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Journal articles on the topic 'Cultural Memory'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Laland, Kevin N., and Luke Rendell. "Cultural memory." Current Biology 23, no. 17 (September 2013): R736—R740. http://dx.doi.org/10.1016/j.cub.2013.07.071.

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2

Etkin, Nina. "Cultural Memory and Biodiversity.:Cultural Memory and Biodiversity." American Anthropologist 102, no. 4 (December 2000): 955–56. http://dx.doi.org/10.1525/aa.2000.102.4.955.

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3

Ryberg, Ingrid. "Queer Cultural Memory." lambda nordica 25, no. 1 (June 15, 2020): 122–26. http://dx.doi.org/10.34041/ln.v25.624.

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4

Kukkonen, Karin. "Popular Cultural Memory." Nordicom Review 29, no. 2 (November 1, 2008): 261–73. http://dx.doi.org/10.1515/nor-2017-0190.

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Abstract Conventions of genres, types and icons of popular culture are the shared knowledge of media audiences. Becoming acquainted with them through the reception of media texts resembles a socialisation process in its own right: It constitutes a community of media readers. The context knowledge they share is their popular cultural memory. On the level of the individual reading process, this context knowledge then provides the necessary guiding lines for understanding the connotative dimensions of a popular media text. Popular cultural memory is a repository of conventions and imagery that are continually reconstructed in contemporary popular culture. Drawing on J. Assmann’s writings on the functions and processes of collective memory, the present article develops popular cultural memory as a concept to describe the workings of context knowledge for media texts, while taking into consideration both the macrolevel of audience communities and the microlevel of the individual reading process. The comics series Fables by Bill Willingham (NY: DC Comics Vertigo, 2003-) will provide the example through which the article explores the functions of popular cultural memory in media texts, which can take shapes as different as the identification of genre, the stabilisation of intertextual reference chains or the creation of round characters and complex reflexivity.
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5

Barlow, Melinda. "Personal History, Cultural Memory." Afterimage 21, no. 4 (November 1, 1993): 8–12. http://dx.doi.org/10.1525/aft.1993.21.4.8.

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6

Voigt, Vilmos. "On proxy cultural memory." Acta Ethnographica Hungarica 59, no. 2 (December 2014): 389–95. http://dx.doi.org/10.1556/aethn.58.2014.2.8.

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7

Deodhar, Bhakti. "Inside Contested Cultural Memory." German Politics and Society 39, no. 3 (September 1, 2021): 46–69. http://dx.doi.org/10.3167/gps.2021.390303.

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This article explores the role played by the Alternative für Deutschland (AfD), a German right-wing political party, in the politics of memory in and of Dresden. Based on ethnographic fieldwork among AfD members and observation of the party’s organization, the article demonstrates that the performative acts of local AfD members bear crucial significance in explaining the party’s attempts to challenge the mainstream memory discourse that is linked to the centrality of the Holocaust. I argue that party members not only draw upon established discursive narratives of Germany’s victimhood, but also find ways to skillfully adapt their messages in their efforts to achieve legitimacy. Their performative contestations have enabled the AfD to be both a beneficiary and an instigator of the shifting boundaries of what is considered admissible in Germany’s official culture of memorialization.
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Deodhar, Bhakti. "Inside Contested Cultural Memory." German Politics and Society 39, no. 3 (September 1, 2021): 46–69. http://dx.doi.org/10.3167/gps.2021.390303.

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This article explores the role played by the Alternative für Deutschland (AfD), a German right-wing political party, in the politics of memory in and of Dresden. Based on ethnographic fieldwork among AfD members and observation of the party’s organization, the article demonstrates that the performative acts of local AfD members bear crucial significance in explaining the party’s attempts to challenge the mainstream memory discourse that is linked to the centrality of the Holocaust. I argue that party members not only draw upon established discursive narratives of Germany’s victimhood, but also find ways to skillfully adapt their messages in their efforts to achieve legitimacy. Their performative contestations have enabled the AfD to be both a beneficiary and an instigator of the shifting boundaries of what is considered admissible in Germany’s official culture of memorialization.
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9

Cao, Zhongkai, and Zaihong Zhang. "Cultural Memory of Language." Australian Journal of Linguistics 38, no. 1 (September 15, 2016): 132–35. http://dx.doi.org/10.1080/07268602.2016.1226681.

