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"Collective memory in literature."
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The Pleasures of Memory
What are the sources of the commonly held presumption that reading literature should make people more just, humane, and sophisticated? Rendering literary history responsive to the cultural histories of reading, publishing, and education, The Pleasures of Memory illuminates the ways that Dickens's serial fiction shaped not only the popular practice of reading for pleasure and instruction associated with the growth of periodical publication in the nineteenth century but also the school subject we now know as English.Examining the full scope of Dickens's literary production, Winter shows how his serial fiction instigated specific reading practices by reworking the conventions of religious didactic tracts from which most Victorians learned to read. Incorporating an influential associationist psychology of learning and reading founded on the cumulative functioning of memory, Dickens's serial novels consistently lead readers to reflect on their reading as a form of shared experience, thus channeling their personal memories of Dickens's unforgettablescenes and characters into a public reception reaching across social classes. Dickens's celebrity authorship, Winter argues, represented both a successful marketing program for popular fiction and a cultural politics addressed to a politically unaffiliated, social-activist Victorian readership. As late-nineteenth-century educational reforms in Britain and the United States consolidated Dickens's heterogeneous constituency of readers into the masspopulations served by national and state school systems, however, Dickens's beloved novels came to embody the socially inclusive and humanizing goals of democratic education.
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The Memory Marketplace
What happens when cultural memory becomes a commodity? Who owns the memory? In The Memory Marketplace, Emilie Pine explores how memory is performed both in Ireland and abroad by considering the significant body of contemporary Irish theatre that contends with its own culture and history. Analyzing examples from this realm of theatre, Pine focuses on the idea of witnesses, both as performers on stage and as members of the audience. Whose memories are observed in these transactions, and how and why do performances prioritize some memories over others? What does it mean to create, rehearse, perform, and purchase the theatricalization of memory? The Memory Marketplace shows this transaction to be particularly fraught in the theatricalization of traumatic moments of cultural upheaval, such as the child sexual abuse scandal in Ireland. In these performances, the role of empathy becomes key within the marketplace dynamic, and Pine argues that this empathy shapes the kinds of witnesses created. The complexities and nuances of this exchange-subject and witness, spectator and performer, consumer and commodified-provide a deeper understanding of the crucial role theatre plays in shaping public understanding of trauma, memory, and history.
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Memory in medieval China : text, ritual, and community
\"Memory is not an inert container but a dynamic process. It can be structured by ritual, constrained by textual genre, and shaped by communities' expectations and reception. Urging a particular view of the past on readers is a complex rhetorical act. The collective reception of portrayals of the past often carries weighty implications for the present and future. The essays collected in this volume investigate various aspects of memory in medieval China (ca. 100-900 CE) as performed in various genres of writing, from poetry to anecdotes, from history to tomb epitaphs. They illuminate ways in which the memory of individual persons, events, dynasties, and literary styles was constructed and revised through processes of writing and reading. Contributors include: Sarah M. Allen, Robert Ashmore, Robert Ford Campany, Jack W. Chen, Alexei Ditter, Meow Hui Goh, Christopher M. B. Nugent, Xiaofei Tian, Wendy Swartz, Ping Wang\"-- Provided by publisher.
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Literature and Cultural Memory
Cultural Memory, a subtle and comprehensive process of identity formation, promotion and transmission, is considered as a set of symbolic practices and protocols, with particular emphasis on repositories of memory and the institutionalized forms in which they are embodied.
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Transiciones, memorias e identidades en Europa y América Latina
Recoge diferentes enfoques teóricos y metodológicos sobre las memorias, transiciones políticas e identidades en Alemania, Argentina y España, buscando establecer comparaciones y puntos de convergencia en sociedades signadas durante el siglo XX por regímenes políticos autoritarios y procesos de democratización paradigmáticos. [Texto de la editorial]
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Where Currents Meet
Where Currents Meet treats the Ukrainian and Russian components of cultural experience in Ukraine’s East as elements of a complex continuum. This study of cultural memory in post-Soviet space shows how its inhabitants negotiate the historical legacy they have inherited. Tanya Zaharchenko approaches contemporary Ukrainian literature at the intersection of memory studies and border studies, and her analysis adds a new voice to an ongoing exploration of cultural and historical discourses in Ukraine. This scholarly journey through storylines explores the ways in which younger writers in Kharkiv (Kharkov in Russian), a diverse, dynamic, but understudied border city in east Ukraine today come to grips with a traumatized post-Soviet cultural landscape. Zaharchenko’s book examines the works of Serhiy Zhadan, Andrei Krasniashchikh, Yuri Tsaplin, Oleh Kotsarev and others, introducing them as a “doubletake\" generation who came of age during the Soviet Union’s collapse and as adults revisited this experience in their novels. Filling the space between society and the state, local literary texts have turned into forms of historical memory and agents of political life.
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