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'Today Europe is trying to achieve self-definition on the basis of its own history', wrote Michel Oriol and Francis Affergan in their study on Otherness and cultural differences, a few years ago. Has the time not come, they asked, to look beyond inward-looking conceptions of culture and to build up a universalism that would include cultural differences and not deny them? But the question of 'the other' was posited against the sense of ourselves. Whereas the former question might be put in the context of a timeless quest for a definition of human nature, most modern authors - and not least historians – expected that otherness be seen within specific historical and geographical contexts. ; peer-reviewed

Performing the Past is an investigation of the multiple social and culture practices through which Europeans have negotiated the space between their history and their memory over the past 200 years. In museums, in opera houses, in the streets, in the schools, in theatres, in films, on the internet and beyond, narratives about the past circulate today at a dizzying speed. Producing and selling them is big business; if the past is indeed a foreign country, there are tens of thousands of tourist agents, guides, and pundits around to help us on our way, for a fee, to be sure