Literature in Context
Lecture 9
Period Study
Cultural Studies
Literary History
Cultural Memory
Literature in Context
Period Study, Literary History, Cultural Memory,
Literatures in English, Postcolonial Studies, Literary
Translation are interrelated notions or approaches to
the study of literature.
They are attempts at a scientific approach to literature,
they propose related ways of a systematic study of
literature and its phenomena.
Literature in Context
University curricula:
based on literary kinds
based on literary periods
based on individual authors
based on literary theories
based on social context
Cultural Studies
See: http://en.wikipedia.org/wiki/Cultural_studies
The term was coined by Richard Hoggart in 1964 when
he founded the Birmingham Centre for Contemporary
Cultural Studies.
Hoggart, Richard: The Uses of Literacy: Aspects of
Working Class Life. London: Chatto and Windus, 1957
Williams, Raymond. Culture and Society, 1780-1950.
New York: Harper & Row, 1966.
Richard Hoggart
(1918)
Raymond Williams
(1921-1988)
Cultural Studies
Literary periods in a cultural context
Raymond Williams: Culture and Society:
art and society are seen together
'culture' as a total expression of a way of life
Cultural Studies: contemporary, popular
Period Study: various forms of art within a historical
period in a social, political context
Cultural Studies
See: http://en.wikipedia.org/wiki/Cultural_studies
Cultural studies is an academic field grounded in
critical theory and literary criticism.
It generally concerns the political nature of
contemporary culture, as well as its historical
foundations, conflicts, and defining traits.
Researchers concentrate on how a particular medium
or message relates to matters of ideology, social class,
nationality, ethnicity, sexuality, and gender.
Cultural Studies
See: http://en.wikipedia.org/wiki/Cultural_studies
Cultural studies approaches subjects combining
feminist theory, social theory, political theory, history,
philosophy, literary theory, media theory, film/video
studies, communication studies, political economy,
translation studies, museum studies and art
history/criticism to study cultural phenomena in
various societies.
Cultural studies seeks to understand the ways in which
meaning is generated, disseminated, and produced
through various practices,beliefs, institutions, and
political, economic, or social structures within a given
culture.
Cultural Studies
See: http://en.wikipedia.org/wiki/Cultural_studies
Cultural studies concerns itself with the meaning and
practices of everyday life. Cultural practices comprise
the ways people do particular things (such as watching
television, or eating out) in a given culture.
As the process associated with globalization has
spread throughout the world, cultural studies has
begun to analyse local and global forms of resistance
to Western hegemony.
Ziauddin Sardar, Borin Van Loom:
Introducing Cultural Studies. Totem Books, 1997
Five main characteristics of cultural studies:
1. Cultural studies aims to examine its subject matter
in terms of cultural practices and their relation to
power. For example, a study of a subculture (such as
white working class youth in London) would
consider the social practices of the youth as they
relate to the dominant classes.
2. It has the objective of understanding culture in all its
complex forms and of analyzing the social and
political context in which culture manifests itself.
Ziauddin Sardar, Borin Van Loom:
Introducing Cultural Studies. Totem Books, 1997
3. It is both the object of study and the location of
political criticism and action. For example, not only
would a cultural studies scholar study an object, but
she/he would connect this study to a larger,
progressive political project.
4. It attempts to expose and reconcile the division of
knowledge, to overcome the split between tacit
cultural knowledge and objective (universal) forms
of knowledge.
5. It has a commitment to an ethical evaluation of
modern society.
Cultural Studies
See: http://en.wikipedia.org/wiki/Cultural_studies
In the context of cultural studies, the idea of a text not
only includes written language, but also films,
photographs, fashion or hairstyles: the texts of cultural
studies comprise all the meaningful artifacts of culture.
Similarly, the discipline widens the concept of
"culture". "Culture" for a cultural studies researcher
not only includes traditional high culture (the culture of
ruling social groups) and popular culture, but also
everyday meanings and practices. The last two, in fact,
have become the main focus of cultural studies. A
further and recent approach is comparative cultural
studies, based on the discipline of comparative
literature and cultural studies.
Cultural Studies
See: http://en.wikipedia.org/wiki/Cultural_studies
Cultural studies is not a unified theory but a diverse
field of study encompassing many different
approaches, methods, and academic perspectives; as
in any academic discipline, cultural studies academics
frequently debate among themselves.
Tony Harrison
Tony Harrison (1937)
Tony Harrison: V
(1985)
Harrison
• V is a poem by Tony Harrison (1937) written in
1985.
