This thesis explores the moral life worlds of people who have been imprisoned in Mexico, while considering how they incorporate the fate of imprisonment into the story of their lives through cognitive, discursive, sensory, affective, recollective and imaginary processes. The midst of a war on drugs in Mexico confirms that structural factors like political premises and poverty, as well as class backgrounds and racial discrimination largely determine who goes to prison. However, this research is not only confined to a structural analysis, since prisoners also explain their imprisonment in relation to other contingent encounters and coincidences occurring in their every day life. As such, imprisonment seems for prisoners like an unimagined possibility and a latent daily risk. Using a variety of ethnographic methods and modes of representation, this research sheds light on how imprisonment is related to stories of love, treason, memories and hopes. I draw from prisoners and ex-prisoners’ personal sources of expression like their writings; I recur to eliciting their memories through their objects and crafts; I pay attention to the role of the gaze in crafting identities in prison; I also draw attention to prisoners and ex-prisoners’ expressions of feelings and emotions. I argue that such sources and sensorial realms and methods offer relevant insights into their existential experiences. They are also important devices to represent stories from below. Through inmates’ narratives and practices my work offers stories, explanations and effects of incarceration alternative to the official reasons legitimating incarceration. Central to my work is my film Time will Tell that documents the lives of three ex-prisoners and represents their every day duties, and the sensory and corporeal implications of the aftermath of imprisonment. Film has been a central piece of my ethnographic research since it allows audiences to engage with realms of experience that go beyond the one offered by language and text; so as to also help evoke – and not only illustrate- the whole of the journey out of prison as an ontological and sensuous experience.

The primary interest of this investigation concerned working memory functioning and cue/act discrimination during encoding of intentions. The study included manipulations of working memory and intention load to investigate the encoding processes related to prospective memory (PM). Three experiments are presented that involve working memory distraction tasks at the time of encoding the PM intentions, as well as varying numbers of cues and actions. In the first experiment three cues were paired with one action, in the second, one cue with three actions, and in the third, three cues with three actions. Results suggest that the central executive is involved in binding a cue to an action, and that this operation is key to PM success. Furthermore, the phonological loop seems primarily involved with processing of cues and the visuospatial sketchpad with actions. It is further proposed that the processes of the phonological loop and visuospatial sketchpad must be successful before the central executive can bind the cues and acts together, which is possibly the most important part in the encoding of intentions. By directly examining PM at the time of encoding, information was gained that allows for a more complete understanding of the nature of how we form and execute intentions.

Thematically this paper falls into the topic of second part of book being written by doc. Jurková Prague soundscapes, which looks into modes of remembering. This paper deals with one of these modes, which is music as medium of remembering. It is a case study, that inquires reminiscing of in-group of people, that formed around the year 2003 in music bar Woodstock in Prague. The central link for this group, or using the term of Thomas Turino, cultural cohort, was western popular music of the 1960s and bar, wher the group regularly met. The paper examines two levels that interconnect these memories and inquires what role does the music play in memories of the members now, when the bar has come through series of changes. The first one is remembering on indivudual level, remembering the times of discovering the 60s music, and second is the period of the "golden age" of the bar in it's beginning. There is an important distinction between two ways in which it is possible to look back though music - revival, which is by nature activist and nostalgia, which is passive. Theoretically, apart from classic Merriam's three part model, is this worke based on the concept of collective memory of Maurice Halbwachs. However, it diverts from radical Halbwachsian anti-individualism and with regard to more contemporary...

The Algerian War of Independence (1954-1962) has generally not been talked about in France despite having around 2 million Algerians living in France. The memory of the war has been a contested issue in France between the French state's official memory and the Algerian memory. As the topic has been mainly discussed by historians and state officials, this study looks at how the young Algerians living in France obtain and deal with the memory of the Algerian War, by exploring the reinforcement of memories from the past to the present. Issues of remembering, commemorating, and reconciling are examined among the young Algerians in France who did not experience the war directly but feel strongly connected to it in the present day. ​​Placed at the intersection of Peace and Conflict Studies and Memory Studies fields, this qualitative study is based on six interviews and employs thematic analysis of the interview material. The analysis reveals the intergenerational shaping of collective memories and highlights the importance of considering both state-level policies and individual perceptions for achieving reconciliation. The study shows that research on collective memory can contribute to a deeper understanding of the ongoing struggles for recognition and acknowledgement.

