era, the tragedy of the independence war, and the history of Yugoslavia. Croatian contemporary artists, in contrast, try to resist this (...) collective “amnesia”.My paper analytically compares the attitude of the national cultural industry with the artistic performance and works by several artists in Croatia, focusing on the three mutually related topics: the concept of “Communist Balkan”, the collective memory of the Yugoslav wars and the view towards the cultural heritage which doesn’t fit to the homogeneous history of Croatia. (shrink)