• The poem describes the authors visit to his
parents' grave in a Leeds cemetery and finding
that the place was “littered with beer cans and
vandalised by obscene graffiti”.
• The cemetery is Holbeck cemetery in the
Beeston area of Leeds. It overlooks the Elland
Road football ground. Tony Harrison grew up in
this neighbourhood.
Harrison
• The poem contains political references. It
was written under the premiership of Mrs.
Thatcher, during the 1984-1985 miners
strike and makes reference to this as well
as to National Union of Mineworkers
leader, Arthur Scargill.
Harrison
Motto
My father still reads the dictionary every day.
He says your life depends on your power to
master words.'
Arthur Scargill
Sunday Times, 10 January 1982
Harrison
• The poem incorporates the graffiti on the
grave into its own text. The graffiti include
mostly obscene swear words and the
name of the local football club in the
abbreviated form “United”. The poem
explores the ambiguous meaning of it: that
of a football club, or a feeling of social
unity in a broader sense. Also, there is
much punning on the word „v”.
Harrison
If love of art, or love, gives you affront
that the grave I'm in's graffitied then, maybe,
erase the more offensive FUCK and CUNT
but leave, with the worn UNITED, one small v.
Victory? For vast, slow, coal-creating forces
that hew the body's seams to get the soul.
Will earth run out of her 'diurnal courses'
before repeating her creation of black coal?
Harrison
• The poem also makes reference to the
“versuses” of life, “communism v. fascism”,
“Left v. Right”, “white v. black”, “man v.
woman”, “rich v. poor”, etc.
Harrison
These Vs are all the versuses of life
From LEEDS v. DERBY, Black/White
and (as I've known to my cost) man v. wife,
Communist v. Fascist, Left v. Right,
Class v. class as bitter as before,
the unending violence of US and THEM,
personified in 1984
by Coal Board MacGregor and the NUM,
Hindu/Sikh, soul/body, heart v. mind,
East/West, male/female, and the ground
these fixtures are fought on's Man, resigned
to hope from his future what his past never found.
Harrison
• A filmed version of V. was broadcast by Channel
4 in October 1987. Prior to that conservative
MPs protested against it in the parliament and in
the press.
• Gerald Howarth said that Harrison was
“Probably another bolshie poet wishing to
impose his frustrations on the rest of us”.
• Harrison replied that Howarth was “Probably
another idiot MP wishing to impose his
intellectual limitations on the rest of us”.
Literary Periods
Dominant Qualities
Defining literary periods: based on dominant qualities.
Dominant qualities colour most elements of
intellectual life in a given culture at a certain time
– also influence art, music, architecture,
landscape gardening, philosophy, politics, etc.
• a few broad tendencies in common at a high level of
abstraction
• with individual, temporal, local variations
• subordinate currents exist as well as dominant ones
• declining and emergent energies
e.g. New Historicism takes this line of study
How to examine a literary period:
how it is framed by a set of significant events
The Renaissance in England, for example:
•
•
•
•
the first visit of Erasmus (1499),
Caxton's printing press at Westminster (1476),
the discovery of America (1492),
the court of the young Henry VIII
(on the throne: 1491-1547),
• the Protestant Reformation,
• Copernicus's new astronomy (1543),
• the reign of Elizabeth I (1558-1603)
How to examine a literary period:
priorities in its views
• features certain priorities in its views concerning the
world and art
• e.g., in Classicism: balance, form, proportion,
propriety (good taste, good manners correctness,
otherwise known as decorum), dignity, simplicity,
objectivity, rationality, restraint, responsibility
(rather than self-expression), unity (rather than
diversity)
How to examine a literary period:
views of humans, favourite genres
• promotes a certain view of humankind
e.g., in Romanticism: the celebration of the
individual
• uses specific genres (rather than others)
e.g., in 19th c. Realism: the novel with its details, its
particularisation of the lives of ordinary people
How to examine a literary period:
favourite subjects, favourite forms
• favours certain subjects for art
e.g., in Modernism: inner individual perception
(impressionistic presentation, stream of
consciousness technique, such as in Virginia
Woolf's Mrs Dalloway)
• shows characteristic formal elements (including the
• example above)
e.g., in Postmodernism: Narcissistic narrative:
intruding into one's own fiction to ponder upon
its powers
A literary trend may not correspond exactly to a cultural
period, e.g., Postmodernism and the Post-Modern Period.
