Journal articles: 'Memory palace'

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Hamilton, Colin. "The Memory Palace." Missouri Review 20, no. 2 (1997): 154–58. http://dx.doi.org/10.1353/mis.1997.0045.

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Mungello, David E., and Jonathan D. Spence. "The Memory Palace of Matteo Ricci." American Historical Review 91, no. 2 (April 1986): 444. http://dx.doi.org/10.2307/1858259.

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Momchedjikova, Blagovesta. "The Miniature Metropolis as Memory Palace." Journal of American & Comparative Cultures 25, no. 3‐4 (September 2002): 312–15. http://dx.doi.org/10.1111/1542-734x.00045.

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Ferris, Iain M. "Invisible Architecture: Inside the Roman Memory Palace." Theoretical Roman Archaeology Journal, no. 1993 (April 16, 1999): 191. http://dx.doi.org/10.16995/trac1993_191_199.

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Ghirardo, Diane Yvonne. "Lucrezia Borgia's Palace in Renaissance Ferrara." Journal of the Society of Architectural Historians 64, no. 4 (December 1, 2005): 474–97. http://dx.doi.org/10.2307/25068201.

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Lucrezia Borgia, duchess of Ferrara, constructed a palace in Ferrara between 1515 and 1518 adjacent to the convent of San Bernardino, which she had founded in 1509. Following her death in 1519, most of the palace was turned over to the nuns of San Silvestro for their new convent, and all historical memory of the palace disappeared. She did not intend the palace as a suburban residence or as a spectacular retreat, but as the head-quarters of her burgeoning agricultural and reclamation enterprises, activities also forgotten over the centuries. This study strips away the additions that were erected between 1520 and 1809 to arrive at a projected reconstruction of the palace as commissioned by Lucrezia, and explores the evidence for how she intended to use it.

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Wolska, Dorota. "Garden Palace rozebrany do kości. Sztuka jako anamneza." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 69–78. http://dx.doi.org/10.19195/0860-6668.21.4.4.

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Garden Palace stripped to the bone. Art as anamnesisLondon’s Crystal Palace, the site of the first international exhibition in 1851 and the architectural symbol of modernity, was widely imitated not only in Europe. Sydney also had its crystal palace. The Australian Garden Palace, similarly to the ones in London, New York and Munich, burnt to the ground in 1882. In 2016 aboriginal artist Jonathan Jones tried to restore it in Australia’s collective memory. However, Jones’ project, barrangal dyara skin and bones, introduces a postcolonial perspective and recoveres the narratives that were repressed in White Australia, with the hope of working through the common past.

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羅秀美, 羅秀美. "文化記憶的追尋與再現：以「故宮文學家」作品中的「北溝故宮」書寫為主." 中正漢學研究 34, no. 34 (December 2019): 149–84. http://dx.doi.org/10.53106/2306036020191200340006.

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1949年後北京故宮輾轉播遷至臺灣，落腳於臺中霧峰北溝(1950-1965)十六年。守護者莊嚴全家也落腳於此，此地乃當時臺中最重要的文化及旅遊勝地。然1965年北溝故宮北遷後，空餘庫房山洞供人憑弔。當時曾出現一批「故宮文學家」，他們與「北溝故宮」有或深或淺的關係，曾留下相關記憶的書寫，這些文本正是本論文考察的對象。職是，本論文以文化空間與文學記憶為論述概念，首論偏安北溝的「回憶空間」，莊嚴父子大半生與故宮文物流離至北溝所構建的回憶空間。其次則論在此文化空間的文人對傳統文化的傳承，即孔德成與臺靜農等人至北溝故宮清點文物的記憶。第三則論及個體記憶的再現，以臺靜農與林文月、凌叔華與蘇雪林的北溝旅行為主。第四則論及集體記憶中的文化旅遊勝地，兼論齊邦媛的英譯暨陪訪史。透過以上討論，可在集體的歷史大敘述外，呈現個體的文學記憶，豐富北溝故宮之文化記憶。  After 1949, the Palace Museum from Beijing relocated to Taiwan and settled in Beigou北溝 of Taichung (1950-1965) for 16 years. Zhuang Yan莊嚴 and his family who guard the Palace Museum in Beigou北溝故宮 is also setteled here, this place also was the most important cultural tourist attraction in Taichung.However, after the Palace Museum in Beigou北溝故宮 moved northward in 1965, the empty warehouse caves in this area were for people to hang. At that time, a group of " the Palace Museum writers故宮文學家" appeared. They had a deep or shallow relationship with the " the Palace Museum in Beigou北溝故宮",they had left relevant memory writing,these texts are the objects of this paper. In this paper, the concept of cultural space and literary memory is discussed in this dissertation. Firstly, discussion is about the “memory space” in Beigou北溝,the memory space constructed by the Zhuang Yan莊嚴 father and son for most of his life and the Palace Museum 故宮’s cultural relics moved to Beigou北溝. Secondly, it discusses the inheritance of traditional culture by the literati in this cultural space, that is, the memory of Kung Te-Cheng孔德成 and Tai Jing-nong臺靜農 and others to the Palace Museum in Beigou北溝故宮 to count the cultural relics. Thirdly, on the reappearance of personal memory, mainly on the the Palace Museum in Beigou北溝故宮 trip of Tai Jing-nong臺靜農 and Lin Wen-yue林文月, Ling Shu-hua凌叔華and Su Xue-lin蘇雪林. Fourthly, the cultural tourism resort in the collective memory, as well as the history of Qi Bang-yuan’s齊邦媛English translation and accompanying visits. Through the above-mentioned discussion, the individual’s literary memory can be presented in addition to the collective grand historical narrative, especially enrich the cultural memory of the Palace Museum in Beigou北溝故宮.

