Keepers Of Memory Research Articles

The Memory Keeper by Jennifer Camiccia

Reviewed by: The Memory Keeper by Jennifer Camiccia Quinita Balderson Camiccia, Jennifer The Memory Keeper; illus. by Jenna Stempel-Lobell. Aladdin, 2019 [352p] Trade ed. ISBN 978-1-5344-3955-9 $17.99 E-book ed. ISBN 978-1-5344-3957-3 $10.99 Reviewed from galleys R Gr. 4-7 Lulu Rose, twelve, has Highly Superior Autobiographical Memory (HSAM), an extremely rare condition that enables her to recall every single detail of her life; fearing people's reactions, she hides her memory from everyone except Gram, her grandmother and confidant, who moved in with Lulu's family years ago. Gram's own memory is now fading as signs of Alzheimer's disease steadily worsen, but Lulu is convinced that it's not Alzheimer's but amnesia linked to a traumatic event in her grandmother's mysterious past, so she gathers stories from and information about Gram in hopes that reviving those memories will cure her. This is a heartfelt tale of an exceptional girl who, for all her gifts, cannot fix what is happening to her grandmother and realizes she may not even know the woman she trusts the most. The story's gentle tone makes serious subjects, ranging from Gram's dementia to Lulu's mother's depression to Gram's father's abuse, accessible but restrained, and readers will also be intrigued by the detective-story aspect as Lulu and her friends puzzle out Gram's true past. The novel provides a diagram of the human brain, and each chapter begins with detailed explanation of one of its many components, using that anatomical element as a springboard for Lulu's contemplations. The author does an awesome job of introducing neuroscience in this intricate tale of a family that works much like the cerebral cortex: when one part struggles to deal, another steps in. Copyright © 2019 The Board of Trustees of the University of Illinois

Роль фольклорного наследия в сохранении и трансляции памяти о событиях 1917–1922 гг. на российском Дальнем Востоке

Роль фольклорного наследия в сохранении и трансляции памяти о событиях 1917–1922 гг. на российском Дальнем Востоке

Extended Exposure to Stiff Microenvironments Leads to Persistent Chromatin Remodeling in Human Mesenchymal Stem Cells.

Bone marrow derived human mesenchymal stem cells (hMSCs) are a promising cell source for regenerative therapies; however, ex vivo expansion is often required to achieve clinically useful cells numbers. Recent results reveal that when MSCs are cultured in stiff microenvironments, their regenerative capacity can be altered in a manner that is dependent on time (e.g., a mechanical dosing analogous to a chemical one). It is hypothesized that epigenomic modifications are involved in storing these mechanical cues, regulating gene expression, and ultimately leading to a mechanical memory. Using hydrogels containing an allyl sulfide cross‐linker and a radical‐mediated addition‐fragmentation chain transfer process, in situ softened hMSC‐laden hydrogels at different time points are achieved and the effects of short‐term and long‐term mechanical dosing on epigenetic modifications in hMSCs are quantified. Results show that histone acetylation and chromatin organization adapt rapidly after softening and can be reversible or irreversible depending on time of exposure to stiff microenvironments. Furthermore, epigenetic modulators are differentially expressed depending on the culture history. Collectively, these experiments suggest that epigenetic remodeling can be persistent and might be a memory keeper.

My Mother as an Instrument of the Divine, and: My Mother as a Keeper of Memory

My Mother as an Instrument of the Divine, and: My Mother as a Keeper of Memory

Reviewed: I.V. Tunkina “Keepers of academic memory (XVIII – the first third of the XX century). Essays on the history of St. Petersburg academic archive”

Reviewed: I.V. Tunkina “Keepers of academic memory (XVIII – the first third of the XX century). Essays on the history of St. Petersburg academic archive”

Literary magazine as a historical memory keeper

Literary magazine as a historical memory keeper

In Brief

The local communities of Eastern Europe, regarded up to the beginning of the 1990s as a rich reserve of peasant culture, have over the past twenty years been falling apart before our very eyes. Under the pressure of migration to work abroad and of the effects of globalisation – multiple, obvious and, in particular, subversive of the ways they functioned until not long ago – cultural alterations of all kinds have generated phenomena of hybridisation and cultural fusion. At the same time, the need to preserve traditions, on various levels, in their role of cultural history of local specifics, appears to be growing in importance, not only for those charged with this duty as a political project (“places of memory” institutions that society has “delegated” as keepers of cultural memory) but also for the local performers of those cultures that we have been accustomed to call traditional. The theme of this 22nd issue of the Martor journal, “Back to the Future. Creative Traditions in the 21st Century”, has proved to be the occasion for a discussion of the complex and frequently hard-to-formulate implications of the existence of local traditional cultures in contemporary societies.