Literary period:
horizontal or vertical study
• The study of High Modernism
• 1928 in literature in England
in the historical context of the UK
in the artistic or social or political context of
continental Europe
in the life of Virginia Woolf
• The history of literature
The history of literature
history of literature: a series of literary periods
connections may be established among texts
(see “Leda and the Swan”)
allusion,
intertextuality: interdependence of texts through
genre, conventions
vs traditional notions of influence: study of direct
sources
How is literature read, or judged?
Yet another way of looking at literature: how it was
read, by whom, how it was judged
• readership, horizon(s) of expectations
(Hans Robert Jauss)
• How do you judge a piece of literature? Do you have
to? Should you? Can you avoid doing so? How do
you select a work or period to be studied? Can
evaluation change reading? Can evaluation prevent
reading?
• How are literary canons formed?
• Literary canon – selection, exclusion, promotion
Period Study. Literary History.
"Dates and periods are necessary to the study and
discussion of history, for historical phenomena are
conditioned by time and are produced by the sequence
of events. […] But, unlike dates, ‘periods’ are not facts.
They are retrospective conceptions that we form about
past events, useful to focus discussion, but very often
leading historical thought astray.”
G. M. Trevelyan: English Social History.
Harmondsworth: Penguin Books (1942) 1970, 107
Literary Histories
A few examples
Saintsbury, George: A Short History of English
Literature. London: Macmillan, (1898) 1953
The Preliminaries of English Literature
•
The Earliest Anglo-Saxon Poetry
•
Caedmon, Cynewulf, and Those about Them
•
Angol-Saxon Prose
•
The Decadense of Anglo-Saxon
The Making of English Literature
•
The Transition
•
First Middle English Period (1200-1250)
•
Second Middle English Period (1300-1360)
•
Early Romances – Metrical
5.
Early Romances – Alliterative
Saintsbury, cont.
Chaucer and His Contemporaries
1.
Chaucer’s Life and Poems
2.
Langland and Gower
3.
Chaucer’s Prose – Wyclif, Trevisa, Mandeville
The Fifteenth Century
1.
The English Chaucerians – Lydgate to Skelton
2.
The Scottish Poets – Historical, Political, and Minor
3.
The Four Great Scottish Poets (The King’s Quair, Henryson,
Dunbar, Douglas)
4.
Later Romances in Prose and Verse
5.
Minor Poetry and Ballads
6.
Miscellaneous Prose
Saintsbury, cont.
Elizabethan Literature to the Death of Spenser
1.
Preliminaries – Drama
2.
Preliminaries – Prose
3.
Prelminaries – Verse
4.
Spenser and His Contemporaries
5.
The University Wits (Peele, Green, Marlowe, Kyd, Lodge,
Nash)
6.
Lyly and Hooker – The Translators, Pamphleteers and Critics
Later Elizabethan and Jacobean Literature
1.
Shakespeare
2.
Shakespeare’s Contemporaries in Drama
3.
The Schools of Jacobean Poetry
4.
Jacobean Prose – Secular
5.
The Golden Age of English Pulpit - I
Saintsbury, cont.
Caroline Literature
1.
Blank Verse and the New Couplet
2.
The Metaphysicals – The Lyric Poets – The Miscellansts, etc.
3.
The Drama till the Closing of the THeatres
4.
The Golden Age of the English Pulpit – II
5.
Miscellanous Prose
6.
Scots Poetry and Prose
The Augustan Ages
1.
The Age of Dryden – Poetry
2.
The Age of Dryden – Drama
3.
The Age of Dryden - Prose
Saintsbury, cont.
4.
5.
Queen Anne Prose (Swift, Steele, Addison, etc.)
Pope and His Elder Contemporaries in Verse
Middle and Later Eighteenth-Century Literature
1.
The Poets from Thomson to Crabbe
2.
The Eighteenth-Century Novel
3.
Johnson, Goldsmith, and the Later Essayists
4.
The Graver Prose
5.
Eighteenth-Century Drama
6.
Miscellaneous Writers
The Triumph of Romance
1. The Poets from Coleridge to Keats
Saintsbury, cont.
2.
3.
4.
5.
The Novel – Scott and Miss Austen
The New Essay (Lamb, Hunt, Hazlitt, De Quincey, etc.)
The Last Georgian Prose
The Minor Poets of 1800-1830
Victorian Literature
1.
Tennyson and Browning
2.
