Pub Date : 2019-08-20DOI: 10.4312/ars.13.1.111-122
Zala Pavšič
This article on the Yugoslavian version of the board game Monopoly is based on the assumption that things make people. In accordance with this a concept, the contribution begins with a historical overview of the development of this game in the United States, from its origins when it spreads around the country as a popular game, to the current day, when Monopoly is marketed a leading corporation in the field of board games, Hasbro. The popularity of the game is also evident from its presence in the public space in the form of metaphors: because of its emphasis on trading, it is sometimes referred to “greed”, and in the Balkans it can also serve as a metaphor for the nation state.In the memories of my interlocutors who helped me with their testimonies, the Yugoslav version of Monopoly is associated with pleasant memories: especially of childhood, youth and relatives or friends with whom they used to play the game. In my interviews I focused on two topics which did not play such a significant role in the testimonies of the interlocutors, but were, however, common in the testimonies of interviewees who got acquainted with the game as children: to the question of the supposed superiority of Slovenia, as Bled and Bohinj were the most expensive properties, and the presumption that Monopoly is a game which can reproduce cultural memory, in this case knowing the geography of the former common state. The thesis on Slovene superiority proved to rely on generations to which my interviewees belonged, since it appeared especially in the answers of the interlocutors who were born in the late 1980s. Hence, I assume that this thesis was more likely a projection of the outside reality of my interlocutors into the game than vice versa.Analysing the answers of my interlocutors more thoroughly, I reached the conclusion that Monopoly often appeared as the first reference through which they heard about a certain resort in the regions of the former Yugoslavia. This means that Monopoly contained traces of cultural memory which other sources of our everyday lives, education and upbringing ceased to transmit.
{"title":"On Oblivion: the Case of Yugoslavian Monopoly","authors":"Zala Pavšič","doi":"10.4312/ars.13.1.111-122","DOIUrl":"https://doi.org/10.4312/ars.13.1.111-122","url":null,"abstract":"This article on the Yugoslavian version of the board game Monopoly is based on the assumption that things make people. In accordance with this a concept, the contribution begins with a historical overview of the development of this game in the United States, from its origins when it spreads around the country as a popular game, to the current day, when Monopoly is marketed a leading corporation in the field of board games, Hasbro. The popularity of the game is also evident from its presence in the public space in the form of metaphors: because of its emphasis on trading, it is sometimes referred to “greed”, and in the Balkans it can also serve as a metaphor for the nation state.In the memories of my interlocutors who helped me with their testimonies, the Yugoslav version of Monopoly is associated with pleasant memories: especially of childhood, youth and relatives or friends with whom they used to play the game. In my interviews I focused on two topics which did not play such a significant role in the testimonies of the interlocutors, but were, however, common in the testimonies of interviewees who got acquainted with the game as children: to the question of the supposed superiority of Slovenia, as Bled and Bohinj were the most expensive properties, and the presumption that Monopoly is a game which can reproduce cultural memory, in this case knowing the geography of the former common state. The thesis on Slovene superiority proved to rely on generations to which my interviewees belonged, since it appeared especially in the answers of the interlocutors who were born in the late 1980s. Hence, I assume that this thesis was more likely a projection of the outside reality of my interlocutors into the game than vice versa.Analysing the answers of my interlocutors more thoroughly, I reached the conclusion that Monopoly often appeared as the first reference through which they heard about a certain resort in the regions of the former Yugoslavia. This means that Monopoly contained traces of cultural memory which other sources of our everyday lives, education and upbringing ceased to transmit.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46185048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Memory: Between Individual and Collective, between Tradition and History","authors":"Katja Mahnič","doi":"10.4312/ars.13.1.7-15","DOIUrl":"https://doi.org/10.4312/ars.13.1.7-15","url":null,"abstract":"","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44677446","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-20DOI: 10.4312/ars.13.1.264-281
Simona Žvanut
Art House Project (AHP) is an art project on the Japanese island of Naoshima in the Seto Inland Sea, run and financed by the Benesse Corporation as a part of the Benesse Art Site Naoshima project. The corporation’s aim is to support the economic and spiritual revitalisation of the archipelago through projects which combine art, architecture, nature and the history of the area. The centre of AHP is a number of old Japanese houses in the village Honmura on Naoshima, transformed into works of art by artists in cooperation with architects. Memory-related terms (such as “memory”, “history”, “communal” and “cultural memory”, tradition and heritage) appear regularly in catalogue texts and other publications on AHP, which leads to the assumption that AHP is connected to memory on several levels. Since the use of these terms is now very often in various contexts and can mark different phenomena, I will try to define the characteristics of the use of terms “memory”, “history” and “communal memory” as well as their role in the AHP. Within this I will show that these terms have a wide conceptual frame, which does not necessarily come from their theoretical definition – and that the semantically open term of memory has an important role in the wider context and goals of the Benesse Art Site Naoshima project.
