Crossing thresholds: the lexicalization and performance of memory in early imperial funerary inscriptions from Sicily

This article analyses the forms of cultural memory (storage and functio- nal memory) relying on the work of Aleida Assmann and the German cultural memory school (Assmann, 1999; 2004), and their changes in memory institutions in connection with the institution’s dialogue with individual and collective memory. Assmann’s theory is supplemented with museological communication schemes (Hooper-Grenhill, 1996) and a definition of the medium of collective memory (Erll, 2004). The aim of this article is to discuss the effect of functional memory in the context of the mediation work of a modern museum. The article will deal more thoroughly with the functionalizing process of cultural memory in the museum based on a specific pedagogical programme at the Estonian Open Air Museum.

The article deals with the problem of ritualization of cultural memory, which became the main theme in the late 1990s in German and Austrian literature on the basic of postmodern novel by Christof Ransmayr “Morbus Kitahara”, published in 1995. The year of 1995 became a turning point in German-language literature and marked the so-called “boom” of memorial literature, which was devoted to the presentation of events of the recent historical past, the Second World War and the Holocaust. A number of novels were published in that year which in different ways deal with historical experience: from immersion into individual history to the creation of dystopian depiction of alternative history, while demonstrating the ambiguity of contemporary perception of collective historical memory. It is important that the notion of “collective memory” has been actively used in scholarly discourse since the early 1990s, and it marks a change in the paradigm of assessing social processes. Similar tendencies are also observed in fi ction, which tries to give a new assessment of the traumatic events of the past, to overcome the long silence on the issue of guilt and victim, using different approaches and mechanisms for memory representing. The methodology used in this paper refers to the memory studies of A. Assmann and M. Halbawchs, who both deal with the terms of cultural and collective memory as well as with mechanisms of ritualization of cultural and collective memory. Memory a concept is realized on three levels, distinguished by A. Assmann: individual, social (communicative memory) and cultural. For this, cultural memory, together with the individual memory of characters, occupy a signifi cant place in the novel. It is shown that the novel describes in detail the mechanisms of implanting of the cultural memory, using symbols and images, as well as rituals as memory stabilizers. At the same time, an intended instilling of guilt takes place that destroys the inhabitants morally and spiritually. The body is assumed one of the intermediaries of memory retention which is also used to instill the negative traumatic memories. The Kitaharadisease, which initially affects the vision of the main character of the novel, affects other characters fi gures, primarily combatants, and becomes a bodily expression of sick memory: visual impairment should be seen as an attempt to forget negative individual experiences. Keywords: ritualization of memory, cultural

This article analyses the narratives of Gukurahundi , how they are perceived as forms of collective memory culture, how they help to explain personal experiences shared by victims of the 1980s genocide in Zimbabwe, and how these experiences become memory. The Gukurahundi genocide shows that not only do individuals remember, but that remembering can be a collective endeavour. While individual memory is usually bound to the short time span of a human life and disappears with the death of a particular individual, intergenerational and collective cultural memory, on the other hand, is of longer term and is supported by institutions, monuments and rites. This article acknowledges different types of memories and dwells not only on the collective and cultural memory that honours and praises the heroic deeds of Zimbabwe, but also on the painful collective memories of perpetration or guilt. It highlights the importance of documenting events that happened during Gukurahundi. In Zimbabwe, there is state owned documentation and other documentation, which, in this paper, would be referred to as counter archives. The types of documentation can be regarded as a way that Zimbabweans, especially the Ndebele ethnic group, remember or memorialise the past.