The Victorian Novel (Dickens, Thackeray, Charlotte Brontë,
George Eliot, etc.)
3.
History and Criticism (Carlyle, Ruskin, Arnold, Pater, etc.)
4.
Poetry since the Middle of the Century
5.
Miscellaneous (J. S. Mill, Darwin, etc.)
Baugh, Albert C.: A Literary History of England.
London: Routledge & Kegan Paul, 1948
Book I. The Middle Ages
1.
The old English Period (to 1100)
2.
The Middle English Period (1100-1500)
Book II. The Renaissance
1.
The Early Tudors (1485-1558)
2.
The Reign of Elizabeth (1558-1603)
3.
The Early Stuarts and The Commonwealth (1603-1660)
Book III. The Restauration and Eighteenth Century (1660-1789)
1.
The Rise of Classicism
2.
Classicism and Journalism
3.
The Disintegration of Classicism
Book IV. The Nineteenth Century and After
Dodsworth, Martin, ed.: The Penguin History of
Literature. Harmondsworth: Penguin Books, (1970)
1994
1.
2.
3.
4.
5.
6.
7.
[8.
9.
The Middle Ages
English Poetry and Prose 1540-1674
English Drama to 1710
Dryden to Johnson
The Romantic Period
The Victorians
The Twentieth Century
American Literature to 1900
American Literature since 1900]
Ford, Boris, ed.: The New Pelican Guide to English
Literature. Harmondsworth: Penguin Books, (1983)
1990
1.
Medieval Literature
Part One: Chaucer and the Alliterative Tradition
Part Two: The European Inheritance
2. The Age of Shakespeare
3. From Donne to Marvell
4. From Dryden to Johnson
5. From Blake to Byron
6. From Dickens to Hardy
7. From James to Eliot
8. The Present
[9. American Literature]
Penguin
Pelican
Daiches, David: A Critical History of English Literature.
4 vols. London: Secker and Warburg, (1960) 1969
1.
2.
From the Beginnings to the Sixteenth Century
Shakespeare to Milton
[Shakespeare
Drama from Jonson to the Closing of the Theatres
Milton
Prose in the Sixteenth and Seventeenth Centuries
Scottish Literature to 1700]
4.
The Restoration to 1800
The Romantics to the Present Day
+
The Present Age in British Literature
3.
(Bloomington, London: Indiana University Press, (1958) 1969
David Daiches
Perkins, David: A History of Modern Poetry. From the
1890s to the High Modernist Mode. Cambridge, MA:
Harvard University Press, 1976
1. Poetry around the Turn of the Century
2. Poetry in Rapport with a Public
3. Popular Modernism
[The New Poetry of America
Imagism
Poetry for Democracy
Conservative and Regional Poets of America
Black Poets of America: The First Phase
British Poetry after the War, 1918-1928]
4. The Beginnings of the High Modernist Mode
Perkins, David: A History of Modern Poetry. Modernism
and After. Cambridge, MA: Harvard University Press,
1987
1.
The Age of High Modernism
[The Ascendancy of T. S. Eliot, 1925-1950
Eliot’s Later Career
Modes of Modern Style in the United States
Hart Crane
The Poetry of Critical Intelligence
The Period Style of the 1930s in England
W. H. Auden
The English Romantic Revival]
1.
2.
The Resurgence of Pound, Williams, and Stevens
Postmodernism
Period Studies
Innes, Christopher: Modern British Drama 1890-1990.
Cambridge: Cambridge University Press, 1992
Proceeds by a mixture of chronological, generic,
cultural and theoretical features
Bradbury, Malcolm: The Modern British Novel 1878
2001. London: Penguin Books, 2001
Proceeds by chronology, each decade a
characteristic quality is attributed to
Period Studies
Childs, Peter: The Twentieth
Century in Poetry. A Critical
Survey. London and New York:
Routledge, 1999
Proceeds by a mixture of
chronological, generic, cultural
and theoretical features.
Period Studies
Bradbury, Malcolm; McFarlane, James, eds.:
Modernism. A Guide to European Literature 1890-1930.
