A focus on memory has come to prominence across a wide range of disciplines. History, literature, philosophy, anthropology, and cultural studies have placed memory at the heart of their interrogations of subjectivity, narrative, time and imagination. At the same time, memory has emerged as a central theme and preoccupation in popular literature, film and television, and the emergence of memory as an academic theme cannot be separated from its prominence in the wider culture. This volume represents, explores and interrogates the current developments, engaging directly with the place of memory in culture, and with memory's meaning's and history.

In recent years memory has attracted increasing attention. From analyses of electronic communication and the Internet to discussions of heritage culture, to debates about victimhood and sexual abuse, memory is currently generating much cultural interest. This interdisciplinary collection takes a journey through memory in order to contextualize this current "memory boom." Memory Cultures focuses on memories "outside"--in the many fields within which understandings of memory have been produced. It focuses less on memory as an object whose inner workings are to be studied, and more on memory as a concept. It traces the genealogies of our contemporary Western understandings of memory through studies of the early modern arts of memory. It also discusses nineteenth-century evolutionary museums, and the modernist explorations of artists and writers. Here it explores the differences between Western and non-Western concepts of the lived past and compares understandings of memory in history, psychoanalysis, and anthropology. The volume is divided into five parts: "Believing the Body"; "Propping the Subject"; "What Memory Forgets: Models of the Mind"; "What History Forgets: Memory and Time"; and "Memory Beyond the Modern." Individual essays by many of the foremost international scholars in memory studies trace memory's intimate association with identity and recognition, with cities, with lived time, with the science of the mind, with fantasy and with the media. Memory Cultures will be of essential interest to those working in the fields of cultural studies, history and also anthropology.

Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early "talkies" firmly entrenched limited representations of African Americans. Robinson grounds his study in contexts that illuminate the parallel growth of racial beliefs and capitalism, beginning with Shakespearean England and the development of international trade. He demonstrates how the needs of American commerce determined the construction of successive racial regimes that were publicized in the theater and in motion pictures, particularly through plantation and jungle films. In addition to providing new depth and complexity to the history of black representation, Robinson examines black resistance to these practices. Whereas D. W. Griffith appropriated black minstrelsy and romanticized a national myth of origins, Robinson argues that Oscar Micheaux transcended uplift films to create explicitly political critiques of the American national myth. Robinson's analysis marks a new way of approaching the intellectual, political, and media racism present in the beginnings of American narrative cinema.

Fran�ois Hartog explores crucial moments of change in societyÕs Òregimes of historicityÓ or its way of relating to the past, present, and future. Inspired by Arendt, Koselleck, and Ricoeur, Hartog analyzes a broad range of texts, positioning the The Odyssey as a work on the threshold of a historical consciousness and then contrasting it against an investigation of the anthropologist Marshall SahlinsÕs concept of Òheroic history.Ó He tracks changing perspectives on time in Ch‰teaubriandÕs Historical Essay and Travels in America, and sets them alongside other writings from the French Revolution. He revisits the insight of the French Annals School and situates Pierre NoraÕs Realms of Memory within a history of heritage and our contemporary presentism. Our presentist present is by no means uniform or clear-cut, and it is experienced very differently depending on oneÕs position in society. There are flows and acceleration, but also what the sociologist Robert Castel calls the Òstatus of casual workers,Ó whose present is languishing before their very eyes and who have no past except in a complicated way (especially in the case of immigrants, exiles, and migrants) and no real future (since the temporality of plans and projects is denied them). Presentism is therefore experienced as either emancipation or enclosure, in some cases with ever greater speed and mobility and in others by living from hand to mouth in a stagnating present. Hartog also accounts for the fact that the future is perceived as a threat and not a promise. We live in a time of catastrophe, one he feels we have brought upon ourselves.