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Brintlinger, Angela. "Fiction as Mapmaking: Moscow as Ivan Bunin's Russian Memory Palace." Slavic Review 73, no. 01 (2014): 36–61. http://dx.doi.org/10.5612/slavicreview.73.1.0036.

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In his fiction written from the 1920s through 1940s Ivan Bunin set a number of stories in Moscow, naming specific places, many of which were closed or destroyed after the 1917 Revolution by the Soviet regime or by Nazi bombing during World War II. In so doing, Bunin used Moscow to map the cultural memory of the Russian emigration, with the ancient city of Moscow standing as its “memory palace” while contributing to the “Moscow text.“ In his 1944 story “Cleansing Monday,” in particular, Bunin conducted this mnemonic project on three levels: historical, spiritual, and didactic. He did so for both a Russian readership—his compatriots abroad and potential (future) readers back home—and a foreign audience increasingly interested in Russia. Through close reading of the story, diary entries, and Bunin's biography, this article explores the idea of a memory palace and four specific memory images, comparing Bunin's depiction of Russia to a 1915 depiction by English traveler Stephen Graham.

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Bram, Barli, Aditya Agung Sutono, and Tabita Hermayani. "Applying the principles of Matteo Ricci’s memory palace technique." Journal of Applied Studies in Language 4, no. 1 (June 29, 2020): 9–18. http://dx.doi.org/10.31940/jasl.v3i2.1475.

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Bram, Barli, Aditya Agung Sutono, and Tabita Hermayani. "Applying the principles of Matteo Ricci’s memory palace technique." Journal of Applied Studies in Language 4, no. 1 (June 29, 2020): 9–18. http://dx.doi.org/10.31940/jasl.v4i1.1572.

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Kim, Yejin, and Namhyo Kim. "‘The Palace of Memory’ exhibition concept applying to Residential Plan." Journal of Korean Society Of Exhibition Design Studies 14, no. 1 (June 30, 2017): 7–17. http://dx.doi.org/10.34144/eds.27.1.

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Peeters, Anco, and Miguel Segundo-Ortin. "Misplacing memories? An enactive approach to the virtual memory palace." Consciousness and Cognition 76 (November 2019): 102834. http://dx.doi.org/10.1016/j.concog.2019.102834.

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Li, Lily. "Fatal Betrayal and Persistent Memory in Lou Ye's Summer Palace." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 48, no. 2 (2021): 276–95. http://dx.doi.org/10.1353/crc.2021.0011.

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Vetter, Jordan. "Through the eyes of the Potala Palace: Difficult heritage and memory in Tibet." IJournal: Graduate Student Journal of the Faculty of Information 6, no. 1 (December 23, 2020): 1–17. http://dx.doi.org/10.33137/ijournal.v6i1.35270.

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The Potala Palace in Lhasa, Tibet serves as an important religious symbol and an embodiment of Tibetan culture. Ever since Chinese troops invaded Tibet in the 1950s, the Chinese government has attempted to control Tibet, including converting the Potala Palace and its rich material culture into a secular institution on display for tourists. Now void of the Dalai Lama and most of its contents, the Potala has become a façade for public consumption of Chinese state-led narratives and a symbol of cultural oppression. Through their approaches to heritage management and tourism, and with the aid of the Potala’s listing as a UNESCO World Heritage site, China is capitalizing on Tibet’s cultural heritage, undermining the Tibetan people and their culture, and controlling the narrative of Tibetan history to alter the collective memory of Tibetans.

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Moicєєв, Дмитро. "MUHAMET-GERAI'S HAMAM: THE DISAPPEARED PART OF THE BAKHCHYSARAI PALACE." City History, Culture, Society, no. 10 (3) (November 17, 2020): 52–61. http://dx.doi.org/10.15407/mics2020.10.052.

