This book provides an introduction to the concept of cultural memory, offering a comprehensive overview of its history, forms and functions.

Pt. 1. The theoretical basis -- Memory culture -- Written culture -- Cultural identity and political imagination -- pt. 2. Case studies -- Egypt -- Israel and the invention of religion -- The birth of history from the spirit of the law -- Greece and disciplined thinking -- Cultural memory : a summary.

Is, as Hamlet once complained, time out joint? Have the ways we understand the past and the future—and their relationship to the present—been reordered? The past, it seems, has returned with a vengeance: as aggressive nostalgia, as traumatic memory, or as atavistic origin narratives rooted in nation, race, or tribe. The future, meanwhile, has lost its utopian glamor, with the belief in progress and hope for a better future eroded by fears of ecological collapse. In this provocative book, Aleida Assmann argues that the apparently solid moorings of our temporal orientation have collapsed within the span of a generation. To understand this profound cultural crisis, she reconstructs the rise and fall of what she calls "time regime of modernity" that underpins notions of modernization and progress, a shared understanding that is now under threat. Is Time Out of Joint? assesses the deep change in the temporality of modern Western culture as it relates to our historical experience, historical theory, and our life-world of shared experience, explaining what we have both gained and lost during this profound transformation.

In ten brilliant essays, Jan Assmann explores the connections between religion, culture, and memory. Building on Maurice Halbwachs's idea that memory, like language, is a social phenomenon as well as an individual one, he argues that memory has a cultural dimension too. He develops a persuasive view of the life of the past in such surface phenomena as codes, religious rites and festivals, and canonical texts on the one hand, and in the Freudian psychodrama of repressing and resurrecting the past on the other. Whereas the current fad for oral history inevitably focuses on the actual memories of the last century or so, Assmann presents a commanding view of culture extending over five thousand years. He focuses on cultural memory from the Egyptians, Babylonians, and the Osage Indians down to recent controversies about memorializing the Holocaust in Germany and the role of memory in the current disputes between Israelis and Palestinians in the Middle East and between Protestants and Catholics in Northern Ireland.

For more than a century, American communities erected monuments to western pioneers. Although many of these statues receive little attention today, the images they depict—sturdy white men, saintly mothers, and wholesome pioneer families—enshrine prevailing notions of American exceptionalism, race relations, and gender identity. Pioneer Mother Monuments is the first book to delve into the long and complex history of remembering, forgetting, and rediscovering pioneer monuments. In this book, historian Cynthia Culver Prescott combines visual analysis with a close reading of primary-source documents. Examining some two hundred monuments erected in the United States from the late nineteenth century to the present, Prescott begins her survey by focusing on the earliest pioneer statues, which celebrated the strong white men who settled—and conquered—the West. By the 1930s, she explains, when gender roles began shifting, new monuments came forth to honor the Pioneer Mother. The angelic woman in a sunbonnet, armed with a rifle or a Bible as she carried civilization forward—an iconic figure—resonated particularly with Mormon audiences. While interest in these traditional monuments began to wane in the postwar period, according to Prescott, a new wave of pioneer monuments emerged in smaller communities during the late twentieth century. Inspired by rural nostalgia, these statues helped promote heritage tourism. In recent years, Americans have engaged in heated debates about Confederate Civil War monuments and their implicit racism. Should these statues be removed or reinterpreted? Far less attention, however, has been paid to pioneer monuments, which, Prescott argues, also enshrine white cultural superiority—as well as gender stereotypes. Only a few western communities have reexamined these values and erected statues with more inclusive imagery. Blending western history, visual culture, and memory studies, Prescott’s pathbreaking analysis is enhanced by a rich selection of color and black-and-white photographs depicting the statues along with detailed maps that chronologically chart the emergence of pioneer monuments.

This volume provides an overview of theories of cultural memory that are intensively discussed in cultural studies and humanities disciplines such as history, sociology, literary studies, art history, and media studies. Cultural memory encompasses all rituals, institutions and practices through which communities establish their identity and common origin, which are challenged by the digital turn today. The book presents, on the one hand, basic arguments by the most important memory theorists of the 20th and 21st centuries and, on the other, exemplary descriptions of the most significant forms of cultural memory.

In The Archive and the Repertoire preeminent performance studies scholar Diana Taylor provides a new understanding of the vital role of performance in the Americas. From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory—conveyed in gestures, the spoken word, movement, dance, song, and other performances—offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice. Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.