Understanding Europe's past became an urgent matter with the events of August 1991 in Moscow, in the former Soviet Union. The invasion of Moscow's streets by Russian people rejecting an attempted coup d'etat was the culmination of a process that had been initiated years before and raised crucial questions: To what extent can these events be considered the end of an era stretching from World War I to the 1980s, when Europe experienced many forms of dictatorship? To what extent can the various forms of dictatorship Europe experienced in the twentieth century be grouped together? Can any sort of affinity be established between them? The new introduction to the paperback edition of this volume in the Memory and Narrative series, Leydesdorff and Crownshaw underline the fundamental importance of the struggle for memory and its meaning. Memory and Totalitarianism explores the remembered experiences of individuals living under different totalitarian regimes, and examines the construction of memory in the aftermath of those regimes' collapse. It attempts to situate the findings of oral history in the context of contemporary memory. It wrestles with the most painful memories that Europeans have of this century at the end of the Cold War. These memories compare with oral history's research into such experiences as racist attitudes against blacks in the South, or the cultural and psychological effects of apartheid in South Africa, or the Aborigines' claim to their own history and to a new idea of history in Australia. Totalitarianisms are products of the twentieth century that go far beyond earlier manifestations of absolutism and autocracy in their effort to completely control political, social, and intellectual life. They were made possible by modern industrialism and technology. Therefore the theme of the book expands to include many other experiences that relate to totalitarian mentalities. Luisa Passerini is professor of cultural history at the University of Torino and external professor at the European University Institute, Florence. Her present trends of research are: European identity; the historical relationships between the discourse on Europe and the discourse on love; gender and generation as historical categories; memory and subjectivity. Among her recent publications are Europe in Love, Love in Europe: Imagination and Politics Between the Wars Il mito d'Europa. Radici antiche per nuovi simboli. Selma Leydesdorff is professor of oral history at the University of Amsterdam. Her publications include We Lived with Dignity and (with Kim Lacy Rogers) Trauma: Life Stories of Survivors. Richard Crownshaw is a lecturer in the Department of English at Manchester Metropolitan University (UK), where his teaching includes 19th- and 20th-century American literature and representations of the Holocaust. He is also an Associate Fellow of the Institute of Germanic and Romance Studies, University of London.

"Remembering the past, especially as collectivity, is a political process, thus the politics of memory and commemoration is an integral part of the establishment of new political regimes, new identities, and new principles of political legitimacy. This volume is about the explosion of the politics of memory triggered by the fall of state socialism in Eastern Europe, particularly about the politics of its commemoration twenty years later. It offers seventeen in-depth case studies, an original theoretical framework, and a comparative study of memory regime types and their origins. Four different kinds of mnemonic actors are identified: mnemonic warriors, mnemonic pluralists, mnemonic abnegators, and mnemonic prospectives. Their combinations render three different types of memory regimes: fractured, pillarized, and unified. Disciplined comparative analysis shows how several different configurations of factors affect the emergence of mnemonic actors and different varieties of memory regimes. There are three groups of causal factors that influence the political form of the memory regime: the range of structural constraints the actors face (e.g., the type of regime transformation), cultural constraints linked to past political conflict (e.g., salient ethnic or religious cleavages), and cultural and strategic choices actors make (e.g. framing post-communist political identities)"--

Women Mobilizing Memory, a transnational exploration of the intersection of feminism, history, and memory, shows how the recollection of violent histories can generate possibilities for progressive futures. Questioning the politics of memory-making in relation to experiences of vulnerability and violence, this wide-ranging collection asks: How can memories of violence and its afterlives be mobilized for change? What strategies can disrupt and counter public forgetting? What role do the arts play in addressing the erasure of past violence from current memory and in creating new visions for future generations? Women Mobilizing Memory emerges from a multiyear feminist collaboration bringing together an interdisciplinary group of scholars, artists, and activists from Chile, Turkey, and the United States. The essays in this book assemble and discuss a deep archive of works that activate memory across a variety of protest cultures, ranging from seemingly minor acts of defiance to broader resistance movements. The memory practices it highlights constitute acts of repair that demand justice but do not aim at restitution. They invite the creation of alternative histories that can reconfigure painful pasts and presents. Giving voice to silenced memories and reclaiming collective memories that have been misrepresented in official narratives, Women Mobilizing Memory offers an alternative to more monumental commemorative practices. It models a new direction for memory studies and testifies to a continuing hope for an alternative future.