Memory Keeper: A prototype digital application to improve engagement with people with dementia in long-term care (innovative practice).

People with dementia living in long-term care commonly experience loneliness and lack of meaningful activity. Memory Keeper is a prototype digital application that presents personalised prompts to stimulate reminiscences and meaningful engagement with formal and informal carers. A trial involving three persons with dementia in long-term care and seven family and staff members revealed no negative responses to the device or application. Family members said it was valuable in improving the quality of engagement and made visits more enjoyable. If practical and technical barriers can be overcome, Memory Keeper could become an innovative family engagement tool for dementia management.

MicroRNA-21 preserves the fibrotic mechanical memory of mesenchymal stem cells.

Expansion on stiff culture substrates activates pro-fibrotic cell programs that are retained by mechanical memory. Here, we show that priming on physiologically soft silicone substrates suppresses fibrogenesis and desensitizes mesenchymal stem cells (MSCs) against subsequent mechanical activation in vitro and in vivo, and identify the microRNA miR-21 as a long-term memory keeper of the fibrogenic program in MSCs. During stiff priming, miR-21 levels were gradually increased by continued regulation through the acutely mechanosensitive myocardin-related transcription factor-A (MRTF-A/MLK-1) and remained high over 2 weeks after removal of the mechanical stimulus. Knocking down miR-21 once by the end of the stiff-priming period was sufficient to erase the mechanical memory and sensitize MSCs to subsequent exposure to soft substrates. Soft priming and erasing mechanical memory following cell culture expansion protects MSCs from fibrogenesis in the host wound environment and increases the chances for success of MSC therapy in tissue-repair applications.

La Parole indomptée/Pawòl an mawonnaj. Memwa baboukèt/Mémoire de la muselière by Tontongi

Reviewed by: La Parole indomptée/Pawòl an mawonnaj. Memwa baboukèt/Mémoire de la muselière by Tontongi Flore Zéphir La Parole indomptée/Pawòl an mawonnaj. Memwa baboukèt/Mémoire de la muselière. By Tontongi. Paris: L’Harmattan, 2015. ISBN 978-2-343-05393-6. 276 pp. €28. From the very beginning, the title of this collection of essays, which translates to English as “the untamed or unmuted word,” informs the reader that the author will speak straightforwardly about his preoccupations. Poet, essayist, and social critic Tontongi places Haiti in the context of a “universal human project” that seeks to restore to the oppressed their rightful position in humanity (245–264).1 La Parole indomptée is a condemnation of oppression and exclusion in all facets of Haitian society. As a member of the literary community, Tontongi sees his role and duty as a keeper of collective memory, which for him is the conscience or the moral compass of a people. This moral compass is there to underscore wrongdoings, injustices, and inequalities and to spur writers to rectify them through their work. In Tontongi’s own words: “Une oeuvre littéraire qui n’exprime pas l’humanité souffrante qui n’en rend pas compte est un échec ontologique cuisant” (8). One of the mechanisms of exclusion in Haitian society has been the traditional relegation of Haitian Creole, the language spoken by 100 percent of the population, to simply vernacular status. Tontongi strives to correct the subordinate position attributed to the Haitian language. [End Page 166] By dividing his book into two sections—one written in French (La Parole indomptée, occupying pages 7–154) and the other in Creole (Memwa baboukèt, 155–269)—he sends an “untamed” message to his readership that Haitian Creole is a perfectly legitimate language fully equipped to handle such sophisticated subjects as literary criticism. In fact, in both sections he discusses several of the literary figures (Haitians and non-Haitians) who made a profound impact on his own thinking about issues of social justice, liberty, and equality. For example, he discusses the ideas of French philosopher Jean-Paul Sartre significantly and eloquently in both French and Creole. This should put to rest the question of whether or not Creole can offer the academic repertoire necessary to engage in such serious and substantive conversations. Indeed, the essays in Memwa baboukèt offer a powerful rebuttal to such claims. In La Parole indomptée, Tontongi removes the baboukèt or muselière (muzzle) that has been placed on Haitian Creole for too long. As he states, “Pour ma part, pour aider à reverser la situation d’oppression où l’on a tenu la langue et la culture créoles en Haïti, j’essaie de produire tant que possible des œuvres en créole haïtien, certaines en édition bilingue ou plurilingue” (15). In so doing, he also removes the muzzle from the mouths of the Haitian people, who should be free to raise their unmuted voices without fear as they fight for their basic human rights: equality, justice, and freedom from discrimination and oppression. In his strong desire to inscribe Haiti in a universal human project, Tontongi presents an overview of the authors he admires and respects the most for who they are (were) and for the level of “ideological comfort” that unites him with those authors (14). For example, he eulogizes Sartre for his stance against human oppression and imperialist domination and exploitation as well as for his support of revolutionary leaders (Fidel Castro and Che Guevara, among others) in their struggle for liberation throughout the Third World. According to Tontongi, if Sartre were alive today, he would have stood in solidarity with all the oppressed of the earth, including the Haitian people, in their arduous fight for the dismantling of an oppressive system that marginalizes them and takes away their human dignity (40–56). Tontongi, of course, understands that a literary critic cannot honor Jean-Paul Sartre without honoring his life companion, Simone de Beauvoir. In the Creole section of the book, he calls de Beauvoir “yon fanm vanyan total-capital” (190). He considers her to...