{"title":"Memory, Realised in Space. A reflection on the Use of the Terms “Memory”, “History” and “Communal Memory” within the Art Project Art House Project on the Japanese Island of Naoshima","authors":"Simona Žvanut","doi":"10.4312/ars.13.1.264-281","DOIUrl":"https://doi.org/10.4312/ars.13.1.264-281","url":null,"abstract":"Art House Project (AHP) is an art project on the Japanese island of Naoshima in the Seto Inland Sea, run and financed by the Benesse Corporation as a part of the Benesse Art Site Naoshima project. The corporation’s aim is to support the economic and spiritual revitalisation of the archipelago through projects which combine art, architecture, nature and the history of the area. The centre of AHP is a number of old Japanese houses in the village Honmura on Naoshima, transformed into works of art by artists in cooperation with architects. Memory-related terms (such as “memory”, “history”, “communal” and “cultural memory”, tradition and heritage) appear regularly in catalogue texts and other publications on AHP, which leads to the assumption that AHP is connected to memory on several levels. Since the use of these terms is now very often in various contexts and can mark different phenomena, I will try to define the characteristics of the use of terms “memory”, “history” and “communal memory” as well as their role in the AHP. Within this I will show that these terms have a wide conceptual frame, which does not necessarily come from their theoretical definition – and that the semantically open term of memory has an important role in the wider context and goals of the Benesse Art Site Naoshima project.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42054236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-20DOI: 10.4312/ars.13.1.302-317
Nadja Gnamuš
Anglo-Saxon conceptual practices emerging in the 1960s were not only a reaction against modernist discourse, but also the final episode in its search for self-reflection, self-criticism and inquiry into the nature and status of art. The proponents of conceptual art rejected materialist, subjective and expressive theories of the artistic medium and replaced them with idea and thinking as the key principles of art production, thereby making the linguistic, sociological, philosophical, cultural and political context of an artwork important. Ideas rising within this framework offered a form of intellectual self-reflection and at the same time proposed new concepts and possibilities for art production. In art practices of early conceptualism the idea of art was an important topic, in which art practice and art theory were closely intertwined. The relationship between words and images was in this context of paramount importance. Language was a significant trajectory in changing the role and status of art, engendering the shift from an autonomous, aesthetic art object to a textual basis of art, whereby the theory of art itself became considered an artwork. Text was no longer the interpretative support of visual code (image), explaining its meaning, but rather the constitutive element of the artwork. Conceptualism believed that art was first and foremost an intellectual activity, in which it was more important to invent new meanings than new forms. Language thus became an ideal means for turning the focus from formal analysis to the context and discursive formation of artwork.
