With the death of her aunt, Maria Stepanova is left to sift through an apartment full of faded photographs, old postcards, letters, diaries, and heaps of souvenirs: a withered repository of a century of life in Russia. Carefully reassembled with calm, steady hands, these shards tell the story of how a seemingly ordinary Jewish family somehow managed to survive the myriad persec...(展开全部)

With the death of her aunt, the narrator is left to sift through an apartment full of faded photographs, old postcards, letters, diaries, and heaps of souvenirs: a withered repository of an entire century of life in Russia. Carefully reassembled with calm, steady hands, these shards tell the story of an ordinary family that somehow managed to survive the myriad persecutions and...(展开全部)

Freetown, Sierra Leone, 1969. On a hot January evening that he will remember for decades, Elias Cole first catches sight of Saffia Kamara, the wife of a charismatic colleague. He is transfixed. Thirty years later, lying in the capital's hospital, he recalls the desire that drove him to acts of betrayal he has tried to justify ever since. Elsewhere in the hospital, Kai, a gift...(展开全部)

Freetown, Sierra Leone, 1969. On a hot January evening that he will remember for decades, Elias Cole first catches sight of Saffia Kamara, the wife of a charismatic colleague. He is transfixed. Thirty years later, lying in the capital's hospital, he recalls the desire that drove him to acts of betrayal he has tried to justify ever since. Elsewhere in the hospital, Kai, a gift...(展开全部)

阿敏娜妲·芙娜（Aminatta Forna），生于苏格兰，长于西非，现居伦敦。2007年，被《名利场》评为非洲最重要的新作家之一。 其处女作《在水面跳舞的恶魔》（The Devil That Danced on the Water）获得2003年萨缪尔·约翰逊奖决选，《祖先石》（Ancestor Stones）获得2008年项豪斯顿·莱特遗产奖、都柏林文学奖的提名，及被《华盛顿时报》列为2006年最有影响力的文学作品。 阿敏娜妲也为杂志、报纸、广播和电视写稿，撰写了一部关于非洲历史与艺术的电视纪录片。

This is an introduction to one of the most exciting new interdisciplinary fields of research: cultural memory studies. Who was Maurice Halbwachs, and what are the 'social frameworks of memory'? What can Aby Warburg's work tell us about the 'memory of art'? How do Pierre Nora's lieux de memoire connect history and memory? Where does the ancient art of memory meet the neuroscienc...(展开全部)

This is an introduction to one of the most exciting new interdisciplinary fields of research: cultural memory studies. Who was Maurice Halbwachs, and what are the 'social frameworks of memory'? What can Aby Warburg's work tell us about the 'memory of art'? How do Pierre Nora's lieux de memoire connect history and memory? Where does the ancient art of memory meet the neuroscienc...(展开全部)

In early imperial China, the dead were remembered by stereotyping them, by relating them to the existing public memory and not by vaunting what made each person individually distinct and extraordinary in his or her lifetime. Their posthumous names were chosen from a limited predetermined pool; their descriptors were derived from set phrases in the classical tradition; and their...(展开全部)

In early imperial China, the dead were remembered by stereotyping them, by relating them to the existing public memory and not by vaunting what made each person individually distinct and extraordinary in his or her lifetime. Their posthumous names were chosen from a limited predetermined pool; their descriptors were derived from set phrases in the classical tradition; and their...(展开全部)

Ancestral ritual in early China was an orchestrated dance between what was present (the offerings and the living) and what was absent (the ancestors). The interconnections among the tangible elements of the sacrifice were overt and almost mechanical, but extending those connections to the invisible guests required a medium that was itself invisible. Thus in early China, ancestr...(展开全部)