Kongo Atlantic Dialogues: Kongo Culture in Central Africa and in the Americas

The 2014 Gwendolen M. Carter Conference, organized by the University of Florida’s Center for African Studies and hosted by the Samuel P. Harn Museum of Art on February 21–22, was an unprecedented opportunity for international scholars from diverse disciplines to explore the Kongo Kingdom, its legacy, and its role in the diaspora. This two day conference comprised five panels—a total sixteen papers—that focused on three themes: “Kongo in Africa,” “Kongo across the Waters,” and “Kongo in the Contemporary Age.” Additional events included presentations by two leading historians of Central Africa and its diasporas: Bogumil Jewsiewicki’s preconference lecture and a keynote address by Linda Heywood. The final event, a contemporary artist roundtable (Fig. 1), brought together accomplished artists who represent the Kongo’s global influence, from the kingdom’s heartland in Central Africa, to Haiti, Cuba, and North America. The Kongo Atlantic Dialogues conference was planned in conjunction with the Samuel P. Harn Museum of Art’s exhibition and publication “Kongo across the Waters” (Figs. 2), co-organized with the Royal Museum for Central Africa in Tervuren, Belgium. The exhibition explores the Kongo Kingdom’s history through its visual expressions, and it traces how Kongo culture has contributed to the formation of African American cultures through the trans-Atlantic slave trade. “Kongo across the Waters” considers these themes in five sections defined chronologically and geographically, each of which emphasizes historical specificity and artistic innovations. Kongo and Kongo-descendant cultures on both sides of the Atlantic (Fig. 3) produced remarkable works of art whose impact continues into the present, as demonstrated by the exhibition’s final section, which presents the work of contemporary artists from Africa, the Caribbean, and the United States who have drawn on Kongo art and aesthetics (Fig. 4). (continued on p. 4) “Kongo across the Waters” was inspired by a milestone in the history of African presence in North America. Five hundred years ago, the Spanish conquistador Juan Ponce de Leon arrived on the coast of La Florida, with two free African men among his crew. Thus, the first Europeans and the first Africans arrived in North America simultaneously, a fact of great historical and symbolic significance. “Kongo Atlantic Dialogues” opened with a preconference lecture by historian—and, in practice, art historian—Bogumil Jewsiewicki. The presentation focused on contemporary Congolese artist Freddy Tsimba. Through Tsimba, Jewsiewicki addressed expansive thematic questions that were woven throughout the conference proceedings. How does the history of artistic expression in the Kongo Kingdom affect the region’s arts today? How do contemporary Congolese and Angolan people reconcile their colonial past? Tsimba’s work addresses these layers of history, as well as his preoccupation with human suffering, his Protestant background, and life in contemporary Kinshasa. Trained in fine art, Tsimba aspires to use his work to change lives; he draws on materials that signify the challenges of daily life as a means of reaching local audiences. For example, Tsimba’s sculptures made from discarded bullet casings recall the role of nkisi as memory keepers, in this instance recording memories of recent conflicts in the DRC. Jewsiewicki also addressed public reactions to Tsimba’s Machete House (2012), a structure made of machetes soldered together and topped with a thatched roof, constructed in a Kinshasa neighborhood. This work opens onto a larger discussion of creativity, violence, and art’s capacity to elicit recollections of the past. The first of two panels on the theme “Kongo in Africa” addressed a long history beginning with the Kongo Kingdom’s origins and continuing into the colonial era, tracing the region’s shifting political structures. Archaeologist Pierre de Maret and linguist Koen Bostoen began with a joint presentation of findings from the KongoKing research group. Their research calls for a reconsideration of the origins of the Kongo Kingdom. While many scholars have dismissed the notion that the kingdom originated in its eastern region, De Maret’s archaeological findings in the Lower Congo Province of the DRC, and Bostoen’s work on Kikongo languages as a reflection of sixteenth and seventeenth century population dynamics bring scholarly attention back to this hypothesis. Moving to the height of the kingdom’s power and influence, art historian Cecile Fromont showed how clothing and other personal adornment resulted from interactions between Kongo and European peoples. She addressed the ensembles worn by Kongo diplomats abroad and a chief ’s mpu cap that incorporated the insignia of the Catholic Order of the Cross. These two examples combine Kongo and foreign items to create powerful visual representations of status. Together, these papers emphasized the Kongo Kingdom’s complex organization, shifting power structures, and adaptability to new forces and new forms. The second “Kongo in Africa” panel addressed the later history of the Kongo King1 (from left) Donald Cosentino leads the artist roundtable with Edouard DuvalCarrie, Jose Bedia, Renee Stout, Radcliffe Bailey, and Steve Bandoma.

