A theoretically grounded interdisciplinary study of "cultural memory" in sites ranging from Chile, Bolivia, and South Africa to Germany and the US.

Memory has long been a subject of fascination for poets, artists, philosophers and historians. This timely volume, edited by Siobhan Kattago, examines how past events are remembered, contested, forgotten, learned from and shared with others. Featuring contributions from key thinkers in the field, this comprehensive volume will be a valuable resource for all academics and students working within this area of study.

This unusual collection explores the development of ideas in psychology's past, and shapes them into a valuable resource for ideas in the discipline's future, with particular emphasis on holistic traditions in psychology. Diriwõchter and Valsiner focus on developmental holistic psychology as advocated by the second school of Leipzig in Germany. Although largely neglected, this school of thought has provided some of the fundamental ideas necessary for a truly holistic approach in psychology. This volume includes Leibniz's dynamic holism and Ehrenfels' discussion about Gestalt qualities, which has generally been acknowledged as a major milestone in the formation of Gestalt psychology. Each chapter looks at the possible future of holistic psychology. Striving for the Whole contains several well-though out discussions on possible elaborations of holistic psychology by contrasting it with Ernst Boesch's cultural psychology, Pierre Janet's theory on emotions, and Jan Smuts holistic approach to personality theory. Discussions of holistic approaches in biology and evolutionary psychology, as well as a renewed look at Lloyd Morgan's comparative methodology, complete the volume. Striving for the Whole has been written by an international group of authors and will be of interest to students of the social sciences and intellectual history, and anyone who wants to dive deeper into holistic approaches that maintain their ties with empirical methodology. It is ideal for graduate and upper-level undergraduate courses in psychology.

This book discusses the active relationship among the mechanics of memory, visual practices, and historical narratives. Reflection on memory and its ties with historical narratives cannot be separated from reflection on the visual and the image as its points of reference which function in time. This volume addresses precisely that temporal aspect of the image, without reducing it to a neutral trace of the past, a mnemotechnical support of memory. As a commemorative device, the image fixes, structures, and crystalizes memory, turning the view of the past into myth. It may, however, also stimulate, transform, and update memory, functioning as a matrix of interpretation and understanding the past. The book questions whether the functioning of the visual matrices of memory can be related to a particular historical and geographical scope, that is, to Central and Eastern Europe, and whether it is possible to find their origin and decide if they are just local and regional or perhaps also Western European and universal. It focuses on the artistic reflection on time and history, in the reconstructions of memory due to change of frontiers and political regimes, as well as endeavours to impose some specific political structure on territories which were complex and mixed in terms of national identity, religion and social composition. The volume is ideal for students and scholars of memory studies, history and visual studies.

Mind the Screen pays tribute to the work of the pioneering European film scholar Thomas Elsaesser, author of several volumes on media studies and cinema culture. Covering a full scope of issues arising from the author’s work—from melodrama and mediated memory to avant-garde practices, media archaeology, and the audiovisual archive—this collection elaborates and expands on Elsaesser’s original ideas along the topical lines of cinephilia, the historical imaginary, the contemporary European cinematic experience, YouTube, and images of terrorism and double occupancy, among other topics. Contributions from well-known artists and scholars such as Mieke Bal and Warren Buckland explore a range of media concepts and provide a mirror for the multi-faceted types of screens active in Elsaesser’s work, including the television set, video installation, the digital interface, the mobile phone display, and of course, the hallowed silver screen of our contemporary film culture.

The idea that our memories, in some sense, make us who we are, is a common one-and not at all implausible. After all, what could make us who we are if not the things we have experienced, thought, felt and desired on these idiosyncratic pathways through space and time that we call lives? And how can we retain these experiences, thoughts, feelings and desires if not through memory? On the other hand, most of what we have experienced has been forgotten. And there is now a considerable body of evidence that suggests that, even when we think we remember, our memories are likely to be distorted, sometimes beyond recognition. Imagine writing your autobiography, only to find that that most of it has been redacted, and much of the rest substantially rewritten. What would hold this book together? What would make it the unified and coherent account of a life? The answer, Mark Rowlands argues, lies, partially hidden, in a largely unrecognized form of memory-Rilkean memory. A Rilkean memory is produced when the content of a memory is lost but the act of remembering endures, in a new, mutated, form: a mood, a feeling, or a behavioral disposition. Rilkean memories play a significant role in holding the self together in the face of the poverty and inaccuracy of the contents of memory. But Rilkean memories are important not just because of what they are, but also because of what they were before they became such memories. Acts of remembering sculpt the contents of memories out of the slabs of remembered episodes. Our acts of remembering ensure that we are in the content of each of our memories-present in the way a sculptor is present in his creation-even when this content is lamentably sparse and endemically inaccurate.

This book is an analysis of thinking, remembering and reminiscing according to ancient authors, and their medieval readers. The author argues that behind the various medieval methods in interpreting texts of the past lie two apparently incompatible theories of human knowledge and remembering, as well as two differing attitudes to matter and intellect. The book comprises a series of studies which take ancient texts as evidence of the past, and show how medieval readers and writers understood them. The studies confirm that medieval and renaissance interpretations and uses of the past differ greatly from modern interpretation and yet betray many startling continuities between modern and ancient and medieval theories.

The Franciscan John Duns Scotus (c. 1266-1308) is the philosopher's theologian par excellence: more than any of his contemporaries, he is interested in arguments for their own sake. Making use of the tools of modern philosophy, Richard Cross presents a thorough account of Duns Scotus's arguments on God and the Trinity. Providing extensive commentary on central passages from Scotus, many of which are presented in translation in this book, Cross offers clear expositions of Scotus's sometimes elliptical writing. Cross's account shows that, in addition to being a philosopher of note, Scotus is a creative and original theologian who offers new insights into many old problems.

The long awaited new edition of this celebrated bestseller.