{"title":"From Art Object to Text: Language and Perception in Early Conceptual Practices","authors":"Nadja Gnamuš","doi":"10.4312/ars.13.1.302-317","DOIUrl":"https://doi.org/10.4312/ars.13.1.302-317","url":null,"abstract":"Anglo-Saxon conceptual practices emerging in the 1960s were not only a reaction against modernist discourse, but also the final episode in its search for self-reflection, self-criticism and inquiry into the nature and status of art. The proponents of conceptual art rejected materialist, subjective and expressive theories of the artistic medium and replaced them with idea and thinking as the key principles of art production, thereby making the linguistic, sociological, philosophical, cultural and political context of an artwork important. Ideas rising within this framework offered a form of intellectual self-reflection and at the same time proposed new concepts and possibilities for art production. In art practices of early conceptualism the idea of art was an important topic, in which art practice and art theory were closely intertwined. The relationship between words and images was in this context of paramount importance. Language was a significant trajectory in changing the role and status of art, engendering the shift from an autonomous, aesthetic art object to a textual basis of art, whereby the theory of art itself became considered an artwork. Text was no longer the interpretative support of visual code (image), explaining its meaning, but rather the constitutive element of the artwork. Conceptualism believed that art was first and foremost an intellectual activity, in which it was more important to invent new meanings than new forms. Language thus became an ideal means for turning the focus from formal analysis to the context and discursive formation of artwork.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47115377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-20DOI: 10.4312/ars.13.1.174-190
M. Klun
Slovenian emigration is often presented with a general overview in which general data and statistical facts prevail, while the individual experiences and memories of Slovenian emigrants are omitted from these descriptions. In the study, which was conducted using a biographical-narrative methodological approach among members of the Slovenian diaspora from the United States of America, Canada and Australia, we were interested in the personal experiences and memories of those who emigrated from Slovenia themselves, or whose ancestors did. Through those life stories and memories, we can illustrate Slovenian emigration processes in such a way that people would better understand global migration processes. In the article we present three real life stories of members of the Slovenian diaspora, their individual memories and perceptions of their place of origin, homeland, the memories of emigration and immigration processes and memories of integration to the new social environments.
{"title":"The Importance of Individual Memories of Slovenian Emigrants When Interpreting Slovenian Emigration Processes","authors":"M. Klun","doi":"10.4312/ars.13.1.174-190","DOIUrl":"https://doi.org/10.4312/ars.13.1.174-190","url":null,"abstract":"Slovenian emigration is often presented with a general overview in which general data and statistical facts prevail, while the individual experiences and memories of Slovenian emigrants are omitted from these descriptions. In the study, which was conducted using a biographical-narrative methodological approach among members of the Slovenian diaspora from the United States of America, Canada and Australia, we were interested in the personal experiences and memories of those who emigrated from Slovenia themselves, or whose ancestors did. Through those life stories and memories, we can illustrate Slovenian emigration processes in such a way that people would better understand global migration processes. In the article we present three real life stories of members of the Slovenian diaspora, their individual memories and perceptions of their place of origin, homeland, the memories of emigration and immigration processes and memories of integration to the new social environments.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46759323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-20DOI: 10.4312/ars.13.1.205-218
Katja Mahnič
In 1911, Josip Mantuani attended a joint meeting for monument protection and Heimatschutz (homeland protection) in Salzburg, which he covered extensively in the Slovenec newspaper. Even though his practice as a member of the Monument Council and director of the Provincial Museum undoubtedly centred on the protection of historical monuments, he was also well acquainted with Heimatschutz. This is clearly shown in his text “Domovinsko varstvo” (Heimatschutz), which he published in the scientific journal Čas in 1914. The two aforementioned texts, along with his five-instalment feuilleton on the modern principles of monument protection, which he published in the Slovenec newspaper in late 1909, provide a good insight into Mantuani’s understanding of the mutual relationship between monument protection and Heimatschutz. In all three texts one can clearly discern that Mantuani distinguished between monuments that were still rooted in the existing tradition through their character, form and content, and those he viewed as “silent witnesses” to past cultures, or, in other words, as historical sources. He attributed “a living cultural” role to the former, while viewing the latter as “archival material”.
{"title":"Collective Memory between Tradition and Archive: Josip Mantuani, Heimatschutz and Monument Protection","authors":"Katja Mahnič","doi":"10.4312/ars.13.1.205-218","DOIUrl":"https://doi.org/10.4312/ars.13.1.205-218","url":null,"abstract":"In 1911, Josip Mantuani attended a joint meeting for monument protection and Heimatschutz (homeland protection) in Salzburg, which he covered extensively in the Slovenec newspaper. Even though his practice as a member of the Monument Council and director of the Provincial Museum undoubtedly centred on the protection of historical monuments, he was also well acquainted with Heimatschutz. This is clearly shown in his text “Domovinsko varstvo” (Heimatschutz), which he published in the scientific journal Čas in 1914. The two aforementioned texts, along with his five-instalment feuilleton on the modern principles of monument protection, which he published in the Slovenec newspaper in late 1909, provide a good insight into Mantuani’s understanding of the mutual relationship between monument protection and Heimatschutz. In all three texts one can clearly discern that Mantuani distinguished between monuments that were still rooted in the existing tradition through their character, form and content, and those he viewed as “silent witnesses” to past cultures, or, in other words, as historical sources. He attributed “a living cultural” role to the former, while viewing the latter as “archival material”.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49538406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For 600 years the Gottschee region was an integral enclave inhabited by the Gottscheers. This history ended tragically during WWII when they left their homes, their homeland and the neighbours with whom they had coexisted peacefully for several centuries. In 1941 Slovenia lost 12,000 of its inhabitants who are now, along with their language, culture, customs and traditions, excluded from our collective memory. Their story is nevertheless important for a better understanding of ourselves. The Gottscheers left their homeland because of the oppression they experienced during the wars but also because of a certain fascination with the powerful rebirth of the country from which they had come centuries previously. They were ready, at that key historic moment, to trust leaders who were (too) young, and though they could inspire, they also lacked wisdom and experience. Their story helps us know ourselves better and gives us a better understanding of the consequences of letting go of our common past, tradition and culture. For the Gottscheers it was fatal, and today they have practically disappeared and barely exist in our memories.