Saga Literature, Cultural Memory, and Storage Pernille Hermann In this article I wish to focus on some of the ways in which saga literature and memory meet. In various contexts, the literary scholars Astrid Erll and Ansgar Nünning have demonstrated and summarized the manifold relationships between literature and memory. Based on work done in literary studies, they have emphasized three concepts that can describe the relationship between literature and memory: “These basic concepts are (1) the memory of literature, (2) memory in literature and (3) literature as a medium of collective memory” (Erll and Nünning 2006, 13).1 These concepts, which I will elaborate on below, indicate relevant approaches to the sagas, and in the present study it will be demonstrated how sagas have memories, represent memories, and mediate memories. References will be mostly to the Íslendingasögur and the biskupa sögur, but the approaches sketched out here are relevant to other types of sagas as well. Apart from underscoring that memories were narrated, represented, and mediated in saga literature, the argument will also consider the function of writing for preservation and storage of memories. This article does not provide an exhaustive treatment of the sagas in the light of these general concepts of memory, but rather points only to selected areas where these methods can be relevant. Many of the questions that are central in memory studies have already been anticipated in saga [End Page 332] scholarship, even if the term “memory” has not always been defined or explicitly drawn into the debates. The advantage of an approach that elaborates on the theoretical and methodological insights in types and functions of memory is not that they can explain all complicated questions about the sagas. Rather it is the potential of memory studies to tweak and modify some of the ongoing debates that makes it relevant, not least the potential of memory studies to nuance concept pairs such as the literary/the historical, representation/reality, text/extra-textual context, and orality/literacy.2 Cultural Memory During the last decades, new frameworks for studying memory have developed (e.g., Halbwachs 1992; Assmann 1988, 2005; Erll and Nünning 2008), and they have begun to influence work with the sagas (Glauser 2000, 2007; Hermann, Mitchell, and Agnes S. Arnórsdóttir, forthcoming). Inspired by these studies, I will specify the understanding of memory that underlies the discussion in the present context. In doing that, I will refer to selected aspects of the concept “cultural memory,” which was initially developed by the German Egyptologist Jan Assmann. On one occasion, he defined cultural memory as such: jeder Gesellschaft und jeder Epoche eigentümlichen Bestand an Wiedergebrauchs-Texten, -Bildern und -Riten, in deren “Pflege” sie ihr Selbstbild stabilisiert und vermittelt, ein kollektiv geteiltes Wissen vorzugsweise (aber nicht ausschliesslich) über die Vergangenheit, auf das eine Gruppe ihr Bewusstsein von Einheit und Eigenart stützt. (Assmann 1988, 15) the characteristic store of repeatedly used texts, images and rituals in the cultivation of which each society and epoch stabilizes and imparts its self-image; a collectively shared knowledge of preferably (yet not exclusively) the past, on which a group bases its awareness of unity and character. (Grabes 2005, 128) At least two aspects become clear from this definition. Firstly, that cultural memory is a type of memory that is collectively shared and connected to the formation of a group’s self-image and identity; secondly, that it takes the form of narrative, image, and ritual, and is [End Page 333] a kind of memory that, metaphorically speaking, is transferred to a variety of representational forms—including literature, which will be of specific relevance in this article. Following the definition quoted here, the sagas cannot merely be understood, as will be suggested below, to have cultural memory, to represent cultural memory, or to mediate cultural memory; instead, they embody it, which makes it apt simply to speak about the sagas as cultural memory.3 Cultural memory is indebted to media, like writing, orality, and images. It needs media in order to be transmitted over time and to be externalized. Media, like representational forms, are crucial for the transfer from individual to collective or cultural memory; it...