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This article is about the problem of the historical topography of the downtown of Bakhchisarai -Hansaray. It was the centre of formation of the medieval city and the capital of the Crimean Khanate. A popular belief is that Hansaray is, in one sense, a copy and development of the idea of a medieval Eastern Palace (videlicet, the Top Cap in Istanbul) and dominates in historiography. The study of kırımlı cultural and historical heritage remains at a very low level as a result of permanent genocide by Russia empire in the XIX-XX centuries. This led to the development of a distorted picture of the historical and scientific understanding of cultural heritage. Great and significant monuments, even scientific memory about them, have disappeared from the cultural and historical landscape. Mehmed IV Geray baths is an example of this. The actual location of the monument with the help of archaeological geolocation method has been determined in this article. This discovery and interpretation, as an important part of the palatial part of the city development, gives a different look at the whole complex of Hansaray. The Khan's Palace is the centre of the city in contradistinction from the Oriental palaces. Quarters of socially important structures formed around it (one of them was Mohammed IV Giray's baths). After that city development transforms into civic blocks with town mansions, mosques and other public buildings.

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Williams, Grant. "Phantastes’s Flies: The Trauma of Amnesic Enjoyment in Spenser’s Memory Palace." Spenser Studies 18, no. 1 (January 2003): 231–52. http://dx.doi.org/10.1086/spsv18p231.

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Miller, Paul. "Forgetting Franz Ferdinand: The Archduke in Austrian Memory." Austrian History Yearbook 46 (April 2015): 228–60. http://dx.doi.org/10.1017/s0067237814000186.

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In 1909, at age forty-six,FranzFerdinand made a decision about his deaththat would shape the memory of his life: he would be buried beside his morganatic wife, Sophie Chotek, at his palace in Artstetten (Lower Austria). That may not seem like much from the perspective of our own era. But in the context of the 600-year-old tradition-bound Habsburg dynasty, and in view of the archduke's exalted place in it as nephew of the near octogenarian emperor and next in line for the imperial throne, it was pure rebellion. For what the successor had also determined was where he wouldnotbe interred—with his esteemed ancestors in Vienna'sKaisergruft(Kaiser Crypt), which was strictly off-limits to lesser nobility like the Duchess of Hohenberg.

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Pramutomo, R. M. "Royal Attire, Ceremonialism, and Performing Arts in the Kraton of Yogyakarta." International Journal of Culture and History 7, no. 1 (June 19, 2020): 16. http://dx.doi.org/10.5296/ijch.v7i1.16557.

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Royal attire aspect as part of the process of fashion and identity is an interesting phenomenon for a study. Especially if that aspect is then intended as a special element in relation to the events of ceremonialism and performance art in Yogyakarta Palace. In this presentation, a phenomenon which is closely related to the development of attires in the event of ceremonialism and performance art in the palace. Ceremonialism itself is a formal pattern designed for strategic interests which is combined in a compromise manner through the presentation of performance art. As stored in archival and document sources, there are always a number of formal standard patterns applied in ceremonialism. The best sources that are still being treated in the Sultan's Palace are manuscript records such as planners, budgels, pranatan and so on. In addition, through the archival studies approach, it is also known that the pattern of formal memory is also well stored among society record keepers as an oral tradition. This archival studies approach then limits in the area of fashion studies in a variety of standard formal patterns when the Yogyakarta Kraton performing arts perform certain ceremonies.

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Jones, Janna. "Consumed With the Past: Nostalgia, Memory, and Ghostly Encounters at the Picture Palace." Cultural Studies ↔ Critical Methodologies 1, no. 3 (August 2001): 369–91. http://dx.doi.org/10.1177/153270860100100306.

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Robbins, Richard G. "Building Vladimir Dzhunkovskii's Memory Palace: The Curious Fate of His Archive and Memoir." Journal of Modern Russian History and Historiography 4, no. 1 (2011): 1–30. http://dx.doi.org/10.1163/221023811x606242.

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This article traces the convoluted route by which Vladimir Dzhunkovskii's personal papers, originally deposited in Pushkinskii dom in the early 1920s, and his voluminous memoir, acquired by Vladimir Bonch-Bruevich for the State Literary Museum (GLM) in 1934, came to reside in what is now the State Archive of the Russian Federation (GARF). It also opens windows on little-known aspects of Dzhunkovskii's early life, examines his reasons for writing his memoirs, explores the question of his missing diary, and sheds light on Dzhunkovskii's contacts with Soviet authorities and his consultations for the OGPU. The article shows how Dzhunkovskii's papers, memoirs and persona became issues in the infamous Akademicheskoe delo in 1929 and figured in “museum politics” during the mid-1930s.

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Sadokierski, Zoe. "Memory Palace exhibition Victoria & Albert Museum, London, 18 June – 20 October 2013." Visual Communication 14, no. 1 (January 8, 2015): 121–24. http://dx.doi.org/10.1177/1470357214541763.

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Legge, Eric L. G., Christopher R. Madan, Enoch T. Ng, and Jeremy B. Caplan. "Building a memory palace in minutes: Equivalent memory performance using virtual versus conventional environments with the Method of Loci." Acta Psychologica 141, no. 3 (November 2012): 380–90. http://dx.doi.org/10.1016/j.actpsy.2012.09.002.

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Schulze-Engler, Frank. "When remembering back is not enough: Provincializing Europe in World War II novels from India and New Zealand." Memory Studies 11, no. 3 (July 2018): 315–27. http://dx.doi.org/10.1177/1750698018771861.