{"title":"Forgotten Neighbour","authors":"Helena Jaklitsch","doi":"10.4312/ars.13.1.78-96","DOIUrl":"https://doi.org/10.4312/ars.13.1.78-96","url":null,"abstract":"For 600 years the Gottschee region was an integral enclave inhabited by the Gottscheers. This history ended tragically during WWII when they left their homes, their homeland and the neighbours with whom they had coexisted peacefully for several centuries. In 1941 Slovenia lost 12,000 of its inhabitants who are now, along with their language, culture, customs and traditions, excluded from our collective memory. Their story is nevertheless important for a better understanding of ourselves. The Gottscheers left their homeland because of the oppression they experienced during the wars but also because of a certain fascination with the powerful rebirth of the country from which they had come centuries previously. They were ready, at that key historic moment, to trust leaders who were (too) young, and though they could inspire, they also lacked wisdom and experience. Their story helps us know ourselves better and gives us a better understanding of the consequences of letting go of our common past, tradition and culture. For the Gottscheers it was fatal, and today they have practically disappeared and barely exist in our memories.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44786755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The development of linguistic competence allows a greater access to linguistic knowledge and control of its actual use. Linguistic competence is built on the capacity of manipulating systemic rules and units (grammar), and it is in a speaker’s vital interest that the system remains stable, i.e. unchanged, to ensure his communicative efficiency. But the competence is no less constructed based on perceiving and reproducing texts that the speaker has acquired in order to possess them, as it is said, “by heart”. These texts belong, as does systemic knowledge, to the general image of a speaker’s communicative abilities.By analogy to linguistic rules and forms, texts that a speaker is ready to quote at any moment of his linguistic activity are best used when they undergo no change, i.e. when they preserve their stability. Considering those texts as parts of their intimate and social identity, the speakers develop a specific attitude towards textual units known by heart in a way that, in their view, they are referred to as untouchable. Sacred texts, for instance. A prayer (e.g. The Lord’s Prayer) is a text of such kind. It is used in speakers’ everyday linguistic practice, gradually uttered in a uniform manner, quoted and requoted. The result of that specific communicational practice is the growing importance of the sole act of utterance rather than the speakers’ interest in its meaning. This is one of the reasons why speakers are justifiably reserved when it comes to changing this kind of text. A change interferes with the continuity of their practice, and is thus felt as a violation of their linguistic identity. But even when the speakers pay little attention to the content of what they are saying, they are entitled to use texts with accurate meaning. This fact justifies the reflective interventions and changes that are being continually made in the historical existence of texts.