Awash in Color ed. by Chelsea Foxwell, Anne Leonard

Reviews 245 to religious institutions. For example, Kate Maxwell’s “Quant j’eus tout recordé par ordre” focuses on Guillaume de Machaut’s poems and the motivation and role of memory in their creation.“Changes of Aristocratic Identity,” by Elisabeth van Houts, provides a refreshingly new look at women in medieval times and at their central role as keepers of family or ancestral memory and lore. Of particular interest to students of modern French culture,the last section offers three studies that look back at medieval France from much more recent times and demonstrate the important role imagination and motivation play in the functioning of historical memory. To paraphrase a question raised by Elizabeth Emery in “Pierre Loti’s ‘Memories’ of the Middle Ages,” how can someone without first-hand memories of the medieval past remember it well enough to recreate or bring it back to life in an authentic or truthful manner? Or, stated differently, how close to the original iteration of an event are imagined memories of past times? Aimed at students of the Middle Ages, this richly documented and well-illustrated volume provides provocative perspectives on the subjective role of remembrance of things past. The subjective memories of earlier times that are created are then transmitted down through the ages to enhance the understanding of the modern medievalist. Indiana University-Purdue University Indianapolis Rosalie A. Vermette Foxwell, Chelsea, and Anne Leonard, eds. Awash in Color. Chicago: UP of Chicago, 2012. ISBN 978-0-9355-7351-0. Pp. 192. $30. In this collection of essays, a group of North American scholars attempt to reconstruct and make sense of the complex case of cultural exchange revolving around French and Japanese printmaking. Sumptuously illustrated, the book honors the works displayed in the Smart Museum exhibition, the starting point of the project. The editors present a diverse group of European and East Asian color prints with the objective of drawing attention to underappreciated prints by placing them alongside conventionally canonized works of well-known artists such as Hiroshige and ToulouseLautrec . The project is ambitious: it spans vast territories, a broad time frame and a wide range of printmaking techniques. Insofar as the goal is to whet scholars’appetites by showing the high quality of printmaking that predates the popular nineteenthcentury French works influenced by Japanese esthetics,or japonisme,it is very successful. However, the editors aspire to a loftier goal: to argue“that printmaking developments predating the normalization of trade and diplomatic relations between [France and Japan] in the 1850s are what allowed the two traditions to engage with each other so productively in later years”(10). The ostensible underlying purpose is to demonstrate the strengths of both traditions independent of each other. Unfortunately, there is no connecting thread building this important argument through the book, so it will be difficult for many readers to grasp the full picture. Each essay presents a different piece of the process by which printmaking developed from many aesthetic and technological exchanges that took place between several countries over time. Although the editors wish to present a balanced historic perspective, the contributing authors repeatedly underscore the successful incorporation of European technological innovations in Japanese prints and Japanese aesthetics in French prints but do not equally emphasize the triumphs of Japanese technical influence and French aesthetic impact. Readers may remain unconvinced that efforts of French artists to use Japanese techniques and Japanese artists to use French aesthetics were “productive,” whereas in fact they were. In short, the editors aspire to more than this small collection of essays can deliver. An explanatory conclusion tying the essays together and clarifying how they support the editors’ message would have made them more effective and accessible to a wider audience. Nevertheless, the book gets its main point across: focusing exclusively on japonisme is an oversimplification that ignores the rich technical and aesthetic diversity predating this famous cultural exchange. As a result, this collection can serve as an excellent springboard for more research, and we can hope for future Japanese and French perspectives on the editors’ argument. Southwestern University (TX) Lisa Gustavson Freedman, Jeffrey. Books without Borders in Enlightenment Europe. Philadelphia: UP of Pennsylvania, 2012. ISBN 978-0-8122-4389-5...