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While the participation of millions of non-European soldiers in global wars has often been neglected or told as a victimological tale of unwilling war participation, choice and agency play a major part in the complex mnemonic agenda that unfolds in two novels that have pioneered the literary re-imagination of World War II from a non-European perspective: Amitav Ghosh’s The Glass Palace and Patricia Grace’s Tu. Both novels provide fascinating insights into ongoing processes of memory revision that contribute to an altered global memory of global war. Setting the historical record right by highlighting the achievements and sacrifice of non-European soldiers certainly constitutes one component of these processes, but to reduce these novels to instances of an allegedly “postcolonial” act of “remembering back” not only misses what these novels are substantially about, but also ironically re-centers Europe as the hub of global memory rather than de-centring Eurocentric memory routines.

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Larchen Costuchen, Alexia, Ramón Pascual Mollá Vayá, and Darina Dinkova Dimitrova. "Roman Palace: A Videogame for Foreign-Language Vocabulary Retention." International Journal of Emerging Technologies in Learning (iJET) 17, no. 05 (March 14, 2022): 87–102. http://dx.doi.org/10.3991/ijet.v17i05.27621.

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The goal of this work was to develop a serious game which would aid in the retention of foreign-language non-contextualized vocabulary items in different age categories. To this end, the loci method was used to enhance visual and spatial memory among the game’s players. The novelty of this proposal lies in the combining of mnemonic strategies with the environment of an exploratory video game. Structurally, this project consists of three main pillars: pedagogical foundations, the development of the serious game, and the evaluation of the game's efficiency through qualitative and quantitative study. The 3D game was developed through the Unity game engine in its version 2020.3. The prototype’s efficiency was assessed quantitatively in an experimental group of 21 participants who were compared with a control group of 27 participants. All the data were displayed in R Studio using the ggplot2 library. The study was complemented with qualitative findings collected through semi-structured interviews with a group of 7 participants. The experimental method proved to be more efficient and more entertaining than the conventional method used in the control group.

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Smagol, O. S. "Volto del Cavallo in Ferrara: problems of time, space, glory and memory." Journal of the Belarusian State University. History, no. 2 (April 30, 2019): 84–95. http://dx.doi.org/10.33581/2520-6338-2019-2-84-95.

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The article touches upon characteristic features of a so-called Volto del Cavallo, a Renaissance portal on the rulers’ d’Este palace facade in the 15th century Ferrara. It’s analyzed in the process of its gradual formation and in the context of such problems as time (in terms of a private biography as well as historically), space (palatial space, that of Ferrara as a city, space of the Quattrocento Ecumene), glory and last but not least memory of Ferrara leaders. This range of Volto del Cavallo parallel interpretations tends to be new and brings one to a conclusion that each aspect in question, when looked at in connection with the discussed portal was engaged in glorification of the d’Este power.

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Wang, Eugene Y. "Mirror, Moon, and Memory in Eighth-Century China: From Dragon Pond to Lunar Palace." Cleveland Studies in the History of Art 9 (January 2005): 42–67. http://dx.doi.org/10.1484/j.cshac.2.301911.

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Reser, David, Margaret Simmons, Esther Johns, Andrew Ghaly, Michelle Quayle, Aimee L. Dordevic, Marianne Tare, Adelle McArdle, Julie Willems, and Tyson Yunkaporta. "Australian Aboriginal techniques for memorization: Translation into a medical and allied health education setting." PLOS ONE 16, no. 5 (May 18, 2021): e0251710. http://dx.doi.org/10.1371/journal.pone.0251710.

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Background Writing and digital storage have largely replaced organic memory for encoding and retrieval of information in the modern era, with a corresponding decrease in emphasis on memorization in Western education. In health professional training, however, there remains a large corpus of information for which memorization is the most efficient means of ensuring: A) that the trainee has the required information readily available; and B) that a foundation of knowledge is laid, upon which the medical trainee builds multiple, complex layers of detailed information during advanced training. The carefully staged progression in early- to late- years’ medical training from broad concepts (e.g. gross anatomy and pharmacology) to in-depth, specialised disciplinary knowledge (e.g. surgical interventions and follow-on care post-operatively) has clear parallels to the progression of training and knowledge exposure that Australian Aboriginal youths undergo in their progression from childhood to adulthood to Tribal Elders. Methods As part of the Rural Health curriculum and the undergraduate Nutrition and Dietetics program in the Monash University Faculty of Medicine, Nursing, and Health Sciences, we tested Australian Aboriginal techniques of memorization for acquisition and recall of novel word lists by first-year medical students (N = 76). We also examined undergraduate student evaluations (N = 49) of the use of the Australian Aboriginal memory technique for classroom study of foundational biomedical knowledge (the tricarboxylic acid cycle) using qualitative and quantitative analytic methods drawing from Bloom’s taxonomy for orders of thinking and learning. Acquisition and recall of word lists were assessed without memory training, or after training in either the memory palace technique or the Australian Aboriginal narrative technique. Results Both types of memory training improved the number of correctly recalled items and reduced the frequency of specific error types relative to untrained performance. The Australian Aboriginal method resulted in approximately a 3-fold greater probability of improvement to accurate recall of the entire word list (odds ratio = 2.82; 95% c.i. = 1.15–6.90), vs. the memory palace technique (odds ratio = 2.03; 95% c.i. = 0.81–5.06) or no training (odds ratio = 1.5; 95% c.i. = 0.54–4.59) among students who did not correctly recall all list items at baseline. Student responses to learning the Australian Aboriginal memory technique in the context of biomedical science education were overwhelmingly favourable, and students found both the training and the technique enjoyable, interesting, and more useful than rote memorization. Our data indicate that this method has genuine utility and efficacy for study of biomedical sciences and in the foundation years of medical training.