London: Penguin Books (1976) 1991
1. The Name and nature of Modernism
2. The Cultural and Intellectual Climate of Modernism
3. A Geography of Modernism
4. Literary Movements
5. The Lyric Poetry of Modernism
6. The Modernist Novel
7. Modernist Drama
Histories of Genres
Allen, Walter: The English Novel. Harmondsworth:
Penguin Books (1954) 1958
Grierson, Herbert J. C.; Smith, J. C.: A Critical History
of English Poetry. New Jersey: Humanities Press,
London: Athlone Press (1944) 1983
Cultural Memory
How we create an image of the past,
How we make sense of our past from our present,
How we understand ourselves and our past,
What stories we tell to ourselves about ourselves,
What we choose to remember or forget,
How we explain the reasons why we remember or
forget something,
How we make sure that we hand over the memories
that matter to us
Cultural Memory as a Concept
• Introduced to the archaeological disciplines by Jan
Assmann
Assman’s definition: the "outer dimension of human
memory"
• "memory culture“ (Erinnerungskultur)
• "reference to the past“ (Vergangenheitsbezug)
https://tspace.library.utoronto.ca/citd/holtorf/2.0.html
Cultural Memory
See: http://en.wikipedia.org/wiki/Cultural_memory
As a term, cultural memory was first introduced by the
German Egyptologists Jan Assmann in his book Das
kulturelle Gedächtnis (1992). Assmann and fellow
scholars have identified a general interest in memory
and mnemonics since the early 1980s, illustrated by
phenomena as diverse as memorials and retro-culture.
Some might see cultural memory as becoming more
democratic, due to liberalization and the rise of new
media. Others see cultural memory as remaining
concentrated in the hands of corporations and states.
Cultural Memory
See: http://en.wikipedia.org/wiki/Cultural_memory
Because memory is not just an individual, private
experience but is also part of the collective domain,
cultural memory has become a topic in both
historiography and cultural studies.
These emphasize cultural memory’s process
(historiography) and its implications and objects
(cultural studies), respectively.
Memory is a phenomenon that is directly related to the
present; our perception of the past is always
influenced by the present, which means that it is
always changing.
Cultural Memory
Historiographical approach
See: http://en.wikipedia.org/wiki/Cultural_memory
Crucial in understanding cultural memory as a
phenomenon is the distinction between memory and
history. This distinction was put forward by Pierre
Nora, who pinpointed a niche in-between history and
memory. Simply put, memories are the events that
actually happened, while histories are subjective
representations of what historians believe is crucial to
remember. This dichotomy, it should be noted,
emerged at a particular moment in history: it implies
that there used to be a time when memories could exist
as such — without being representational.
Cultural Memory
Historiographical approach
See: http://en.wikipedia.org/wiki/Cultural_memory
Scholars disagree as to when to locate the moment
representation 'took over'. Nora points to the formation
of European nation states. For Richard Terdiman, the
French revolution is the breaking point: the change of
a political system, together with the emergence of
industrialization and urbanization, made life more
complex than ever before. This not only resulted in an
increasing difficulty for people to understand the new
society in which they were living, but also, as this
break was so radical, people had trouble relating to the
past before the revolution. In this situation, people no
longer had an implicit understanding of their past.
Cultural Memory
Historiographical approach
See: http://en.wikipedia.org/wiki/Cultural_memory
In order to understand the past, it had to be
represented through history. As people realized that
history was only one version of the past, they became
more and more concerned with their own cultural
heritage (in French called patrimoine) which helped
them shape a collective and national identity.
Cultural Memory
Historiographical approach
See: http://en.wikipedia.org/wiki/Cultural_memory
In search for an identity to bind a country or people
together, governments have constructed collective
memories in the form of commemorations which
should bring and keep together minority groups and
individuals with conflicting agendas.
The obsession with memory coincides with the fear of
forgetting and the aim for authenticity.
Cultural Memory
Historiographical approach
See: http://en.wikipedia.org/wiki/Cultural_memory
However, more recently questions have arisen whether
there ever was a time in which 'pure', nonrepresentational memory existed. Representation is a
crucial precondition for human perception in general:
pure, organic and objective memories can never be
witnessed as such.
Cultural Memory
In an oral tradition, all cultural representations are
easily remembered ones; hard-to-remember
representations are forgotten, or transformed into
more easily remembered ones, before reaching a
cultural level of distribution.
Sperber, Dan: Explaining Culture. A Naturalistic
Approach. Malden, MSA: Blackwell, 1996, 74
Cultural Memory
Cultural Studies approach
See: http://en.wikipedia.org/wiki/Cultural_memory
Recently, interest has developed in the area of
'embodied memory'. The body can be seen as a
container, or carrier of memory.
Memory can be contained in objects. Souvenirs and
photographs inhabit an important place in the cultural
memory discourse.
