1. Literature in Context

2. Lecture 9 Period Study Cultural Studies Literary History Cultural Memory

3. 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.

4. 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

5. 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.

6. Richard Hoggart (1918)

7. Raymond Williams (1921-1988)

8. 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

9. 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.

10. 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.

11. 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.

12. 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.

13. 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.

14. 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.

15. 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.

16. Tony Harrison

17. Tony Harrison (1937)

18. Tony Harrison: V (1985)

19. 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.

20. 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.

21. 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

22. 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”.

23. 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?

24. 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.

25. 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.

26. 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”.

27. 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

28. 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)

29. 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)

30. 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

31. 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.

32. 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

33. history of literature: a series of literary periods connections may be established among texts (see W.B. Yeats, “Leda and the Swan”) allusion, intertextuality: interdependence of texts through genre, conventions vs traditional notions of influence: study of direct sources

34. 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

35. 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

36. Literary Histories A few examples

37. 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

38. 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

39. 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

40. 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

41. Saintsbury, cont. 4.Queen Anne Prose (Swift, Steele, Addison, etc.) 5.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

42. Saintsbury, cont. 2.The Novel – Scott and Miss Austen 3.The New Essay (Lamb, Hunt, Hazlitt, De Quincey, etc.) 4.The Last Georgian Prose 5.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.)

43. 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

44. Dodsworth, Martin, ed.: The Penguin History of Literature. Harmondsworth: Penguin Books, (1970) 1994 1.The Middle Ages 2.English Poetry and Prose 1540-1674 3.English Drama to 1710 4.Dryden to Johnson 5.The Romantic Period 6.The Victorians 7.The Twentieth Century [8. American Literature to 1900 9. American Literature since 1900]

45. 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]

46. Penguin Pelican

47. Daiches, David: A Critical History of English Literature. 4 vols. London: Secker and Warburg, (1960) 1969 1.From the Beginnings to the Sixteenth Century 2.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] 3. The Restoration to 1800 4.The Romantics to the Present Day +The Present Age in British Literature (Bloomington, London: Indiana University Press, (1958) 1969

48. David Daiches

49. 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

50. 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.The Resurgence of Pound, Williams, and Stevens 2.Postmodernism

51. 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

52. 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.

53. 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

54. 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

55. 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

56. 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

57. Communicative Memory vs Cultural Memory The communicative memory contains memories that an individual shares with his contemporaries. The cultural memory is based on fixed points in the past. Even in the cultural memory, the past is not preserved as such but is cast in symbols as they are represented in oral myths or in writings, performed in feasts, and as they are continually illuminating a changing present. In the context of cultural memory, the distinction between myth and history vanishes.

59. Communicative and Cultural Memory JAN ASSMANN Astrid Erll, Ansgar Nünning (Hg.), Cultural Memory Studies. An International and Interdisciplinary Handbook, Berlin, New York 2008. Jan Assmann, “Communicative and Cultural Memory” 109-118 Aleida Assmann, “Canon and Archive” 97-108

60. 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.

61. 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.

62. 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.

63. 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.

64. 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.

65. 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.

66. 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', non- representational memory existed. Representation is a crucial precondition for human perception in general: pure, organic and objective memories can never be witnessed as such.

67. 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

68. 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.

69. 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.

70. 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.

71. 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.

72. Dublin General Post Office

73. The Death of Cuchulain (1911) by Oliver Sheppard

74. 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.

75. “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

76. “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

77. 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

78. 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

79. 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/

80. Cultural memory resources Cultural Memory, Collective Memory sites Brief introduction to names and concepts: http://www.collectivememory.net/2009/12/cultural- memory-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

81. 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

82. Studying Cultural Memory Center for the Study of Cultural Memory at the University of London http://www.igrs.sas.ac.uk/centre-study-cultural- memoryhttp://www.igrs.sas.ac.uk/centre-study-cultural- memory University of Brighton http://arts.brighton.ac.uk/study/postgrad/cultural- history-memory-identity-ma http://arts.brighton.ac.uk/study/postgrad/cultural- history-memory-identity-ma The Centre for Bible and Cultural Memory, Faculty of Theology, Copenhagen: http://www.teol.ku.dk/english/dept/bicum/