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Dwor, Richa. "“Poor Old Palace-Prison!”: Jewish Urban Memory in Amy Levy’s “The Ghetto at Florence” (1886)." Partial Answers: Journal of Literature and the History of Ideas 13, no. 1 (2015): 155–69. http://dx.doi.org/10.1353/pan.2015.0011.

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Hollis, Edward. "The House of Life and the Memory Palace: Some Thoughts on the Historiography of Interiors." Interiors 1, no. 1 (July 2010): 105–17. http://dx.doi.org/10.2752/204191210791602267.

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Hay, Jonathan Scott. "Ming Palace and Tomb in Early Qing Jiangning: Dynastic Memory and the Openness of History." Late Imperial China 20, no. 1 (1999): 1–48. http://dx.doi.org/10.1353/late.1999.0002.

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Sobieraj, Leonard. "IN MEMORY OF MARIAN SOŁTYSIAK." Muzealnictwo 58, no. 1 (July 3, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.1578.

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Marian Sołtysiak, PhD, director of the Mazovian Museum in Płock (MMP) from 1961 to 1977, passed away on 20 November 2016. During his office, the museum was transformed into a supraregional institution, extended its collections, expanded its scientific and popularising activity, established contacts with academic and artistic circles, and acquired a new building in the Castle of the Mazovian Dukes. The most significant decision which set the institution’s further course was to start collecting Art Nouveau works, which now form the largest collection of Art Nouveau in Poland and is a showpiece of the museum. They also contributed to the network of museums in the Mazovian region, which led to the development of cultural life in our region. Marian Sołtysiak wrote publications devoted to our museum, one based on his PhD thesis The Mazovian Museum in Płock. Its history and social functions, as well as a memoir The Secesja with petrochemistry in the background. Once he left the MMP, he held important positions in various institutions in Warsaw; for example he was the organiser and first director of the Board of Historical Garden and Palace Conservation of the National Museum, Deputy Director of the Royal Castle in Warsaw, Director of the National Museum, Curator of the Arx Regia Publishing House of the Royal Castle in Warsaw, and Managing Director of the Patrimonum Foreign Enterprise. Sołtysiak was also an academic lecturer at the Pawel Wlodkowic University College in Płock and at the Pultusk Academy of Humanities, and a member of numerous Polish and international associations, museum boards, and scientific societies devoted to culture, protection of monuments and museology. For his indefatigable work for the protection of cultural heritage, he was given the award “For the guardianship of monuments” and the Annual Award from the Minister of Culture and National Heritage.

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Kim, Michael. "Collective Memory and Commemorative Space: Reflections on Korean Modernity and the Kyŏngbok Palace Reconstruction 1865–2010." International Area Review 13, no. 4 (December 2010): 75–95. http://dx.doi.org/10.1177/223386591001300404.

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Mukherjee, Soham, and Roy Madhumita. "Spectres of Memory in the Works of Ismail Kadare." University of Bucharest Review. Literary and Cultural Studies Series 11, no. 1 (October 2021): 28–40. http://dx.doi.org/10.31178/ubr.11.1.3.

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Jacques Derrida’s spectre, as defined in Spectres of Marx (1993) is a figure that vacillates between presence and absence. It is something that both defines and disrupts the present by its absence and subsequent return. Indeed, it acts as a container of memory. What Martha and Bruce Lincoln define as secondary haunting is aimed at “broader forms of repair”, such as creation of social consciousness about historical events and ensuring the “remembrance of atrocities” committed or traumas suffered. This type of secondary haunting is to be found in the works of Albanian nationalist writer Ismail Kadare. Not only does he make use of spectral figures like that of Sultan Murad I in Three Elegies for Kosovo (1998) but he also uses symbols such as the three-arched bridge in The Palace of Dreams (1981). Indeed, in The General of the Dead Army (1963), Kadare presses into action an entire army of dead soldiers. These spectres serve to keep alive the memories of atrocities and suffering, as well as those of ethnic origin among future generations. Additionally, the spectre of the Ottoman Empire, often as an allegory for Communism, also haunts the fictional world of Kadare’s characters. Indeed, through these spectres Kadare is attempting to establish the European origins of his native Albania, while placing the burden of Balkan suffering on its Eastern oppressors.