MLR, 103.2, 2oo8 6oi level ofmediation in the reconstruction of the past (Anabel Aliaga-Buchenau, Katja Garloff, Ben Hutchinson). None of them, however, deals explicitly with aspects of intermediality. The final section on questions of history and trauma is the strongest of the book. Karin Bauer examines Sebald's adaptation ofBenjamin's and Nietzsche's concepts of history and his rejection of anyMessianic or utopian potential they might contain, ar guing thatconcepts such as the 'good European' or thefianeur fail towork in relation toAusterlitz. JanCeuppens offers an insightful examination of the ethical dimen sion of the respectful distance thenarratormaintains fromhis characters and objects, which leaves him constantly negotiating between a factualwritten discourse which adheres to a 'Bilderverbot' and a visualizing of individual fates.David Darby's ex cellent essay contrasts Fontane's, Benjamin's, and Sebald's projects of (re)integrating memories by inscribing them in the spatial order of landscapes bywalking, a project which is seen to fail in the disintegrating landscape of Sebald's Die Ringe des Saturn. Peter Fritzsche and Mark Ilsemann explore very convincingly the unresolved ten sions in Sebald's writing between nature and history, the generic and theparticular, melancholy and trauma, between continuous human catastrophes and theHolocaust as the finalchapter of history. Susanne Vees-Gulani and Christina Szentivanyi both address the central quest inSebald's text togain access to an event one has not lived through, but whose repercussions have nevertheless shaped one's life,by applying concepts of postmemory and trauma. A few contributions echo the reverential tone of the foreword,others pay only fleetingattention toSebald. Mark McCulloh's intro duction makes a valuable point indrawing attention to the twofoldnature of Sebald's ceuvre in its 'tandem existence' in theEnglish and German languages. Since Sebald is by now ubiquitous not only inGerman Departments but also inEnglish orHolocaust Studies, contexts inwhich theEnglish translations are often not treated as such, it seems appropriate to remind scholars of thedifferences between theoriginal German texts and theirEnglish translations as well as of some deliberate deviations made in these transitions from one to the other. The transcript of an interviewwith Sebald conducted byMichael Zeeman is an interestingbonus; an indexwould have been an evenmore useful addition to an otherwise very illuminating collection of essays. BIRKBECK, UNIVERSITY OF LONDON SILKE ARNOLD-DE SIMINE Der lange Schatten der Vergangenheit: Erinnerungskultur und Geschichtspolitik. By ALEIDA ASSMANN. Munich: Beck. 2oo6. 520 pp. ?19.90. ISBN 978-3-406 54962-5. The request that a line should be drawn under Germany's critical engagement with itsNational Socialist past is as old asGermany's post-war memory politics. In recent years, theSchlussstrichdebatte has been accompanied by a public discourse onGerman wartime suffering which pitches private war memories against thepolitically correct discourse of contrition. The contemporary triumph of the private over the political indicates a reconfiguration ofGerman collective and cultural memory that requires detailed critical attention. This isprecisely theproject ofAleidaAssmann's latest study, which offersa careful analysis of the multiple transformations ofGerman cultural memory and its memory politics since the early I990s. Setting cultural memory in dialogue with the ques tion of a specifically German politics of remembrance, the study is divided into two parts. Part i elaborates Assmann's earlier work by differentiating theHalbwachsian notion of collective memory in fourways: she now distinguishes between individual memory, thememory of the social group, thememory of thepolitical collective (na tionalmemory), and, finally,cultural memory. For example, individual memory is 602 Reviews a dynamic medium of processing our experiences on the basis of 'ich' and 'mich' memories (pp. 1I9-24); it isnevertheless contingent on the social memory of families and generations. Assmann argues that thenotion of collective memory has taken the place of thecritique of ideologies andmyths thatdominated humanities debates in the I960s and I970S. The new focus on collective memory reflects the basic insight that human beings are socially constituted and thus dependent on images and collective symbols as carriers of identity. In thisway, Assmann brackets off thenotion of 'false consciousness' in favour of the critical analysis of all the symbols and images that define our changing cultural horizons. Assmann details her theoretical road-map further through the analysis of a range of topoi thathave dominated memory debates...

The relevance of collective memory analysis comes from the increasing role of memorization in social processes, which are currently acquiring increasingly significant conflict potential. The author analyses visual material of the popular science fiction series The Orville, which represents a segment of American political culture, as one of the cultural mechanisms for the assimilation of ideology and politics in mass cultural discourse. It is presumed that The Orville parodies the classic epics Star Trek and Babylon 5 and thus is part of the processes of deconstructing the historical collective memory of modern American society. This study intends to establish how a formally parody series not only mocks and imitates, but also constructs its own versions of memorial culture. The article aims: 1) to describe the universal tactics of deconstruction as a form of revision of existing memorial cultures; 2) to clarify the possibilities and boundaries of describing memorial culture through the prism of visual mass culture, using the example of a science fiction series; 3) to analyze the modes of updating political and social contradictions in American society on the example of the TV series The Orville; 4) to consider the specificity of the transformation of mass consciousness by constructing a new version of identity in the light of a radical revision of the narratives of classic science fiction series; 5) to analyze the political and ideological dimensions of the memory wars presented in the clash of traditional and liberal values of the characters in the series. Methodology of the article bases on the principles of the memorial turn and the analysis of the politics of memory within the paradigm of cultural and intellectual history and includes the methods of discourse analysis and intent analysis. The novelty of the study lies in determining the directions and specificities of the assimilation of the political, limited by the problems of collective memory, cultural, religious and gender identity along with military and ideological confrontation in modern mass culture of historical memory within the visual space of the science fiction series The Orville. The series is analyzed as an attempt to deconstruct the cultural experience and legacy of Star Trek, which actualized science fiction series as one of the sources of cultural and social meanings for modern consumer society. The author also analyzes the contribution of the series to the development of the collective memory of US society; the transformation of the concepts of Self and Otherness through the prism of specifying cultural, religious and gender roles. Revision of the past in popular culture as an alternative space for the functioning of collective historical memory is investigated. As a result of the study, it is presumed that The Orville actualizes modern American laughter culture and inspires attempts to rethink collective memory, the collective historical experience of trauma and represents an attempt to abandon the strategies of historical amnesia and ignoring politically inconvenient experiences.