Cultural Memory
Cultural Studies approach
See: http://en.wikipedia.org/wiki/Cultural_memory
Another practice that has a specific relationship with
memory is photography. The act of taking a picture can
underline the importance of remembering, both
individually and collectively.
Pictures cannot only stimulate or help memory, but can
rather eclipse the actual memory – when we remember
in terms of the photograph – or they can serve as a
reminder of our propensity to forget.
Cultural Memory
Between Culture and Memory: Experience
See: http://en.wikipedia.org/wiki/Cultural_memory
The rise of gender and postcolonial studies
underscored the importance of the individual and
particular memories of those unheard in most
collective accounts: women, minorities, homosexuals,
etc.
Experience, whether it be lived or imagined, relates
mutually to culture and memory. It is influenced by
both factors, but determines these at the same time.
Cultural Memory
Between Culture and Memory: Experience
See: http://en.wikipedia.org/wiki/Cultural_memory
Culture influences experience by offering mediated
perceptions that affect it. In turn, experience affects
culture, since individual experience becomes
communicable and therefore collective.
A memorial, for example, can represent a shared sense
of loss.
Experience is substantial to the interpretation of
culture as well as memory, and vice versa.
Dublin
General Post Office
The Death of Cuchulain
(1911) by Oliver Sheppard
Cultural Memory
Assmann, Jan: Das Kulturelle Gedächtnis: Schrift,
Erinnerung und Politische Identität in frühen
Hochkulturen. Munich: Verlag C.H. Beck, 1992
Nora, Pierre: 'Between Memory and History: Les Lieux
de Mémoire'. Representations, 26, 1989, 7–25.
“Memory Culture”
The way a society ensures cultural continuity
by preserving, with the help of cultural mnemonics, its
collective knowledge from one generation to the next,
rendering it possible for later generations to
reconstruct their cultural identity.
https://tspace.library.utoronto.ca/citd/holtorf/2.0.html
“Reference to the Past”
• Reassure the members of a society of their
collective identity and supply them with an
awareness of their unity and singularity in time and
space—i.e., an historical consciousness—
by creating a shared past
• It can involve rituals and ceremonies at special
occasions such as commemoration days, and at
special places such as ancient monuments, which
function as timemarks and sites of memory
https://tspace.library.utoronto.ca/citd/holtorf/2.0.html
Forms of Cultural Memory
Formal – institutional – private – personal
• History
• Schools, subjects, syllabi, exams
• Religion
• Holidays (public, national, religious, private rituals)
• Anecdotes
• Memories
• Controversial, minority views, counter-narratives
Cultural Memory and Literature
Literary works – popular, canonical
History of literature
- of a language
- of a nation
Representation of a literature or culture in another
literature or culture:
stereotypes
popular images
history of their literature
Cultural memory at DES, SEAS
British Literature in the Hungarian Cultural Memory
project at the Department of English Studies, dir. Prof.
Ágnes Péter
Cultural Memory and Literature
An international conference (24–25 Sept, 2010)
http://kulturalisemlekezet.blogspot.com/
Cultural memory resources
Cultural Memory, Collective Memory sites
Brief introduction to names and concepts:
http://www.collectivememory.net/2009/12/culturalmemory-and-communicative.html
Up to date academic info on projects and conferences:
http://www.collectivememory.net/
Definition with interpretation and sources before 2000:
https://tspace.library.utoronto.ca/citd/holtorf/2.0.html
Cultural Memory Texts
Jan Assmann, “Collective Memory and Cultural
Identity”
Collective Memory and Cultural Identity - JStor
www.jstor.org/stable/488538
Recent publications:
Cultural Memory Studies: An International and
Interdisciplinary Handbook. Astrid Erll, Ansgar
Nunning eds. Berlin: Walter de Gruyter, 2008
Series: Cultural Memory in the Present ed. Mieke Bal
and Hent de Vries, Stanford UP
http://www.sup.org/browse.cgi?x=series&y=Cultural%2
0Memory%20in%20the%20Present
Studying Cultural Memory
Center for the Study of Cultural Memory at the
University of London
http://www.igrs.sas.ac.uk/centre-study-culturalmemory
University of Brighton
http://arts.brighton.ac.uk/study/postgrad/culturalhistory-memory-identity-ma
The Centre for Bible and Cultural Memory, Faculty of
Theology, Copenhagen:
http://www.teol.ku.dk/english/dept/bicum/