This brief charts out principles for a cultural psychology of remembering. The idea at its core is a conceptualization of remembering as a constructive process--something that occurs at the intersection of a person and their social-cultural world. To do this, it moves away from the traditional metaphor of memory as storage and develops the alternative metaphor of construction as part of wider social and cultural developments in society. This new approach is developed from key ideas of Lev Vygotsky and Frederic Bartlett, in particular their concepts of mediation and reconstructive remembering. From this foundation, the authors demonstrate how remembering is conflictual, evolving, and transformative at both the individual and collective level. This approach is illustrated with concrete case studies, which highlight key theoretical concepts moving from micro-level processes to macro-level social phenomena. Among the topics covered are: The microgenesis of memories in conversation The role of narrative mediation in the recall of history Remembering through social positions in conflicts Urban memory during revolutions How memorials are used to channel grief and collective memory Remembering as a Cultural Process traces our ongoing journey to answer the question of the different ways in which culture participates in and is constitutive of what it means for humans to remember. It will be of interest to undergraduate and graduate students as well as researchers in the fields of memory studies or cultural psychology.

Venturing out of the laboratory into the wild of natural settings, it becomes untenable to locate memory strictly in the head. Instead, memory appears as a materially extended and socially distributed process, embedded within culture and history. This book explores the complex relations between practices of remembering and the settings in which they are enacted. It advances a novel set of concepts developed from ecological, cognitive, cultural and narrative currents in psychology and further afield to analyze (1) trajectories of autobiographical remembering, (2) the relation between individual and collective memory, (3) memory and cultural transmission, as well as (4) various methodological techniques to investigate memory in the wild.

Venturing out of the laboratory into the wild of natural settings, it becomes untenable to locate memory strictly in the head. Instead, memory appears as a materially extended and socially distributed process, embedded within culture and history. This book explores the complex relations between practices of remembering and the settings in which they are enacted. It advances a novel set of concepts developed from ecological, cognitive, cultural and narrative currents in psychology and further afield to analyze (1) trajectories of autobiographical remembering, (2) the relation between individual and collective memory, (3) memory and cultural transmission, as well as (4) various methodological techniques to investigate memory in the wild.

"Democracy is the worst form of government, except for all the others" once remarked Winston Churchill. In this day and age this quotation resonates more than ever. This book explores democracy from the perspective of social and cultural psychology, highlighting the importance of the everyday basis of democratic practices. This approach takes us beyond the simple understanding of democracy in its institutional guise of free elections and public accountability, and towards a focus on group dynamics and personal characteristics of the democratic citizen, including their mentalities, habits and ways of relating to others. The book features discussions of the two-way street between democracy and dictatorship; conflicts within protests, ideology and public debate; and the psychological profile of a democratic citizen and its critique. While acknowledging the limitations of today's democratic systems, this volume aims to re-invigorate democracy by bringing psychology to the table of current debates on social change and citizenship.

"Democracy is the worst form of government, except for all the others" once remarked Winston Churchill. In this day and age this quotation resonates more than ever. This book explores democracy from the perspective of social and cultural psychology, highlighting the importance of the everyday basis of democratic practices. This approach takes us beyond the simple understanding of democracy in its institutional guise of free elections and public accountability, and towards a focus on group dynamics and personal characteristics of the democratic citizen, including their mentalities, habits and ways of relating to others. The book features discussions of the two-way street between democracy and dictatorship; conflicts within protests, ideology and public debate; and the psychological profile of a democratic citizen and its critique. While acknowledging the limitations of today's democratic systems, this volume aims to re-invigorate democracy by bringing psychology to the table of current debates on social change and citizenship.

This book offers a new approach to imagination which brings its emotional, social, cultural, contextual and existential characteristics to the fore. Fantasy and imagination are understood as the human capacity to distance oneself from the here?and?now situation in order to return to it with new possibilities. To do this we use social?cultural means (e.g. language, stories, art, images, etc.) to conceive of imaginary scenarios, some of which may become real. Imagination is involved in every situation of our lives, though to different degrees. Sometimes this process can lead to concrete products (e.g., artistic works) that can be picked up and used by others for the purposes of their imagining. Imagination is not seen here as an isolated cognitive faculty but as the means by which people anticipate and constructively move towards an indeterminate future. It is in this process of living forward with the help of imagination that novelty appears and social change becomes possible. This book offers a conceptual history of imagination, an array of theoretical approaches, imagination's use in psychologist's thinking and a number of new research areas. Its aim is to offer a re?enchantment of the concept of imagination and the discipline of psychology more generally.