To assess performance and processes in collective and individual memory, participants watched two job candidates on video. Beforehand, half the participants were told they would be tested on their memory of the interviews, and the other half were asked to make a decision to hire one of the candidates. Afterwards, participants completed a recognition memory task in either a group or individual condition. Groups had better recognition memory than individuals. Individuals made more false positives than false negatives and groups exaggerated this. Post-hoc analysis found that groups only exaggerated the tendency towards false positives on items that reflected negatively on the job candidate. There was no significant difference between instruction conditions. When reaching consensus on the recognition task, groups tended to choose the correct answer if at least two members had the correct answer. This method of consensus is discussed as a factor in groups’ superior memory performance.

DOI: 10.3176/tr.2008.3.01 1. Introduction Memory has become one of buzzwords in today's humanities and social sciences. Concepts like 'collective memory' (Halbwachs 1950), 'lieux de memoire' (Nora 1989, 1996, 1998), 'cultural memory' (Bal et al. 1999), 'social memory' (Fentress and Wickham 1992, Misztal 2003), and many others catch our attention in titles of recently published books and articles, in tables of contents and lists of keywords. We are witnessing an increasing 'memory boom' (Winter 2000) in humanities and social sciences and a new field of research--memory studies--has emerged and develops rapidly. Under these circumstances we should, more than ever, pose ourselves question--what do we mean by 'memory'? Is memory an object of study, a unit of research, or is it a theoretical perspective through which we investigate other phenomena? What are differences between concepts of memory and history or memory and tradition? In which aspects do processes of individual memory and collective memory correlate, and in which they diverge? How far can we extend sub-concepts related to memory like remembering, forgetting, or trauma? And how can individuals' remembering be juxtaposed to construction of social memory? What is agency of language or artefacts in producing memory, in reflecting experience of temporality? What kind of potential, individual and collective, cultural or political, does inversion of temporal order extend in narratives of memory? The current special issue aims to raise some of these questions while implementing an interdisciplinary perspective on particular phenomena that arise from these explorations, in order to consider different aspects of memory with particular focus on cultural memory. 2. From memory boom to critical contemplations Taking into account abovementioned developments, 'memory' has become an excessively used and 'abused' concept, in humanities and social sciences, to extent that 'memory's' meaning and heuristic value become almost unclear (see Berliner 2005, Klein 2000, Fabian 1999). Misuses of memory seem to stem from feeling that it may be easier to avoid providing an adequate account of memory rather than to risk providing an insufficient definition. In field of anthropology Johannes Fabian warns against 'dangers of overextension' of concept of memory in 'current boom of memory, whereby memory becomes indistinguishable from either identity or culture' (Fabian 1999:51). It appears that concept of memory is undergoing developments similar to those that concept of culture recently underwent (cf. Fox and King 2002). We, as authors of this introduction, recognize that whereas it is probably impossible to provide an exhaustive definition of memory, it is nevertheless necessary, in ongoing academic boom of memory research, to continue discussion on possibilities and limitations of memory as an object and as a method. One of first significant critiques of 'the memory boom' by historian Kerwin Lee Klein (2000:128) pointed out that memory has become a 'metahistorical category', something like a Foucauldian field of discourse, referring to both individual and collective practices of remembering. However, it does not mean that memory is becoming a more abstract object, quite opposite--we witness the new materialization of memory to status of a historical agent, and we enter a new age in which archives remember and statues forget (Klein 2002:136). Wulf Kansteiner has argued that cumulative research on collective memory has not yet established a clear conceptual or methodological basis for cultural study of collective memory processes. The characteristics of individual memory are too eagerly attributed to collective memory, ignoring that memory in group processes does not function same way as it does in individual mind, and collective memory as an object of study needs therefore appropriate methods for its analysis. …