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10

Coplan, David B. "Popular history; Cultural memory." Critical Arts 14, no. 2 (January 2000): 122–44. http://dx.doi.org/10.1080/02560040085310121.

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11

Bruun Kofoed, Jens. "Saul and Cultural Memory." Scandinavian Journal of the Old Testament 25, no. 1 (May 2011): 124–50. http://dx.doi.org/10.1080/09018328.2011.568213.

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12

Rodgers, Tara. "Tinkering with Cultural Memory." Feminist Media Histories 1, no. 4 (2015): 5–30. http://dx.doi.org/10.1525/fmh.2015.1.4.5.

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In 2015, analog synthesizers are resurgent in popular appeal. Robert Moog is often celebrated as the central and originary figure who launched a so-called revolution in sound by making synthesizers widely available in the late 1960s and early '70s. This essay examines the figure of the humble tinkerer, as exemplified by Moog, along with other historically specific and archetypal forms of masculinity that are embodied by the male subjects at the center of electronic music's historical accounts. Critical readings of audio-technical discourse, and of the periodization of synthesizer histories, reveal that women are always already rendered out of place as subjects and agents of electronic music history and culture. Yet a set of letters, written by young women across the United States to Harry F. Olson at the Radio Corporation of America (RCA) in the mid-1950s and analyzed in this article, demonstrates that women were an enthusiastic audience for the RCA synthesizer a decade before Moog built his prototypes. As they did with new media, including wireless radio and the phonograph, in the early twentieth century, women played a key role at midcentury in enabling the broad-based market for analog synthesizers that greeted Moog and others in the 1960s once these instruments were made available for widespread use.
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13

Viejo-Rose, Dacia. "Cultural heritage and memory: untangling the ties that bind." Culture & History Digital Journal 4, no. 2 (December 30, 2015): e018. http://dx.doi.org/10.3989/chdj.2015.018.

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14

Irwin, Rita L., Tony Rogers, and Yuh-Yao Wan. "Making Connections Through Cultural Memory, Cultural Performance, and Cultural Translation." Studies in Art Education 40, no. 3 (1999): 198. http://dx.doi.org/10.2307/1320862.

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15

Brandellero, Amanda, Susanne Janssen, Sara Cohen, and Les Roberts. "Popular music heritage, cultural memory and cultural identity." International Journal of Heritage Studies 20, no. 3 (September 5, 2013): 219–23. http://dx.doi.org/10.1080/13527258.2013.821624.

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16

Damanik, Erond Litno. "Nurturing the Collective Memory of Plantation Traces." Paramita: Historical Studies Journal 30, no. 2 (September 1, 2020): 121–34. http://dx.doi.org/10.15294/paramita.v30i2.18509.