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Abouhassan, Marwa. "Historical Places and Identity of the Cities: Khuzam Palace Museum, Jeddah." Resourceedings 2, no. 2 (September 2, 2019): 207. http://dx.doi.org/10.21625/resourceedings.v2i2.684.

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Place identity refers to a cluster of ideas about identity and place in the fields of geography, urban planning, urban design, landscape architecture, and environmental psychology. Place identity has become a significant issue in the last 25 years in urban planning and design. Place identity concerns the meaning and significance of places for their inhabitants and users, and how these meanings contribute to individuals' conceptualizations of self. Place identity also relates to the context of mogdernity, history, and the politics of representation (Proshansky et al., 1995).Jeddah went through dramatic changes in the last 70 years after demolishing the old city wall and oil booming, which affected the identity, traditions, and lifestyle (Shiber, 1967). In order to eliminate the lack of city identity and change the people's attachment to Jeddah's new urban development, this paper will take Khuzam Palace Museum as a case study to express the relationship between the past and present in the city. The paper will have an analytical review of urban memory, place identity, and place attachment elements. At the end, the paper will set some recommendations to consider using and respecting the community memories from the past that related physical elements and social interaction that have to express into new forms of place-making in the future development to increase the identity and the sense of belonging in Jeddah city.

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Costabile-Heming, Carol Anne. "The reconstructed City Palace andHumboldt Forumin Berlin: restoring architectural identity or distorting the memory of historic spaces?" Journal of Contemporary European Studies 25, no. 4 (October 2, 2017): 441–54. http://dx.doi.org/10.1080/14782804.2017.1361816.

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Long, Seth. "Excavating the Memory Palace: An Account of the Disappearance of Mnemonic Imagery from English Rhetoric, 1550–1650." Rhetoric Review 36, no. 2 (March 2, 2017): 122–38. http://dx.doi.org/10.1080/07350198.2017.1281691.

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Benz, Brendon C. "The destruction of Hazor: Israelite history and the construction of history in Israel." Journal for the Study of the Old Testament 44, no. 2 (December 2019): 262–78. http://dx.doi.org/10.1177/0309089217702886.

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The present study presents an alternative model of pre-monarchic Israel’s political organization in tandem with an investigation into the role of place in the preservation of memory that explains how and why the tradition of Hazor’s demise was included in the Bible. Corresponding to the type of decentralized political organization attested in the Amarna letters, the core narratives in Judges depict Israel as a confederation of independent entities whose concerns revolved around local affairs. As the identity of Israel evolved over time, the memories of the most significant of these affairs were retained, often with the aid of material remains in the familiar landscape. The apparent injunction against building over Hazor’s 13th century palace ruins during Israel’s subsequent occupation and the inclusion of Hazor’s destruction from competing perspectives in the Bible suggest that it was an important event in Israel’s history, even if the entirety of Israel was not involved.

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Khoeriyah, Ngismatul, Warto, and Sariyatun. "Learning history integrated local wisdom values "babad Banyumas" to build a student’s national identity." SHS Web of Conferences 42 (2018): 00091. http://dx.doi.org/10.1051/shsconf/20184200091.

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This study aims to build a national identity and collective memory of students through learning history that is integrated with the values of local wisdom Babad Banyumas, which is considered ideal teaches values in learning history. The study employed a qualitative descriptive research method through literature review. The results show that in Babad Banyumas have values that match the character's learning, such as: 1) Social values, it is illustrated in the Babad Banyumas that is Ki Dipati Kaleng's attitude in entertaining his guest; 2) the value of morality, this is demonstrated by Raden Baribin's attitude of confronting a power conflict with his brother; 3) The value of religiosity include spiritual attitude shown by Dipawijaya the form of asceticism beg a boon to the Supreme Court and tradition Sang Hyang every Friday night visit to the palace followed by reciting Qur'an in Surau (mosques king).

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Turan, Ayşegül. "Spaces of memory and memories of space in Alaa al-Aswany’s The Yacoubian Building and Elif Shafak’s The Flea Palace." Neohelicon 46, no. 2 (September 11, 2019): 485–96. http://dx.doi.org/10.1007/s11059-019-00501-5.

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Johnson, David. "Jonathan D. Spence, The Memory Palace of Matteo Ricci, New York, Viking Press, 1984, 350 p., index, illustrations et cartes." Annales. Histoire, Sciences Sociales 41, no. 1 (February 1986): 91–94. http://dx.doi.org/10.1017/s0395264900143045.

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Rotaru, Marina Cristiana. "Uses of the Throne Hall in the former Royal Palace in Bucharest from 1947 to 2019: a social semiotic perspective." Swedish Journal of Romanian Studies 3, no. 1 (April 17, 2020): 188–205. http://dx.doi.org/10.35824/sjrs.v3i1.20432.