Those who are alive receive a mandate from those who are silent forever. They can fulfill their duties only by trying to reconstruct precisely things as they were, and by wresting the past from fictions and legends. – Czeslaw Milosz WITNESSING IN THE CONTEMPORARY WORLD The previous chapters have explored a number of conceptual and normative issues related to individual and collective memory, including: the nature of and differences between these two types of memory; the reciprocal relationship between individual and collective memory, on the one hand, and individual and collective identity, on the other; the virtues associated with taking responsibility for one's personal past; the role of collective memory in repairing historical injustice; the relationship between history and collective memory; and the ethical and moral obligations of remembrance, collective remembrance as well as personal remembrance of the dear departed. Although collective memory is not reducible to the aggregate of individual memories, I have claimed that collective memory and individual memory do not exist in completely separate domains. On the contrary, each inevitably contributes to and is intertwined with the other. The collective memory of a group is incorporated, explicitly or implicitly, into the individual memories of its members, at the same time that they put the stamp of their personal memories on the memories they share. There are also analogies with respect to some of these issues between individual and collective memory, as was clear from my discussion of taking responsibility for one's personal past in Chapter 2 and collectively doing justice to the past in Chapter 3.

The article defines the concepts «historical consciousness» and «historical memory» which are studied by many social sciences and are termed differently. The author indicates multiplicity of social memory as a process. Besides the public (social) memory the author distinguishes «cultural memory» (researched, especially recent); «collective memory» (faced and meaningful common experiences living together); «individual memory» (represented experience); «historical memory», etc. «Historical consciousness» and «historical memory» are the terms that take a key position in the theory and methodology of historical science. The author of the article also draws attention to the analysis of the approaches of contemporary scientists L.P. Repina and Maurice Halbwachs (the founder of the theory of historical memory (1877-1945) to the interpretation of the problem. The essence of historical consciousness and memory is characterized, public consciousness is distinguished. The author draws attention to such an important aspect of the problem as identifying complex concepts-synonyms appearing in the theory and methodology of historical science like «historical consciousness» and «historical memory». Special emphasis is made on showing dialectical unity concepts mentioned above.

上演北愛衝突：北愛爾蘭戲劇中的記憶、時間與倫理

The Forgotten Apocalypse:Katherine Anne Porter's "Pale Horse, Pale Rider," Traumatic Memory, and the Influenza Pandemic of 1918 David A. Davis (bio) As Katherine Anne Porter's short novel "Pale Horse, Pale Rider" opens, Miranda fitfully endures a vivid nightmare. She sees herself on horseback desperately racing from Death, the pale rider, who has already taken her grandfather, an aunt, a cousin, her "decrepit hound, and [her] silver kitten," and when he reaches her, she realizes that "he is no stranger to [her]" (270). Her nightmare tangles images of life and death with images of remembering and forgetting, and the relationship between survival and memory is a recurring motif in the story. Porter's allusion to the apocalyptic horseman described in Revelation proves to be appropriate because the story takes places during the influenza pandemic of 1918, the greatest public health catastrophe in modern history. The interplay between death and memory in "Pale Horse, Pale Rider" gives an aesthetic dimension to the pandemic's horrifying consequences and raises questions about literature as a form of traumatic memory. In the spring of 2009 fear of a swine flu pandemic and ongoing fear of a potential avian flu pandemic awakened dormant memories of the 1918 influenza pandemic. Global health officials mounted a campaign of contagion preparedness, and many officials still see another human pandemic as inevitable, if not imminent. To mitigate this potential disaster, scientists, epidemiologists, and government officials worldwide are looking [End Page 55] to the 1918 pandemic as a worst-case scenario as they develop contingency response plans. Before the emergence of the current virus, however, the 1918 influenza pandemic had largely disappeared from cultural memory. Few references to the 1918 pandemic exist in literature, popular culture, or even in history books, which makes Porter's story an important record of the outbreak. In the story, Miranda, a reporter for a Denver newspaper, enjoys a whirlwind romance with Adam Barclay, a young Army officer, until she collapses from the virus. Adam nurses her as she comes near to death, and while she recovers, he returns to his unit where he dies from the virus. Porter based "Pale Horse, Pale Rider" on her personal experience as an influenza survivor, and it is the most significant American literary work set during the pandemic. The novella illustrates the varieties of traumatic experience—personal trauma, cultural trauma, historical trauma, and aesthetic trauma. The story takes place in a unique and profound historical context, both because of Porter's personal traumatic experience and because memories of the pandemic have faded. "We Have Forgotten the Dead": Individual Trauma and Collective Memory In Unclaimed Experience: Trauma, Narrative, and History, Cathy Caruth describes trauma as a "wound of the mind—the breach in the mind's experience of time, self, and the world—[that] is not, like a wound of the body, a simple and healable event, but rather an event that . . . is experienced too soon, too unexpectedly, to be fully known and is therefore not available to consciousness until it imposes itself again, repeatedly, in the nightmares and repetitive actions of the survivor" (4). Most trauma theorists locate trauma's impact in the individual memory, where the unsettling experience disrupts the victim's identity, but when a disruptive event affects a large population simultaneously, a collective trauma occurs. The influenza pandemic of 1918 complicates the distinction between individual trauma and collective trauma. One might stipulate that collective trauma merely consists of numerous individual traumas, but collective trauma amplifies the individual's experience by taxing the network of social resources that ordinarily stabilize the individual victim. Massive events such as wars, natural disasters, and pandemics have different dynamics than personal events such as crime, accidents, and illness.1 In both individual and collective forms of trauma, the event's impact lies not in the immediate experience but in the survivors' memory [End Page 56] of the event. Exploring the distinction between individual trauma and collective trauma leads to an explanation for how and why the pandemic has virtually disappeared from collective memory. Katherine Anne Porter survived the influenza pandemic of 1918. She worked for The Rocky Mountain News during the outbreak, and she contracted influenza as the...