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The article aims to explore and to discuss strategies for nurturing collective memory and identity in Medan City. The problem is focused on strategies to care for the collective memory and identity of the city while preserving cultural heritage buildings in Medan City. The theoretical references used are the collective memory and city identity approaches of Kusno. The study found that the collective memory and identity of the plantation are attached to the grandeur of the shape and variety of building architecture. The variety of architecture refers to masterpieces of internationally renowned architects, while the forms and patterns represent the climate, aesthetics, and success of the plantation. Novelty studies that the lack of protection of cultural heritage buildings has implications for the waning of collective memory and city identity. Economic and business battles, lack of government political will, and synergy with the private sector have an impact on the destruction of cultural heritage buildings. Cultural heritage buildings are an integral part of the history of Medan City with plantations. The study concluded that maintaining collective memory and plantation identity is a preservation activity of cultural heritage buildings. The strategy of nurturing for cultural heritage buildings is not enough through local regulations, utilization as public spaces, but also providing incentives for cultural heritage building owners. Artikel bertujuan mengeksplorasi dan mendiskusikan strategi merawat memori kolektif dan identitas perkebunan di Kota Medan. Permasalahan difokuskan pada strategi merawat memori kolektif dan identitas kota sekaligus melestarikan bangunan pusaka budaya di Kota Medan. Acuan teoritis dipergunakan adalah pendekatan memori kolektif dan identitas kota dari Kusno. Kajian menemukan bahwa memori kolektif dan identitas perkebunan terlampir pada kemegahan bentuk dan ragam arsitektur bangunan. Ragam arsitektur menunjuk pada mahakarya arsitek kenamaan mancanegara; sedang bentuk dan pola merepresentasi iklim, estetika dan keberhasilan perkebunan. Novelty kajian bahwa kurangnya perlindungan bangunan pusaka budaya berimplikasi bagi memudarnya memori kolektif dan identitas kota. Pertarungan ekonomi dan bisnis, kurangnya political-will pemerintah serta sinergi dengan swasta berdampak bagi pemusnahan bangunan pusaka budaya. Bangunan pusaka budaya merupakan bagian integral sejarah Kota Medan dengan perkebunan. Kajian menyimpulkan bahwa memelihara memori kolektif dan identitas perkebunan adalah aktifitas pelestarian bangunan pusaka budaya. Strategi merawat bangunan pusaka budaya tidak cukup melalui Peraturan Daerah, pemamfaatan sebagai ruang publik, tetapi juga pemberian insentif bagi pemilik bangunan pusaka budaya.
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17

Костров, Геннадий Леонидович. "CULTURAL TRAUMA: MEMORY, OBLIVION, REPRESENTATION." Вестник Тверского государственного университета. Серия: Философия, no. 4(54) (December 10, 2020): 74–88. http://dx.doi.org/10.26456/vtphilos/2020.4.074.

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В последние годы одной из самых актуальных проблем общественной науки становится проблема культурной травмы. По этой теме выходят сотни статей, монографий. Чрезвычайно популярным является направление Cultural Studies. Как формируется культурная травма? Как превращается из коллективной, коммуникативной в культурную? Что представляют собой память, интерпретация, забвение, репрезентация? Какую роль в этом процессе играют репрезентанты, носители, создатели новых культурных смыслов? Как в культуре возникает новый смысл, который коренным образом трансформирует сознание, жизненный мир, социальные связи? Смысл открывается, обнаруживается как нечто данное, как «объективная реальность» или же выдумывается, строится по образцу мифа, сказки? Как выстраивается борьба интерпретаций смыслов, их сохранение, проработка, разрушение, забвение? Какое значение имеют в этом процессе репрезентации медиа, праздники, традиции, фильмы, сериалы, музеи, общественные дискуссии и пр.? В статье дан анализ этих проблем с позиций умеренного конструктивизма. In recent years, one of the most pressing problems of social science is the problem of cultural trauma. Hundreds of articles and monographs are published on this topic. The direction of Cultural Studies is becoming extremely popular. How is cultural trauma formed? How does it turn from a collective, communicative into a cultural one? What are memory, interpretation, oblivion, representation? What role do representatives, carriers, creators of new cultural meanings play in this process? How does a new meaning arise in culture that radically transforms consciousness, the life world, and social ties? The meaning is revealed as something given, as «objective reality» or is it invented, built on the model of a myth, a fairy tale? How is the struggle between interpretations of meanings built, their preservation, elaboration, destruction, oblivion? What is the significance of media representations, holidays, traditions, films, TV shows, museums, public discussions, etc. in this process? The article analyzes these problems from the standpoint of moderate constructivism.
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18

Edson, Michael. "Manuscript Notations and Cultural Memory." Studies in Eighteenth-Century Culture 50, no. 1 (2021): 171–86. http://dx.doi.org/10.1353/sec.2021.0015.