{"title":"Textual Invention and Quotation","authors":"P. Vitez","doi":"10.4312/ars.13.1.33-48","DOIUrl":"https://doi.org/10.4312/ars.13.1.33-48","url":null,"abstract":"The development of linguistic competence allows a greater access to linguistic knowledge and control of its actual use. Linguistic competence is built on the capacity of manipulating systemic rules and units (grammar), and it is in a speaker’s vital interest that the system remains stable, i.e. unchanged, to ensure his communicative efficiency. But the competence is no less constructed based on perceiving and reproducing texts that the speaker has acquired in order to possess them, as it is said, “by heart”. These texts belong, as does systemic knowledge, to the general image of a speaker’s communicative abilities.By analogy to linguistic rules and forms, texts that a speaker is ready to quote at any moment of his linguistic activity are best used when they undergo no change, i.e. when they preserve their stability. Considering those texts as parts of their intimate and social identity, the speakers develop a specific attitude towards textual units known by heart in a way that, in their view, they are referred to as untouchable. Sacred texts, for instance. A prayer (e.g. The Lord’s Prayer) is a text of such kind. It is used in speakers’ everyday linguistic practice, gradually uttered in a uniform manner, quoted and requoted. The result of that specific communicational practice is the growing importance of the sole act of utterance rather than the speakers’ interest in its meaning. This is one of the reasons why speakers are justifiably reserved when it comes to changing this kind of text. A change interferes with the continuity of their practice, and is thus felt as a violation of their linguistic identity. But even when the speakers pay little attention to the content of what they are saying, they are entitled to use texts with accurate meaning. This fact justifies the reflective interventions and changes that are being continually made in the historical existence of texts.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42001160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The basis of the scientific investigation are 83 military letters and postcards, a diary, and Franz Buchwald’s memories of World War II. The classification of military letters and other sources constitutes the scientific significance of these documents. The survey questions the culturally and socially political acts as well as intertextual and trans-textual procedures. Understanding of literature as the subject of a culturally scientific survey is a priority, as well as its influence on the emergence of military letters. The clarification of the cultural memory of Franz Buchwald, a soldier of the Wehrmacht [high forces], serves as an indicator for the preservation of moral principles and values during the war, but also as one for the discords that arose in this context. A key issue is the importance of the educational conditions of growing up during the war. Relevant topics are education, the church, and the literary canon. Examples from the military letters sketch the establishment of the national language in terms of theology, and address the issue of nationality and identity.
{"title":"Reciprocity of Individual and Collective Memory. Letters from a Soldier of the Wehrmacht of the Second World War","authors":"Sabine Buchwald","doi":"10.4312/ars.13.1.65-77","DOIUrl":"https://doi.org/10.4312/ars.13.1.65-77","url":null,"abstract":"The basis of the scientific investigation are 83 military letters and postcards, a diary, and Franz Buchwald’s memories of World War II. The classification of military letters and other sources constitutes the scientific significance of these documents. The survey questions the culturally and socially political acts as well as intertextual and trans-textual procedures. Understanding of literature as the subject of a culturally scientific survey is a priority, as well as its influence on the emergence of military letters. The clarification of the cultural memory of Franz Buchwald, a soldier of the Wehrmacht [high forces], serves as an indicator for the preservation of moral principles and values during the war, but also as one for the discords that arose in this context. A key issue is the importance of the educational conditions of growing up during the war. Relevant topics are education, the church, and the literary canon. Examples from the military letters sketch the establishment of the national language in terms of theology, and address the issue of nationality and identity.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43711695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Memories of the personal past seem to be something natural for us, because they determine our identity and, at least partly, our character as well. Well-developed episodic memory, which enables us to mentally travel into our personal past and imagine our personal future, makes such perception of the past possible. Animals probably do not have this form of memory, or it is much less evolved in them than it is in humans. Archaeological finds suggest that in human evolution episodic memory evolved to the present extent relatively late, probably not until Modern man emerged. Such a conclusion can be made because archaic human species did not leave behind any material proofs, such as lasting jewellery and unambiguous ritual burials that would reflect the modern perception of time and desire to preserve personal memories.
{"title":"In the Jaws of Time: First Reflections of Episodic Memory in Human Beings","authors":"Simona Petru","doi":"10.4312/ars.13.1.19-32","DOIUrl":"https://doi.org/10.4312/ars.13.1.19-32","url":null,"abstract":"Memories of the personal past seem to be something natural for us, because they determine our identity and, at least partly, our character as well. Well-developed episodic memory, which enables us to mentally travel into our personal past and imagine our personal future, makes such perception of the past possible. Animals probably do not have this form of memory, or it is much less evolved in them than it is in humans. Archaeological finds suggest that in human evolution episodic memory evolved to the present extent relatively late, probably not until Modern man emerged. Such a conclusion can be made because archaic human species did not leave behind any material proofs, such as lasting jewellery and unambiguous ritual burials that would reflect the modern perception of time and desire to preserve personal memories.","PeriodicalId":40773,"journal":{"name":"Ars & Humanitas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42497803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：