To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent—absent or, as in some domains of Western intellectual and artistic culture, programmatically refused. As a panglobal (...) fact of culture, narrative and narration are less problems than simply data. As the late Roland Barthes remarked, narrative "is simply there like life itself . . . international, transhistorical, transcultural."1 Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that culture may appear to us. As Barthes says, "narrative...is translatable without fundamental damage" in a way that a lyric poem or a philosophical discourse is not. · 1. Roland Barthes, "Introduction to the Structural Analysis of Narratives," Music, Image, Text, trans. Stephen Heath , p. 79.· 2. The words "narrative," "narration," "to narrate," and so on derive via the Latin gnārus and narro from the Sanskrit root gnâ . The same root yields γνωριμος : see Emile Boisacq, Dictionnaire étymologique de la langue grecque , under the entry for this word. My thanks to Ted Morris of Cornell, one of our greatest etymologists. Hayden White, professor in the program of history of consciousness at the University of California, Santa Cruz, is the author of The Tropics of Discourse: Essays in Cultural Criticism, The Greco-Roman Tradition, and Metahistory: The Historical Imagination in Nineteenth Century Europe. " The Narrativization of Real Events" appeared in the Summer 1981 issue of Critical Inquiry. Critical Responses to the present essay include Louis O. Mink's "Everyman His or Her Own Annalist", and Marilyn Robinson Waldman's "The Otherwise Unnoteworthy Year 711: A Reply to Hayden White," both in the Summer 1981 issue of Critical Inquiry. (shrink)

Most studies of memory as a cultural faculty focus on written practices and how they are transmitted. This study concentrates on incorporated practices and provides an account of how these things are transmitted in and as traditions. The author argues that images and recollected knowledge of the past are conveyed and sustained by ritual performances, and that performative memory is bodily. This is an essential aspect of social memory that until now has been badly neglected.

introduction Rhetoric/Memory/Place Carole Blair, Greg Dickinson, and Brian L. Ott The story is told of the poet Simonides of Ceos who, after chanting a poem ...

This article analyzes the distinctive forms that collective memories take in the age of globalization. It studies the transition from national to cosmopolitan memory cultures. Cosmopolitanism refers to a process of `internal globalization' through which global concerns become part of local experiences of an increasing number of people. Global media representations, among others, create new cosmopolitan memories, providing new epistemological vantage points and emerging moral-political interdependencies. The article traces the historical roots of this transformation and outlines the theoretical foundations for (...) the emergence of cosmopolitan memories through an examination of how the Holocaust has been remembered in Germany, Israel and the USA in the course of the last fifty years. It is precisely the abstract nature of `good and evil' that symbolizes the Holocaust, which contributes to the extra-territorial quality of cosmopolitan memory. As such, memories of the Holocaust contribute to the creation of a common European cultural memory. (shrink)

The rhetorical function of the future in Christian Zionists' commemoration of Israel is a core component of their collective memory. As a discursive act, commemoration typically involves a remembering of the past. Based on an analysis of a corpus of US Christian Zionist texts from 1934 to 2010, I argue that a sort of commemorating and remembering of the future takes place, which silences alternative future worlds and possibilities that discord with Christian Zionist ideologies. These texts exhibit a concern with (...) the future that is rooted in a particularized narrative in order to validate Christian Zionist understandings of the role of Israel in human history. Thus, for Christian Zionists, remembering the future is a strategic resource for constructing specific expectations about Israel. Moreover, I argue that these expectations inform how discourse participants assign meaning to the present by forming biased mental models of Israel and manipulating social cognition. (shrink)

This article analyses visitor articulations used by managers and key documents of three Estonian public knowledge institutions. Three visitor articulations were identified in the analysed material, namely visitors as the people, as target groups, and as stakeholders, each related in this article to a specific body of literature. These articulations are co-existent semantic tools, used by public knowledge institutions to make sense of the complex relationships with people that cross the boundaries protecting the institutions from the outside world. They show (...) how Estonian museum and library culture has sought to balance the more traditional educational paradigm with marketing-driven and democratic paradigms. Despite these changes, the article also argues that all three articulations have a significant role to play in organising the institutional governance of the visitors, enabling visitors to, and disabling them from, performing specific practices. Although the third visitor articulation holds the promise of a more democratised relationship between visitors and institutions, even in this case, we can still see the logics of governmentality at work. (shrink)

