What Was I Thinking? Memory in the Arts & Sciences

During the global Black Lives Matter protests of 2020, many called upon the United States to finally face its painful past. Tim Gruenewald's new book is an in-depth investigation of how that past is currently remembered at the national museums in Washington, DC. Curating America's Painful Past reveals how the tragic past is either minimized or framed in a way that does not threaten dominant national ideologies.

The collapse of the Iron Curtain, the renationalization of eastern Europe, and the simultaneous eastward expansion of the European Union have all impacted the way the past is remembered in today's eastern Europe. At the same time, in recent years, the Europeanization of Holocaust memory and a growing sense of the need to stage a more "self-critical" memory has significantly changed the way in which western Europe commemorates and memorializes the past. The increasing dissatisfaction among scholars with the blanket, undifferentiated use of the term "collective memory" is evolving in new directions. This volume brings the tension into focus while addressing the state of memory theory itself.

What does it mean to be part of a generation, and what gives that group meaning and coherence? It's collective memory, say the authors, and in this book they draw on an impressive range of research to show how generations share memories of formative experiences, and how understanding the way those memories form and change can help us understand society and history. Their key finding is that our most powerful generational memories are of shared experiences in adolescence and early adulthood, like the 1963 Kennedy assassination for those born in the 1950s or the fall of the Berlin Wall for young people in 1989. But there are significant exceptions to that rule. Epochal events in a country, like revolutions, override the expected effects of age, affecting citizens of all ages with a similar power and lasting intensity.

This book examines how the Great War has been remembered and commemorated through the twentieth century and into the twenty-first. Drawing on contributions from history, cultural studies, film, and literary studies this collection offers fresh perspectives on the Great War and its legacy at the local, national, and international levels. More importantly, it showcases exciting new research on the experiences and memories of "forgotten" participants who have often been ignored in dominant narratives or national histories. Contributors to this international study highlight the transnational character of memory-making in the Great War's aftermath. No single memory of the war has prevailed, but many symbols, rituals, and expressions of memory connect seemingly disparate communities and wartime experiences. With groundbreaking new research on the role of Aboriginal peoples, ethnic minorities, women, artists, historians, and writers in shaping these expressions of memory, this book will be of great interest to readers from a variety of national and academic backgrounds.

In recent years, 'memory' has become a central, though also a controversial, concept in historical studies - a term that denotes both a new and distinctive field of study and a fresh way of conceptualizing history as a field of inquiry more generally. This book, which is aimed both at specialists and at students, provides historians with an accessible and stimulating introduction to debates and theories about memory, and to the range of approaches that have been taken to the study of it in history and other disciplines. This book explores the relationships between the individual and the collective, between memory as survival and memory as reconstruction, between remembering as a subjective experience and as a social or cultural practice, and between memory and history as modes of retrospective knowledge.