This thesis addresses the issues of traumatic war memory concerning remembering and forgetting as presented construction of war memory in popular culture by closely examining the Japanese television anime series The Big O. The thesis proposes that the story told in The Big O can be seen as a vehicle for understanding why the Japanese wished to forget traumatic war memories related to the defeat of Japan in World War II. The Big O is a science fiction story that is set in a postwar defeated society. The protagonist of the story is Roger Smith, who searches for his lost memories. He is a social advocate for the people who want to recall their lost memories and acts as a negotiator in Paradigm City, a city that lost its own memories forty years ago. Drawing upon memory studies, the thesis explores various aspects of Japanese ambition and social concerns that emerged in Japan’s postwar society, including the national pride for the 1964 Tokyo Olympics, the rising economic success, and the revision of World War II’s history in school textbooks. The thesis examines dialogues by the characters in The Big O by paying attention to two major arguments surrounding memories: remembering and forgetting. By doing so, the thesis attempts to elucidate the ways in which war memories are at times remembered and often forgotten by those recovering from the wounds of war.

Master of Science / This thesis concerns a predominantly white university, Western Carolina University, with historical links to the Cherokee people as well as contemporary links to the Eastern Band of Cherokee Indians. I chose to analyze WCU's student newspaper within a 50-year period before and during the beginning emergence of the American Indian Movement to determine in what ways, if any, do students engage with settler-colonial narratives to selectively remember events and express their student body collective identity. Within the analysis process, I determined the narratives of Ancient Peoples, Exoticism and Romanticism, and Civilized and Uncivilized Peoples most significantly impacted student identity formation. My results demonstrated how students' newspaper articles intertwined campus identity narratives with a perpetuation of settler-colonial beliefs.

Five humans were exposed to a matching to sample task in which the delay (range = 0 to 32 seconds) between sample stimulus offset and comparison onset was manipulated across conditions. Auditory stimuli (1” tone) and arbitrary symbols served as sample stimuli for three (S1, S2, S3) and two (S4 and S5) subjects, respectively. Uppercase English letters (S, M, and N) served as comparison stimuli for all subjects. Results show small but systematic effects of the retention interval on accuracy and latency to selection of comparison stimuli. The results fail to show a difference between subjects exposed to auditory and visual sample stimuli. Some reasons for the failure to note a difference are discussed.

The present diploma thesis with the title 'The whole camp game as a means of gaining children knowledge and skills' focuses on the elaboration of games as a completion in summer camps for children. It deals mainly with educational components and the acquisition of social behaviour conveyed by these games. The thesis is split into a theoretical and an empirical part. The theoretical part is focused on the theory of whole camp games. It also deals with motivation, which is important for the ability to remember a fact. The games are presented as an inseparable part of the summer camps, last but not least affecting the pattern of learning. The empirical part is divided into several chapters. The first chapter contains a description of whole camp game under the motto of 'time machine', which were realized in a summer camp in 2010, organized by the STROM P.B.m. association. The next chapter deals with the didactical testing and elaboration. This test has been given to the children on three occasions - during the summer camp, one month later, and six months later. The last chapter focuses on social skills and presents examples of games, which lead to an improvement of social skills. The main goal of this thesis was to find out, whether it is possible to remember certain facts acquired during whole camp...

Indelible is a performance and dance research project. It has three outcomes or pathways, presented on DVD-ROM, via which the user-reader can experience multi-modal perspectives on remembering, memory, and representing performative ideas, events and actions. These pathways are video, writing and interactive and together they form a series of hypermedia framings by which the corporeal and philosophical underpinnings of the project are witnessed. The research is considered to be practice-led, in which my practice consists of choreographic strategies, physical actions, media-based processes, and writing. Within these core representations I have sought to confront the methodological and theoretical paradox affecting performance makers electing to recontextualise their work beyond live processes. How might the absence or disappearance of a so-called live work contribute to the overall design and representational practices underlying the outcomes? In this sense the three pathways that comprise Indelible generate a complex network of artistic, scholarly, poetic, and methodological layerings or enfoldings in which the user-reader is presented with possibilities for experiencing the vital subjectivity and inherent fallibility of memory and remembering. (For complete abstract open dopcument)

Information stored in digital media literally and metaphorically loses its historical dimensions but gains spatial relations and burgeoning cross-references. Thus, all of culture, and by extension, its products too, are losing their historical dimension in the age of digital, networked technologies in favor of a constant, real-time information flow, produced by exchange and morphing.