Picture your 21st birthday. Did you have a party? If so, do you remember who was there? How clear are these memories? Should we trust them? Such questions have fascinated scientists for hundreds of years, and, as Alison Winter shows in this book, the answers have changed dramatically in just the past century.

Taking as its starting point four contemporary visual artists whose work utilizes the conventions of museum display and collecting practices, Memory Fragments examines how these artists have reconfigured dominant representations of Australian history and identity, including viewpoints often marginalized by gender and race. Echoing Walter Benjamin's reflections on history and time, this interdisciplinary volume will be of interest to scholars working in the arts as well as modern and postmodern cultural studies.

A deeply informed, yet playful and ironic look at how the internet has changed human experience, memory, and our sense of self, and that belongs on the shelf with the best writings of Roland Barthes and Jean Baudrillard. “One day, as I was daydreaming on the boulevard Beaumarchais, I had the idea—it came and went in a flash, almost in spite of myself—of Googling to find out what I’d been up to and where I’d been two evenings before, at five o’clock, since I couldn’t remember on my own.” So begins Maël Renouard’s Fragments of an Infinite Memory, a provocative and elegant inquiry into life in a wireless world. Renouard is old enough to remember life before the internet but young enough to have fully accommodated his life to the internet and the gadgets that support it. Here this young philosopher, novelist, and translator tries out a series of conjectures on how human experience, especially the sense of self, is being changed by our continual engagement with a memory that is impersonal and effectively boundless. Renouard has written a book that is rigorously impressionistic, deeply informed historically and culturally, but is also playful, ironic, personal, and formally adventurous, a book that withstands comparison to the best of Roland Barthes and Jean Baudrillard.

Memoir of a small boy who was separated from his family at the age of three or four-years-old after his father was killed during a round-up of Jews in Latvia, and was sent to the Majdanek death camp where he was discovered by Allied soldiers in 1945.

Memory Fragments from the Armenian Genocide: A Mosaic of a Shared Heritage brings together thirty profiles of North Americans of Armenian descent. All exemplify the philosophy that “doing well is doing good,” a credo handed down to them by family members who lost everything when they fled from the Turkish massacres. Family stories of how survivors escaped, survived, and made new lives are filtered through the memories of succeeding generations. The profiles reflect how the actions of the survivors shaped the lives of succeeding generations. Armenian immigrants feared their heritage might be lost in North America. Their fears proved to be unfounded. Children and grandchildren retain the culture passed on to them. At the same time, they hold dear the values of the New World that enabled their families to live free of political repression. While details of their daily lives differ, most of those profiled share a reverence for education. In the New World, they flourish as intellectuals, artists, teachers, entertainers, and entrepreneurs, thereby filling leadership roles decimated by Turks early in their campaign to wipe out the Armenians. By making the most of their talents, they do homage to those who sacrificed so much.

Fragments of Trauma and the Social Production of Suffering: Trauma, History, and Memory offers a kaleidoscope of perspectives that highlight the problem of traumatic memory. Because trauma fragments memory, storytelling is impeded by what is unknowable and what is unspeakable. Each of the contributors tackles the problem of narrativizing memory that is constructed from fragments that have been passed along the generations. When trauma is cultural as well as personal, it becomes even more invisible, as each generation’s attempts at coping push the pain further below the surface. Consequently, that pain becomes increasingly ineffable, haunting succeeding generations. In each story the contributors offer, there emerges the theme of difference, a difference that turns back on itself and makes an accusation. Themes of knowing and unknowing show the terrible toll that trauma takes when there is no one with whom the trauma can be acknowledged and worked through. In the face of utter lack of recognition, what might be known together becomes hidden. Our failure to speak to these unaspirated truths becomes a betrayal of self and also of others. In the case of intergenerational and cultural trauma, we betray not only our ancestors but also the future generations to come. In the face of unacknowledged trauma, this book reveals that we are confronted with the perennial choice of speaking or becoming complicit in our silence.

An autobiographical novel, set in the early 20th century, about the life of a boy born to a poor family in northern Syria. Fragments of Memory offers a picture of reality that is simple, direct, and quite emotional... an image of Syrian society in the thirties and forties through the struggle of an impoverished family- of an origin that is neither rural nor urban- which moves from the city to the countryside, only to be forced back unwillingly, groping for survival. Khaldoun Shamaa's Fragments of Memory is an autobiographical novel about the life of a boy born to a poor family in northern Syria. Mina sets these personal events against a richly detailed description of events in the history of early 20th century Syria, as the silkworm industry gave way to modern foreign technology. The mode of life described is one of a bygone era.