This book offers a new approach to imagination which brings its emotional, social, cultural, contextual and existential characteristics to the fore. Fantasy and imagination are understood as the human capacity to distance oneself from the here?and?now situation in order to return to it with new possibilities. To do this we use social?cultural means (e.g. language, stories, art, images, etc.) to conceive of imaginary scenarios, some of which may become real. Imagination is involved in every situation of our lives, though to different degrees. Sometimes this process can lead to concrete products (e.g., artistic works) that can be picked up and used by others for the purposes of their imagining. Imagination is not seen here as an isolated cognitive faculty but as the means by which people anticipate and constructively move towards an indeterminate future. It is in this process of living forward with the help of imagination that novelty appears and social change becomes possible. This book offers a conceptual history of imagination, an array of theoretical approaches, imagination's use in psychologist's thinking and a number of new research areas. Its aim is to offer a re?enchantment of the concept of imagination and the discipline of psychology more generally.

In his now classic Voices of Collective Remembering, James V. Wertsch (2002) examines the extent to which certain narrative themes are embedded in the way the collective past is understood and national communities are imagined. In this work, Wertsch coined the term schematic narrative templates to refer to basic plots, such as the triumph over alien forces or quest for freedom, that are recurrently used, setting a national theme for the past, present and future. Whereas specific narratives are about particular events, dates, settings and actors, schematic narrative templates refer to more abstract structures, grounded in the same basic plot, from which multiple specific accounts of the past can be generated. As dominant and naturalised narrative structures, schematic narrative templates are typically used without being noticed, and are thus extremely conservative, impervious to evidence and resistant to change. The concept of schematic narrative templates is much needed today, especially considering the rise of nationalism and extreme-right populism, political movements that tend to tap into national narratives naturalised and accepted by large swathes of society. The present volume comprises empirical and theoretical contributions to the concept of schematic narrative templates by scholars of different disciplines (Historiography, Psychology, Education and Political Science) and from the vantage point of different cultural and social practices of remembering (viz., school history teaching, political discourses, rituals, museums, the use of images, maps, etc.) in different countries. The volume's main goal is to provide a transdisciplinary debate around the concept of schematic narrative templates, focusing on how narratives change as well as perpetuate at times when nationalist discourses seem to be on the rise. This book will be relevant to anyone interested in history, history teaching, nationalism, collective memory and the wider social debate on how to critically reflect on the past.

In his now classic Voices of Collective Remembering, James V. Wertsch (2002) examines the extent to which certain narrative themes are embedded in the way the collective past is understood and national communities are imagined. In this work, Wertsch coined the term schematic narrative templates to refer to basic plots, such as the triumph over alien forces or quest for freedom, that are recurrently used, setting a national theme for the past, present and future. Whereas specific narratives are about particular events, dates, settings and actors, schematic narrative templates refer to more abstract structures, grounded in the same basic plot, from which multiple specific accounts of the past can be generated. As dominant and naturalised narrative structures, schematic narrative templates are typically used without being noticed, and are thus extremely conservative, impervious to evidence and resistant to change. The concept of schematic narrative templates is much needed today, especially considering the rise of nationalism and extreme-right populism, political movements that tend to tap into national narratives naturalised and accepted by large swathes of society. The present volume comprises empirical and theoretical contributions to the concept of schematic narrative templates by scholars of different disciplines (Historiography, Psychology, Education and Political Science) and from the vantage point of different cultural and social practices of remembering (viz., school history teaching, political discourses, rituals, museums, the use of images, maps, etc.) in different countries. The volume's main goal is to provide a transdisciplinary debate around the concept of schematic narrative templates, focusing on how narratives change as well as perpetuate at times when nationalist discourses seem to be on the rise. This book will be relevant to anyone interested in history, history teaching, nationalism, collective memory and the wider social debate on how to critically reflect on the past.