Interprofessional team dynamics and information flow management in emergency departments

In Emergency Departments, fragmentation and breakdown in information exchange can be important factors leading to adverse events. This article aims to consider the critical aspects of collaborative teamwork in Emergency Departments that may have an impact on the information flow. On the basis of Distributed Cognition Theory, we have assumed that cognitive outcomes in critical-care settings are not confined to the thoughts of isolated individuals; rather, they are better understood as properties of a distributed cognitive system across the minds of the clinical team members and across the technological artefacts. We report on an exploratory ethnographic study of two Emergency Departments. Data were collected over a period of four months in 2008 via observation and interviews. The results highlight a specific distribution of cognitive work between physicians and nurses. The nurse's roles as information highlighter, memory keeper and process organizer helped to ensure the information flow and to overcome some of the problems identified with the computer-assisted communication process. Such distribution of cognitive work improved care quality, but it crossed established professional boundaries. As cross-boundary distribution of cognitive work in Emergency Departments can be perceived as role substitution, building an interprofessional working system is needed to avoid information breakdown in fast-moving contexts. To realize an interprofessional working system, practice-based training is required, aimed at developing a deep understanding of team cognition.

Editorial: A Toxicological Transition

It is truly an honor and privilege to be entrusted with the reigns of Toxicological Sciences, the flagship journal of the Society of Toxicology. As a member since graduate school, I appreciate the importance of the Society in my own career development and welcome the opportunity to contribute back to the Society. Scientific societies serve many purposes. They host national and regional meetings that provide forums for dissemination and discussion of research findings and educational opportunities for their trainees. The society leadership also provides strategic guidance for the field. Of course, it is the membership that is the lifeblood of the society; they are the leaders, the thinkers, the scientists, the writers, the mentors, and the keepers of institutional memory.

The keepers of memory and the providers of knowledge: cultural heritage in the contemporary ethnological museum

Kakšne ustanove so sodobni etnološki muzeji? V kolikšni meri so to (še) zakladnice predmetov iz preteklega vsakdanjika etničnih skupin in narodov in kot taki čuvarji spomina na preteklost? Sodobne prakse in pogledi kažejo, da si v etnoloških muzejih v Evropi prizadevajo za reinterpretacije njihovih zbirk, vse bolj pa je v ospredju njihovega delovanja sintagma medkulturni dialog. Ob tem pa nosilci muzejske dejavnosti vse pogosteje namenoma spregledujejo družbeno kulturni kontekst zbirk, namesto katerega zaradi želje po pridobivanju večjega števila obiskovalcev in večje konkurenčnosti z umetnostnimi muzeji izpostavljajo predvsem njihove estetske vidike. *** How may we characterize the institution of the modern ethnological museum? To what extent do they continue to be treasuries of objects from the past everyday life of ethnic groups and peoples, and as such keepers of our memory of the past? Ethnological museums demonstrate with their modern practices and views that they endeavour to reinterpret their collections, and their operation focuses increasingly on cultural dialogue. In doing so, museum workers often deliberately overlook the social and cultural contexts of their collections and instead greatly emphasize their aesthetic aspects in order to increase visitor numbers and to better compete with art museums.

Epigenetic memories: structural marks or active circuits?