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19

Bel, Jacqueline. "Migration, literature and cultural memory." Journal of Romance Studies 11, no. 1 (March 2011): 91–101. http://dx.doi.org/10.3828/jrs.11.1.91.

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20

Sheringham, Michael. "Cultural memory and the everyday." Journal of Romance Studies 3, no. 1 (March 2003): 45–57. http://dx.doi.org/10.3828/jrs.3.1.45.

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21

Assmann, Jan, and John Czaplicka. "Collective Memory and Cultural Identity." New German Critique, no. 65 (1995): 125. http://dx.doi.org/10.2307/488538.

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22

Pavlenko, Olena. "Literary Translation and Cultural Memory." Pitannâ lìteraturoznavstva 97 (June 29, 2018): 175–90. http://dx.doi.org/10.31861/pytlit2018.97.175.

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23

Dobreva, Vanya, and Ivanka Iankova. "RESTORATION OF THE CULTURAL MEMORY." Knowledge International Journal 28, no. 7 (December 10, 2018): 2413–16. http://dx.doi.org/10.35120/kij28072413v.

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The approaches to the restoration and maintenance of cultural memory as an expression of identity (Personal and / or National) become more and more relevant in the modern society. It turns out that in the era of the so called knowledge society, overinformation, hypercommunication and stormy scientific progress, the volume of humanitarian knowledge is sharply reduced. This means that the world of ideas and thinking about the person as a human being is narrowed. The hypertrophy of Otherness leads to discrediting the Self and the We-identity. This, on its turn, manipulates the unique cultural memory (mostly related to the formation of We-identity) and replaces it with stereotypical clichés. In the Bulgarian educational system the humanitarian knowledge of national literature and history is very limited and demonstrates a tendency to arbitrary treatment of the national register of values. Therefore, this paper focuses on the literary curriculum in Bulgaria by providing an outline of the possible solutions for overcoming the lack of humanitarian knowledge through restoring the cultural memory in the education system. The problem is solved through cultural memory in practice - remembering the figure of a national hero (writer, religious factor, cultural and public figure and others). It is also important to emphasize on the cultural practice of the holiday, in particular the аnniversary, through which the cultural memory not only recovers but is also given a contemporary understanding.
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24

Dobreva, Vanya, and Ivanka Iankova. "RESTORATION OF THE CULTURAL MEMORY." Knowledge International Journal 28, no. 7 (December 10, 2018): 2413–16. http://dx.doi.org/10.35120/kij29082413v.

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The approaches to the restoration and maintenance of cultural memory as an expression of identity (Personal and / or National) become more and more relevant in the modern society. It turns out that in the era of the so called knowledge society, overinformation, hypercommunication and stormy scientific progress, the volume of humanitarian knowledge is sharply reduced. This means that the world of ideas and thinking about the person as a human being is narrowed. The hypertrophy of Otherness leads to discrediting the Self and the We-identity. This, on its turn, manipulates the unique cultural memory (mostly related to the formation of We-identity) and replaces it with stereotypical clichés. In the Bulgarian educational system the humanitarian knowledge of national literature and history is very limited and demonstrates a tendency to arbitrary treatment of the national register of values. Therefore, this paper focuses on the literary curriculum in Bulgaria by providing an outline of the possible solutions for overcoming the lack of humanitarian knowledge through restoring the cultural memory in the education system. The problem is solved through cultural memory in practice - remembering the figure of a national hero (writer, religious factor, cultural and public figure and others). It is also important to emphasize on the cultural practice of the holiday, in particular the аnniversary, through which the cultural memory not only recovers but is also given a contemporary understanding.
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25

Fjelkestam, Kristina. "Gendering Cultural Memory: Balzac’s Adieu." Culture Unbound 5, no. 2 (June 12, 2013): 239–49. http://dx.doi.org/10.3384/cu.2000.1525.135239.