Museums are conventionally viewed as institutions dedicated to the conservation of valued objects and the education of the public. Recently, controversies have arisen regarding the representation of history in museums. National museums in America and Germany considered here, such as the Smithsonian's Air and Space Museum, the Holocaust Memorial Museum, and the German Historical Museum, have become sites of contention where national histories and personal memories are often at odds. Contemporary art installations in museums which take historical consciousness as their (...) theme similarly raise contentious issues about public knowledge of and personal interest in the past. When members of publics find that their memories of the past or their expectations for museum experiences are not being met, a kind of "distortion" occurs. The "distortion" related to memory and history in the museum is not so much of facts or interpretations, but rather a distortion from the lack of congruity between personal experience and expectation, on the one hand, and the institutional representation of the past on the other. This essay explores the possibilities for a redefined relationship between personal memory and history that is experienced in contemporary museums. (shrink)

In the years leading to the birth of Israel, Zerubavel shows, Zionist settlers in Palestine consciously sought to rewrite Jewish history by reshaping Jewish memory. Zerubavel focuses on the nationalist reinterpretation of the defense of Masada against the Romans in 73 C.E. and the Bar Kokhba revolt of 133-135; and on the transformation of the 1920 defense of a new Jewish settlement in Tel Hai into a national myth.

In a series of richly detailed studies from Britain, Australia and North America, Bennett investigates how 19th and 20th century museums, fairs and exhibitions have organised their collections and their visitors.

Combining ethnographic, semiotic, and performative approaches, this book examines texts and accompanying acts of writing of national commemoration. The commemorative visitor book is viewed as a mobilized stage, a communication medium, where visitors' public performances are presented, and where acts of participation are authored and composed. The study contextualizes the visitor book within the material and ideological environment where it is positioned and where it functions. The semiotics of commemoration are mirrored in the visitor book, which functions as a participatory (...) platform that becomes an extension of the commemorative spaces in the museum. The study addresses tourists' and visitors' texts, i.e. the commemorative entries in the book, which are succinct dialogical utterances. Through these public performances, individuals and groups of visitors align and affiliate with a larger imagined national community. Reading the entries allows a unique perspective on communication practices and processes, and vividly illustrates such concepts as genre, voice, addressivity, indexicality, and the very acts of writing and reading. The book's many entries tell stories of affirming, but also resisting the narrative tenets of Zionist national identity, and they illustrate the politics of gender and ethnicity in Israel society. The book presents many ethnographic observations and interviews, which were done both with the management of the site, and with the visitors themselves. The observations shed light on processes and practices involved in writing and reading, and on how visitors decide on what to write and how they collaborate on drafting their entries. The interviews with the site's management also illuminate the commemoration projects, and how museums and exhibitions are staged and managed. (shrink)

This interdisciplinary study brings together research on audiences’ participation in the media, and an up-close exploration of communicative entitlement of and for such participation. Viewing visitor books as situated, public media, the study asks two related questions: how museums and institutions that employ this medium frame participation of ‘ordinary’ people in the public sphere, and how, in return, visitors variously articulate their participation. The article first examines the context in which visitor books mediate participation, and how museums frame them so (...) as to invite ‘authentic’ expressions by ‘ordinary’ visitors. The analysis depicts a taxonomy of participation, evincing five types of entitlements found in visitor book texts. These entitlements shed light on how participation in the public sphere is both understood and pursued. The article responds to calls for empirically rich studies on mediation practices and processes. It adds to the literature on communicative entitlements by examining an under-researched hitherto public medium and by illuminating a shift from talk-in-interaction to the context of text-in-interaction. (shrink)

This article explores the discourses of citizenship through which the museum institution is currently framing its public: museum-goers as participants. Drawing on qualitative research on the London's Voices project at the Museum of London, and 1934: A New Deal For Artists at the Smithsonian American Art Museum, Washington DC, this paper examines the ways in which the contemporary museum, and cultural policy internationally, has converged around the activity of inviting members of the public to ‘speak for themselves’ through a variety (...) of media technologies. Discursive analysis of such mediated activities as activities of self-representation suggests that this strategy of participation is simultaneously both productive and uneasy, as questions of institutional legitimacy and citizen empowerment co-exist within the broader social context of the self-speaking or auto/biographical society. (shrink)