Eurocentrism in European History and Memory

Eurocentrism means seeing the world in Europe's terms and through European eyes. This may not be unreasonable for Europeans, but there are unforeseen consequences. Eurocentric history implies that a scientific modernity has diffused out from Europe to benefit the rest of the world, through colonies and development aid. It involves the imposition of European norms on places and times where they are often quite inappropriate. In Eurocentrism in European History and Memory, well-known scholars explore and critically analyse manifestations of Eurocentrism in representations of the European past from different disciplines -- history, literature, art, memory and cultural policy -- as well as from different geographical perspectives. The book investigates the role imaginings of the European past since the eighteenth century played in the construction of a Europeanist worldview and the ways in which 'Europe' was constructed in literature and art Eurocentrism means seeing the world in Europe's terms and through European eyes; while this may not seem so unreasonable to Europeans, this perspective has unforeseen consequences. Eurocentric history implies that scientific modernity has diffused outwards from Europe to the benefit of the rest of the world, through colonialism and later development aid; it involves the imposition of European norms on places and times where they are often quite inappropriate. This book brings together respected scholars from history, literature, art, memory and cultural policy, and from different geographical perspectives, who explore and critically analyse manifestations of Eurocentrism in representations of Europe's past. The collection investigates the role imaginings of the European past since the 18th Century played in the construction of a Europeanist world view and the ways in which 'Europe' was constructed in literature and art.

The experience of engaging with art and history has been utterly transformed by information and communications technology in recent decades. We now have virtual, mediated access to countless heritage collections and assemblages of artworks, which we intuitively browse and navigate in a way that wasn't possible until very recently.

This collection of essays takes up the question of the cultural meaning of the information and communications technology that makes these new engagements possible, asking questions like: How should we theorise the sensory experience of art and heritage? What does information technology mean for the authority and ownership of heritage?