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In this essay I examine the en-gendering of cultural memory in Honoré de Balzac´s story Adieu (1830), which proceeds from a repressed trauma originating in historical events. Balzac wrote the story in the spring of 1830, i. e. at a time when the French discontent with the Restoration regime was soon to explode in the July Revolution. The story is considered to claim that the Restoration regime’s repression of revolutionary history will recieve serious consequences in the present. But the question is how the now of the Restoration can best be linked to the then of the Revolution and the Empire? How can history be represented in a productive way, without silencing traumatic memories? My suggestion is that the abyss be-tween now and then has to be met with an ethically informed respect for difference. Stéphanie, the protagonist, dies when Philippe creates an exact replica of the traumatic situation in which they were separated many years ago. She then became a sex slave to the retiring French army, dehumanized during the hard Russian campaign, an experience that also dehumanized her. This Philippe refuses to acknowledge, since he wants to retrieve the woman he knew. That can of course never happen, but in insisting on it, I would claim that he actually renders Stéphanies life after the trauma impossible. Instead of emphasizing the distinction between past and present, Philippe overlooks it, with the severe consequence of Sté-phanie’s death. In my analysis I relate to pertinent discussions in the interdisciplinary field of cultural memory studies (an expanding field of research within the wider frame of cultural studies), but since it rarely discusses gender aspects I find it essential to relate also to feminist scholars who continually have scrutinized issues concerning memory and history writing.
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26

Ceuterick, Maud. "Queering cultural memory through technology." Alphaville: Journal of Film and Screen Media, no. 21 (August 5, 2021): 89–110. http://dx.doi.org/10.33178/alpha.21.05.

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While cinema boasts of a long history that has placed the representation and aesthetics of memory at its centre, virtual reality (VR) and augmented reality (AR) are only starting to shape their own aesthetic and narrative engagement with memory. Through the analysis of Chez Moi (Caitlin Fisher and Tony Vieira, 2014), Queerskins: Ark (Illja Szilak, 2020), and Homestay (Paisley Smith, 2018), this essay shows how cinematic AR and VR involve the viewers’ movement to produce and transform collective memory and spatial habitation. Feminist digital geographies, film and media theory, and the concept of orientation developed by Sara Ahmed in Queer Phenomenology (2006) give sense to how sound, images and viewers’ movement participate to rewrite collective memory and cultural symbols. As these artworks present personal memories of struggles to find a home within present spaces, they queer hegemonic orientations of the subject, and invite viewers to re-align body and space within ever-changing virtual and digital spaces.
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27

Efremov, Valeriy, Valentina Chernyak, and Nadya Cherneva. "Cultural Memory and Precedent Phenomena." Chuzhdoezikovo Obuchenie-Foreign Language Teaching 49, no. 1 (February 24, 2022): 67–77. http://dx.doi.org/10.53656/for22.16kult.

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The paper provides a brief historical overview of the emergence and semantic enrichment of the concept of cultural memory in modern philological research, going back to the works of German historians (J. and A. Assman) and Soviet philologists (Y. M. Lotman, B. M. Gasparov and Tartu-Moscow Semiotic School). It is shown that in modern philological science it is most productive to conduct the analysis of cultural memory and its dynamics on the basis of the theory of precedent phenomena by Y. N. Karaulov. It is the study of the precedent fund of linguoculture and the intertextual thesaurus of personality that makes possible to fully reconstruct the verbal component of the cultural memory of a particular linguoculture and detect or predict the inevitable sections of the generation gap.
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28

Niskanen, Aino. "Alvar Aalto and Cultural Memory." Joelho Revista de Cultura Arquitectonica, no. 13 (March 10, 2022): 45–66. http://dx.doi.org/10.14195/1647-8681_13_3.

