When remembrance of things past is becoming the most powerful tool in our cognitive working set, it’s becoming even more important to understand the way it works – what do we gain and what do we risk, relying at it so totally. How the historical narratives we’re used to relate to the overwhelming amount of lives gone unregistered and unnoticed? When we speak of the past, the selection process is always involved – but how it is arranged, how do the things and events get into focus or stay unseen? Why the visual evidence is affecting us in a more intense and intimate way then the majority of written materials – and how did it all change when the digital photography entered the scene? Is it ethically possible to use the traumatic experience of the last century for solving the cultural purposes of the more peaceful epoch? And, finally: how to resist the logics of entertainment that forces us to approach the reality with the criteria, which you could apply only to the work of fiction? How to make visible the past, and not a manmade fantasy of the past? Seminar participants will study canonical and non-canonical writers, artists, and thinkers from a multiplicity of traditions, as well as meet the authors sharing the same interests.