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Titlebook: Memory Frictions in Contemporary Literature; María Jesús Martínez-Alfaro,Silvia Pellicer-Ortín Book 2017 The Editor(s) (if applicable) and

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發(fā)表于 2025-3-21 17:17:43 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書(shū)目名稱(chēng)Memory Frictions in Contemporary Literature
編輯María Jesús Martínez-Alfaro,Silvia Pellicer-Ortín
視頻videohttp://file.papertrans.cn/631/630469/630469.mp4
概述Focuses on texts written by authors of such diverse origins as Great Britain, South-Korea, the USA, Cuba, Australia, India, as well as Native-American Indian and African-American writers.Analyses a ra
圖書(shū)封面Titlebook: Memory Frictions in Contemporary Literature;  María Jesús Martínez-Alfaro,Silvia Pellicer-Ortín Book 2017 The Editor(s) (if applicable) and
描述.This volume explores the multifarious representational strategies used by contemporary writers to textualise memory and its friction areas through literary practices. By focusing on contemporary narratives in English from 1990 to the present, the essays in the collection delve into both the treatment of memory in literature and the view of literature as a medium of memory, paying special attention to major controversies attending the representation and (re)construction of individual, cultural and collective memories in the literary narratives published during the last few decades. By analysing texts written by authors of such diverse origins as Great Britain, South-Korea, the USA, Cuba, Australia, India, as well as Native-American Indian and African-American writers, the contributors to the collection analyse a good range of memory frictions —in connection with melancholic mourning, immigration, diaspora, genocide, perpetrator guilt, dialogic witnessing, memorialisation practices, inherited traumatic memories, sexual abuse, prostitution, etc.— through the recourse to various disciplines —such as psychoanalysis, ethics, (bio)politics, space theories, postcolonial studies, narratolo
出版日期Book 2017
關(guān)鍵詞Memory Studies; Empathy; Trauma; Narrative form; Toni Morrison; Memory in contemporary literature
版次1
doihttps://doi.org/10.1007/978-3-319-61759-6
isbn_softcover978-3-319-87154-7
isbn_ebook978-3-319-61759-6
copyrightThe Editor(s) (if applicable) and The Author(s) 2017
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Narrative Form, Memory Frictions and the Revelation of Traumatic Secrets in Toni Morrison’s ,ne burial of a man in a field where two horses were fighting. When Cee saw the body, she began to shake. But Frank thought he “could handle it,” and repressed his affects. The result was that he “really forgot about the burial” and “only remembered the horses.” In other words, he created a screen me
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The Zigzag Trajectory Through Time of Colum McCann’s ,’s oceanic storyworld is focalized through both male historical figures from the nineteenth and twentieth centuries and generations of fictional female figures who use or are impacted by the trade route. Through the telling of fictional Hannah Carson’s overarching homodiegetic multigenerational stor
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Public Art and Communal Space: The Politics of Commemoration in Amy Waldman’s ,for a memorial commemorating the victims of 9/11. When the chosen designer’s name is finally revealed, his identity as an American Muslim comes to the attention of the public, and controversy ensues about the appropriateness of his submission. Following the reactions of about a dozen different chara
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False Memories, False Foods: Eating, Cooking, Remembering in , by Eduardo Machadoht Eduardo Machado in the USA in 1961, and his experience of exile. The chapter draws on Donald E. Pease’s theory of the (post)national narrative and looks at Paul Ricoeur’s classification of the three types of uses and abuses of memory: blocked, manipulated and obligated. It argues that the memorie
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Lore, or the Implicated Witness: Rachel Seiffert’s Postmemory Workgues that instead of validating reassuring binaries that prop up an illusionary but clear-cut moral regime, this text confronts unstable degrees of implication. Moreover, she shows how Seiffert utilizes the perpetrator perspective to address the question of implication in histories of violence that
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