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This article examines the meanings of the past which Aalto wanted to transpose into his architecture – what I term cultural memory. I search for their points of origin in Aalto’s education and travels, in particular his impressions of the Acropolis in Athens. For Aalto, a civic centre was “the face of a city”, which should be the citizens’ meeting place. Of particular importance to him was the ritual entry into a theatre. Of the many civic centres that Aalto designed, few were realised in their entirety. Three of them are examined, as well as the Helsinki University of Technology campus, which is interpreted as a city in miniature. Aalto fought against the idea of placing commercial functions in close proximity with his centres – but recent extensions and traffic arrangements have brought a new vibrancy to some of them. The way in which Aalto handled the idea of memory and his use of classical elements is studied. I argue that classicism seemed continuously attractive to Aalto.
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29

Foscarini, Giorgia. "Collective memory and cultural identity." Ethnologies 39, no. 2 (September 27, 2018): 81–98. http://dx.doi.org/10.7202/1051665ar.

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The main aim of this article is to provide a preliminary account of the results of my fieldwork research on the identities and memories of the third and fourth generation of Israelis of Ashkenazi and Mizrahi descent, in particular of Polish and Tunisian origin. The issues I will focus on are: “how have third- and fourth-generation Israeli identities been built over time and space?”, and: “how does the current generation of young Israelis relate to their Polish and Tunisian cultural heritage, if at all, in the attempt at understanding and building their present identity?”. The influence of Israel’s historical past and of its migrant memories will be analyzed in relation to the identity-building process of both groups, and to how these memories were integrated, or not, in the Israeli national narrative.
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30

Knittel, Suzanne C. "The Cultural Memory of Protest." Incontri. Rivista europea di studi italiani 29, no. 1 (October 9, 2014): 125. http://dx.doi.org/10.18352/incontri.9777.

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31

Byungjun Yi. "Cultural Memory and Culture Education." Korean Journal of Culture and Arts Education Studies 3, no. 1 (June 2008): 53–68. http://dx.doi.org/10.15815/kjcaes.2008.3.1.53.

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32

Bell, David. "Chaos, Kawaii, and Cultural Memory." International Journal of Arts Theory and History 8, no. 2 (2014): 11–21. http://dx.doi.org/10.18848/2326-9952/cgp/v08i02/36245.

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33

Campo-Engelstein, Lisa. "Cultural Memory, Empathy, and Rape." Philosophy in the Contemporary World 16, no. 1 (2009): 25–42. http://dx.doi.org/10.5840/pcw20091613.

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34

Schaeffer, John D. "Philosophical Imagination and Cultural Memory." New Vico Studies 13 (1995): 85–90. http://dx.doi.org/10.5840/newvico1995139.

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35

Vajagic, Predrag. "Cultural memory: The Syrmian front." Vojno delo 69, no. 4 (2017): 415–34. http://dx.doi.org/10.5937/vojdelo1703415v.

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36

Callahan, Mat. "World Cinema and Cultural Memory." Socialism and Democracy 30, no. 3 (September 2016): 137–42. http://dx.doi.org/10.1080/08854300.2016.1223821.

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37

Collins, Jim. "Theorizing Cultural Memory: Totalizing Recall?" American Literary History 3, no. 4 (1991): 829–40. http://dx.doi.org/10.1093/alh/3.4.829.

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38

Rachel, Kan Ting Yan, and Tugba Karayayla. "The cultural memory of language." International Journal of Bilingual Education and Bilingualism 21, no. 4 (May 25, 2016): 517–20. http://dx.doi.org/10.1080/13670050.2016.1187320.

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39

Valle-Ruiz, Lis. "Performing Cultural Memory Through Preaching." Liturgy 35, no. 3 (July 2, 2020): 3–9. http://dx.doi.org/10.1080/0458063x.2020.1796434.

