Memory studies is the umbrella term for the theoretical approaches that will be discussed in this chapter. It is a fairly new field of studies, due to its quite recent emergence during the 1980s “as an urgent topic of debate in the humanities” (Craps, Rothberg 517). In its beginning, it was mostly concerned with the memories of individuals, or memories of groups or communities like families, cities, countries and ethnicities. Hence, “[e]arly work in memory studies focused on the way memories are
somewhere in-between those who were conflicted. In addressing such themes the artist explores the possibilities of creating histories and relationships, he proposes a new way of seeing, alternatives to the tragedies which occurred and in whole a solution to look at man differently and bury the oppression of minorities. William Kentridge narrates personal and collective histories as primary subject matter in his practice . The complexity of daily existence is presented to viewers inviting them to empathise
only be expressed in tangible (including buildings, monuments, landscapes, objects, and artifacts), and also included intangible (including traditions, language, knowledge and memory). Heritage often perceived as the protection and save of past. In fact, heritage is important to us because it is the fundamental to learn history and evidence of the past human activity of the city, The heritage also elaborates the transformative process in social from past in the present of urban area by generations
structure of delayed understanding. The traumatic memory cannot be processed on a linguistic level and as a result, surfaces through as somatosensory and involuntary responses. Studying these forms of embodied memory led those like French psychologist Pierre Janet to make the careful distinction between narrative and traumatic memory. Whereas narrative memory is adaptive and social, able to be integrated within a historical framework, the traumatic memory remains fixed, an invasive reminder of suffering
indelible marked upon their consciousness, marking their memories forever and changing their future identity in fundamental and irrevocable ways '(2004:1). The cultural trauma usually refers to previously unrelated events, structure, perception and actions. Alexander presents two dimension of cultural trauma. Firstly, the "Lay Trauma Theory", which he argues that traumas are naturally occurring events that crash individuals or collectives sense of well-being, the power that shatters trauma, it is
common memories, common heritage and common experiences .Applying the idea of 'nation' into the Singapore context, a Singapore nation means a sense of national solidarity and collective identity amongst Singaporeans which will translate into a sense of national pride and affiliation to Singapore. The Japanese Occupation years which had a transformative effect on the history of Singapore, was the sole experience of war in living memory for Singaporeans, thus this dark period in Singapore's history has
ABSTRACT Cultural memory represents the collective perceptions and creations of the distant past. Such collective memories are best documented and secured in Literature. What matters is not the real facts but rather the consensus of conventions shared by both the cultural history and the literary creator. However, literary narratives do not always give a compilation of such memories under a single wrap. It is on this distinctive point that Jakkana stands out in eternalising cultural memory. BasavarajNaikar’s
Memory, as we understand it, is an exclusively human characteristic and of fundamental importance to our species. It is in the act of remembering that we build ourselves, not only when we remembering something but also in the way that we do it. Thus, it can be said that remembering is not restricted to an act alone, but any thing that we remember is attributed some symbolic value, which, added to the other life experiences of the person, to his ideology and the collective community's memory in which
Half of a Yellow Sun shows the trauma of memory on two different levels: on both the level of the author, and on the level of the narrative (De Mey 34). Adichie, the author, did not experience the war herself, but rather inherited the traumatic memory of her parents and grandparents, allowing her to write this novel as her interpretation of their past (De Mey 34). This essay will focus on the second level, through the narrative, and specifically on how the characters of Olanna and Ugwu’s reactions
The Grass is Always Greener over the Battlefield: How Carl Sandburg’s use of free verse, anaphora and tone in the poem Grass inform us of how forgetting history dooms us to repeat history. Carl Sandburg’s use of free verse, anaphora and tone transform a simple eleven-lines of verse into a powerful and dynamic poem. One could apologize for the nod to Erma Bombeck’s book The Grass is Always Greener over the Septic Tank a book that uses humor to explain the growing dissatisfaction of suburban housewives