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The purpose of this paper is to investigate, from a socio-semiotic perspective, the manner in which the political regimes installed after the forced abdication of King Mihai I (on 30 December 1947) used the Throne Hall in the former royal palace in Bucharest to meet their own needs. In December 1947, Romania was illegally turned from a constitutional monarchy into a popular republic, with the help of the Red Army. Then, the popular republic was transformed into a socialist republic, in fact, a communist dictatorship. In December 1989, the communist regime collapsed and was replaced by a post-communist one, a regime which did not seem willing to leave behind the communist ideological legacy, manifest, in the 1990s, in the brutal repression of anti-government protesters in University Square in Bucharest, or in the Romanian Mineriads of 1990 and 1991. The political regimes that succeeded to power after 1947 deprived the Throne Hall of its monarchic symbolism and used it in ways incongruent with its inherent function, albeit for official purposes. The manner in which the communist regime made use of this particular place is indicative of its intent and success in reinventing traditions or adapting older traditions to its ideological goals, in order to alienate Romanians from their recent past, in disrespect for the nation’s heritage. Although the former royal palace was completely transformed into a national museum of art after 1990, a cultural institution meant, by its very purpose, to save at least part of the nation’s memory, political decision makers ignored the symbolism of a national museum such as the National Museum of Art of Romania, known to many Romanians as the former royal palace. In bewildering, yet not unprecedented fashion, the Throne Hall has been recently used, by the Romanian government, as a dining hall in a series of events that preceded the takeover of the presidency of the EU Council by Romania in January 2019. We claim that the government’s decision can be circumscribed to Jean Baudrillard’s concept of consumerism, characterized by the rule of sign value as a status symbol. In addition, Jan Blommaert’s and Barbara Johnstone’s taxonomies further the argument that the Throne Hall is not a mere space, but a place, its function having been perverted by both ideological manipulation and aggressive consumerism.

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Hartman, Craig W. "Memory palace, place of refuge, Coney Island of the mind: the evolving roles of the library in the late 20th century." Research Strategies 17, no. 2-3 (April 2000): 107–21. http://dx.doi.org/10.1016/s0734-3310(00)00035-5.

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Leal-Guerrero, Sigifredo. "“The Holocaust” or “The Salvation of Democracy”." Latin American Perspectives 42, no. 3 (March 4, 2015): 140–61. http://dx.doi.org/10.1177/0094582x15570886.

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The massacre known as the Palace of Justice Holocaust is an important object of public concern in Colombia. After 29 years, social agents struggle in fields such as public activism, legal claims, and artistic creation to construct and legitimate accounts of what happened and inscribe them in collective memory as “the truth.” An analysis of these struggles, developed from inside and outside the state and from diverse points of the political spectrum, makes it possible to identify the meaning frames in which the people taking part in these struggles construct narratives of the massacre, such as the Jewish-Christian tradition, discourses on human rights and the memory of the Shoah, national security doctrines, and Nazi anticommunist anti-Semitism. La masacre conocida como el Holocausto del Palacio de Justicia es un importante objeto de interés público en Colombia. Después de 29 años de acontecida, diversos actores sociales continúan luchando en campos como el activismo político, los reclamos legales y la creación artística para construir y legitimar versiones sobre lo sucedido, e inscribirlas en la memoria colectiva como “la verdad”. Un análisis de esas luchas, desarrolladas desde dentro y fuera del Estado y desde diversos puntos del espectro político, permite identificar los marcos de sentido dentro de los cuales dichos actores construyen narrativas sobre la masacre. Algunos de esos marcos son la tradición judeo-cristiana, los discursos sobre los derechos humanos y la memoria de la Shoá, las doctrinas de seguridad nacional y el antisemitismo anticomunista nazi.

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Ben Youssef Zayzafoon, Lamia. "Memory as allegory: the spectre of incest and the (re)naming of the father in Moufida Tlatli'sThe Silences of the Palace(1994)." Critical Arts 21, no. 1 (July 2007): 47–67. http://dx.doi.org/10.1080/02560040701398772.

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Jones, Calvert W. "Seeing Like an Autocrat: Liberal Social Engineering in an Illiberal State." Perspectives on Politics 13, no. 1 (March 2015): 24–41. http://dx.doi.org/10.1017/s1537592714003119.

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Recent studies of autocratic liberalization adopt a rationalist approach in which autocrats’ motives and styles of reasoning are imputed or deduced. By contrast, I investigate these empirically. I focus on liberal social engineering in the Persian Gulf, where authoritarian state efforts to shape citizen hearts and minds conform incongruously to liberal ideals of character. To explain this important but under-studied variant on autocratic liberalization, I present evidence from rare palace ethnography in the United Arab Emirates, including analysis of the jokes and stories ruling elites tell behind closed doors and regular interviews with a ruling monarch. I find that autocrats’ deeply personal experiences in the West as young men and women supplied them with stylized ideas about how modern, productive peoples ought to act and how their own cultures underperform. The evidence also reveals that such experiences can influence autocrats, even years later, leading them to trust in Western-style liberal social engineering as the way forward, despite the risks. Ethnographic findings challenge the contemporary scholarly stereotype of the autocrat as a super-rational being narrowly focused on political survival, illustrating how memory and emotion can also serve as important influences over reasoning and can drive liberal change.