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40

Luo, Xuanmin. "Cultural memory and big translation." Asia Pacific Translation and Intercultural Studies 4, no. 1 (January 2, 2017): 1–2. http://dx.doi.org/10.1080/23306343.2017.1306937.

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Hillman, Roger. "Cultural Memory on Film Soundtracks." Journal of European Studies 33, no. 3-4 (December 2003): 323–32. http://dx.doi.org/10.1177/0047244103040421.

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42

Lisa Tota, Anna. "Public Memory and Cultural Trauma." Javnost - The Public 13, no. 3 (January 2006): 81–94. http://dx.doi.org/10.1080/13183222.2006.11008921.

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43

Schwartz, Benjamin. "On Memory: Personal and Cultural." AJS Review 25, no. 1 (April 2001): 85–96. http://dx.doi.org/10.1017/s0364009400012265.

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44

Anderson-Gold, Sharon. "Memory, Identity, and Cultural Authority." Social Philosophy Today 21 (2005): 249–52. http://dx.doi.org/10.5840/socphiltoday2005216.

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45

Schudson, Michael. "Cultural memory: A special issue." Communication Review 2, no. 1 (June 1997): 1–2. http://dx.doi.org/10.1080/10714429709368546.

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46

Brockmeier, Jens. "Introduction: Searching for Cultural Memory." Culture & Psychology 8, no. 1 (March 2002): 5–14. http://dx.doi.org/10.1177/1354067x02008001616.

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Drobysheva, E. E. "Cultural Memory as Axiological Regulator." Вестник Московского государственного лингвистического университета. Гуманитарные науки, no. 7 (2022): 150–57. http://dx.doi.org/10.52070/2542-2197_2022_7_862_150.

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Wang, Qi. "The Cultural Foundation of Human Memory." Annual Review of Psychology 72, no. 1 (January 4, 2021): 151–79. http://dx.doi.org/10.1146/annurev-psych-070920-023638.

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Abstract:
Human memory, as a product of the mind and brain, is inherently private and personal. Yet, arising from the interaction between the organism and its ecology in the course of phylogeny and ontogeny, human memory is also profoundly collective and cultural. In this review, I discuss the cultural foundation of human memory. I start by briefly reflecting on the conception of memory against a historical and cultural background. I then detail a model of a culturally saturated mnemonic system in which cultural elements constitute and condition various processes of remembering, focusing on memory representation, perceptual encoding, memory function, memory reconstruction, memory expression, and memory socialization. Then I discuss research on working memory, episodic memory, and autobiographical memory as examples that further demonstrate how cultural elements shape the processes and consequences of remembering and lay the foundation for human memory. I conclude by outlining some important future directions in memory research.
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Hobuß, Steffi. "Aspects of memory acts: transnational cultural memory and ethics." Journal of Aesthetics & Culture 3, no. 1 (January 2011): 7188. http://dx.doi.org/10.3402/jac.v3i0.7188.

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Macedo, Isabel, and José Gomes Pinto. "Memória cultural, média e cultura visual." Vista, no. 2 (June 26, 2018): 8–13. http://dx.doi.org/10.21814/vista.2991.

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Ao longo das últimas duas décadas, a relação entre cultura e memória surgiu em muitas partes do mundo como uma questão-chave de pesquisa interdisciplinar, envolvendo campos tão diversos como a História, a Sociologia, a Arte, a Literatura e os Estudos dos Média, a Teologia, a Psicologia e as Neurociências, conjugando assim, as Humanidades, as Ciências Sociais e as Ciências Naturais. A importância da noção de memória cultural não só está documentada pelo rápido crescimento, desde o final da década de 1980, de publicações sobre memórias nacionais, sociais, religiosas ou familiares específicas, mas também por uma tendência mais recente que procura proporcionar uma visão geral do estado da arte nesta área (por exemplo, a revista Memory Studies).
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