ABSTRACTStudies on collective memory have recently addressed the distinction between cultural and communicative memory as a way to understand how the source of a memory affects its structure or form. When a groups’ memory is mediated by memorials, documentaries or any other cultural artifacts, collective memory is shaped by cultural memory. When it is based mostly in communication with other people, its source is communicative memory. We address this distinction by studying two recent events in Argentinean history: the 2001 economic-political-social crisis (communicative memory) and the 1976 coup (cultural memory). We also examine the political ideology and the type of memory involved in collective memory. The memory of the studied events may occur during the lifetime of the rememberer (Lived Memory) or refer to distant events (Distant Memory). 100 participants responded to a Free Recall task about the events of 2001 in Argentina. Narrative analysis allowed comparing these recalls with our 1976 study. Results show: 1) Cultural memories are more contextualised, more impersonal and less affective. 2) Communicative memories are more personal and affective. Study shows how collective memory form changes when it has a different prevalent source.

The article is devoted to the study of the phenomenon of collective memory in the value contexts of post-modernity. During the 20th century, the culture of memory is revealed through the individual-collective polarity, and in the postmodern era attention is focused on the boundary between them, on the culture of memory in the dimension of the modern media, on the contexts of the global information war. While individual memory loses touch with the past in the dimension of simulated identity, collective memory is usually associated with tradition as a reservoir of memory of the past. Collective memory in the age of modern media is in certain danger of targeted negative external influence, falsification, and inflation. The deepest cultural fears of the 20th century are the deformation or loss of memory, as well as the fear of memory substitution. The main value is linking memory with authenticity in the reproduction of the basic narrative in the cultural practices of today, in which the individual intersects with the collective. That is why the article pays special attention to the border between individual and collective memory, the culture of recall in communicative projects, and the reflection of moral dilemmas in different models of historical memory, the confrontation of different memories.

Literature has always been a significant form of expression for popular culture. With the rapid development of the internet, Chinese web literature has exhibited a unique aesthetic style, becoming an important component of the contemporary cultural landscape and a crucial carrier of collective emotion and social memory. Anchored in Jan Assmann's Cultural Memory theory, this study employs case studies and textual analysis to delve into its mechanisms for constructing collective emotion. It reveals how web literature elevates individual experiences into group identity through mechanisms of emotional belonging, symbolic participation, and platform orchestration, thereby constructing a decentralized collective memory system. The research finds that web literature not only reshapes the generative methods of traditional cultural memory but also creates new "sites of memory" (lieux de mmoire) within the digital space. Through its reinforcement effect on individual memory and the cohesive function of external guidance on collective emotion, web literature forms a closed loop for collective memory construction.