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Youn, Hyun-Chul, and Seong-Lyong Ryoo. "VR and AR Restoration of Urban Heritage: A Virtual Platform Mediating Disagreement from Spatial Conflicts in Korea." Buildings 11, no. 11 (November 20, 2021): 561. http://dx.doi.org/10.3390/buildings11110561.

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This study sought to uncover (1) the disagreement of spatial conflict between urban heritage and surrounding urban structure using two case studies from Korea—the main gate of the royal palace (Gwanghwamun) and the urban park containing celebrity graves (Hyoch’ang Park)—and (2) whether digital heritage restoration may mediate spatial conflict. A historical literature review and field surveys were conducted, with three main findings. First, the place identity of Gwanghwamun and Hyoch’ang Park, rooted in the Josŏn Dynasty, was seriously damaged during the Japanese colonial period. Although there were national attempts to recover the place identities of these sites during the modern period, limitations existed. Second, the restoration of Gwanghwamun’s Wŏltae (podium) and the relocation of Ŭiyŏlsa (the shrine of Hyoch’ang Park), which involved spatial transformation based on heritage, emerged in conflict with their surrounding urban structures—we identify a spatial conflict between local residents and stakeholders’ memories and the histories of these sites. Third, Donŭimun (the west gate of the city wall of the Josŏn Dynasty) digital restoration is a case mediating the conflict by restoring a sense of place in a virtual space and activating the cultural memory of the public by showcasing properties.

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Roter-Blagojević, Mirjana, Boško Drobnjak, and Ilija Nikolić. "A contribution to the research of the architecture of the Court complex on Terazije: Knežev dvorac (Stari konak) and the Court of Crown Prince Mihailo." Nasledje, no. 22 (2021): 185–205. http://dx.doi.org/10.5937/nasledje2122185r.

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This paper presents research on the historical and urban development of the palace complex on Terazije during the 19th and early 20th centuries, placing a focus on the period from the 1840s to the 1880s, i.e. upon the architecture of the Prince's Court (Knežev dvorac, also known as the Stari konak) and the Court of Crown Prince Mihailo, which were both demolished in the early 20th century. The process of urban transformation of the complex and the design of buildings for the accommodation of the then-rulers is presented, based on the available historical material (old plans and photographs), as well as pre-existing interpretations of this topic available in published literature. Both the appearance of the court buildings and the complex itself in certain phases of development are reconstructed, facilitated by comparative situational representations and axonometric projections. A typological and stylistic analysis of the architectural characteristics of the Stari konak and the court, which are to be considered representative examples of the transition from the Classicist to the Romantic era of Serbian architecture in the middle of the 19th century, is given. The paper places a particular emphasis on the historical and cultural significance in the present of these now-demolished buildings for preserving the memory of an extremely important period in the history of the modern Serbian state.

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Fisher, Thomas. "Memory Palaces." Design Quarterly, no. 168 (1996): 4. http://dx.doi.org/10.2307/4091359.

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Del Mar, Maksymilian. "Excavating the Memory Palace: Arts of Visualisation from the Agora to the Computer By Seth Long, Chicago: Chicago University Press, 2020. 248 pp. ISBN: 9780226695280 £22.00 (paperback)." International Journal of Law in Context 17, no. 2 (May 18, 2021): 275–79. http://dx.doi.org/10.1017/s1744552321000331.

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Gaynutdinov, Timur Rashidovich. "Blinding and origins of a painting." Философия и культура, no. 7 (July 2020): 1–9. http://dx.doi.org/10.7256/2454-0757.2020.7.33570.

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The subject of this research is the problem of a painting in Jacques Derrida’s philosophy, namely the so-called “hypothesis of blinding” advanced in his work “Memoirs of the Blind: The Self-Portrait and Other Ruins”: “a painting… and the process of painting must be slightly related to blinding”. Derrida examines this established ontotheological tradition of classical metaphysics: blinding here becomes an essential sacrificial act, a condition that enables transition from physical eye to spiritual. Therefore, Derrida describes it as “sacrificial” economy, inevitably followed by the artist. Each work of the artist is prophecy of a blind person and designates horizons of the future. Explicating the aforementioned hypothesis of J. Derrida, the author refers to not only the text of “Memoirs of the Blind” and the accompanying documental narrative but also attempts to reconstruct the eponymous exhibition held the Louvre Palace in 1990, coordinated by Derrida. Comparison of these three layers provided better understanding “hypothesis of blinding”, and allowed inscribing to a more general philosophical context of deconstruction, as well as reconsidering the problems of figurative, mimetic and representative nature of a painting. The author comes ti the conclusion that essence of a painting is no way related with the visible, but its origin takes roots purely from memory.

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Journal articles on the topic 'Memory palace'

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