A hallmark of living systems is the management and the storage of information through genetic and epigenetic mechanisms. Although the notion of epigenetics was originally given to any regulation beyond DNA sequence, it has often been restricted to chromatin modifications, supposed to behave as cis-markers, specifying the sets of genes to be expressed or repressed. This definition does not take into account the initial view of epigenetics, based on nonlinear interaction networks whose "attractors" can remain stable without need for any chromatin mark. In addition, most chromatin modifications are the steady state resultants of highly dynamic modification and de-modification activities and, as such, seem poorly appropriate to work as long-term memory keepers. Instead, the basic support of epigenetic memory could remain the attractors, to which chromatin modifications belong as do many other components. The influence of chromatin modifications in memory is highly questionable when envisioned as static structural marks, but can be recovered under the dynamic circuitry perspective, thanks to their self-templating properties. Beside their standard repressive or permissive functions, chromatin modifications can also influence transcription in multiple ways such as: (1) by randomizing or inversely stabilizing gene expression, (2) by mediating cooperativity between pioneer and secondary transcription factors, and (3) in the hysteresis and the ultrasensitivity of gene expression switches, allowing the cells to take unambiguous transcriptional decisions.

Feminism, art, the library and the politics of memory

Questions posed in this short paper are based on thinking back over 30 years of feminist studies in the visual arts and museums. Does the library work for its culture, or sometimes against the grain of its own culture’s amnesia or even repressions? What are the politics of memory in relation to art library practices in terms of registering the critical reworking of knowledge that is associated with feminist critique of institutions, language, disciplines, practices, social relations? How are we to ensure libraries survive as keepers of cultural memory in the era of profitability? What will be lost under these economic pressures in terms of our ability in the future to understand our histories?

Film representations of the Rwandan genocide

In 1994 Rwanda experienced a devastating genocide in which nearly a million Tutsi and moderate Hutu were killed by Hutu extremists. Written scholarly works explain the Rwandan genocide in historical terms. Academic work on media and the genocide tend to emphasise the role played by Radio-Television Libre Des Mille Collines (RTLM) and the newspaper Kangura in instigating the Rwandan genocide. A steady output of literature on the depiction of the genocide in film is emerging but it is fragmentary, and appears in journals that are not easily accessible. The little material research on the Rwandan genocide film does not pay sufficient attention to the stereotyped language of film and how these manifest themselves through verbal, visual, sound, colour and silence aspects which constitute the semiotic system of film. This article, therefore, explores how the Rwandan genocide is represented through the documentary films A good man in hell (2002) and Keepers of memory (2004), and the feature films Hotel Rwanda (2004) and Sometimes in April (2005). These films have been sampled first because they all focus on the Rwandan genocide; second because the films purport to approach the subject of the genocide from different perspectives. Film is an important medium for socialisation.

Memory Keepers: A Narrative Study on Siblings Never Known

Drawing on literature relevant to the impact of sibling death, the authors examined the invisible loss of siblings never known. This article presents findings of a phenomenological study of 15 adult siblings who “storied” the psychological presence and power of a deceased infant sibling never known but who acted as memory keepers for their unknown sibling. Transcriptions of the 15 interviews were analyzed usng NVivo software to support development of thematic categories. The initial 29 subthemes were collapsed into 3 overarching themes of personal loss/unacknowledged loss, continuing bonds/memory keeping, and sense-making. The participants' experiences reflect support for unaddressed and unacknowledged loss for the phenomenon of loss of an unknown sibling. The retrospective narratives echo their perceived roles as memory keepers of their unknown siblings. For many participants, the research process itself was the first recognition of a sense of loss.

Building Community Through Archives: a Report on the Activities of the Canadian Slovenian Historical Society

The Canadian Slovenian Historical Society (CSHS)/Kanadsko Slovensko zgodovinsko drustvo (KSZD) started with no fanfare and the most meager of resources, but with energy and perhaps a naive belief in its role within the community. In a sense, it has become the keeper of collective memory. The term, coined by Maurice Halbwachs in his seminal study The Social Frameworks of Memory (1925) posited that memories are formed through events that have affected society, although each member can remember individual aspects. Certainly emigration to Canada from Slovenia (in its various geo-political manifestations) informs the memory of all Canadians of Slovenian heritage. The work of the CSHS is to ensure that the memory, no matter how difficult or easy, does not become lost.