By Katharine Hodgkin, Susannah Radstone
A spotlight on reminiscence has come to prominence throughout quite a lot of disciplines. heritage, literature, philosophy, anthropology, and cultural stories have put reminiscence on the center in their interrogations of subjectivity, narrative, time and mind's eye. while, reminiscence has emerged as a vital subject matter and preoccupation in well known literature, movie and tv, and the emergence of reminiscence as a tutorial subject can't be separated from its prominence within the wider tradition. This quantity represents, explores and interrogates the present advancements, attractive without delay with where of reminiscence in tradition, and with memory's meaning's and heritage.
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Extra resources for Regimes of Memory (Routledge Studies in Memory and Narrative)
13 The advantages of this kind of art practice may be seen in relation to the highly charged issue of child sexual abuse. Once unspoken and effectively 29 JILL BENNETT denied, child abuse is now the subject of a certain amount of moral panic. Thus it tends to be figured in ‘common language’ in rather stark moral terms, the demonised figure of the paedophile representing the antithesis of the child victim who becomes, in turn, the cipher of innocence. This framework leaves little space for exploring the subjective experience of either perpetrator or survivor, both of which frequently confound moral categorisation.
The poetics of sense memory involve not so much speaking of but speaking out of a particular memory or experience – in other words, speaking from the body sustaining sensation. While Deleuze’s argument turns on a reading of one figurative painter (Bacon), contemporary art has its own history of the senses, or tradition of engagement with process and affect, in which various means of presenting the body in extremis have been explored. Such works might be understood as being about sensation to the extent that they stage the body undergoing sensation, but also to the degree that they incite an affective response in the viewer.
42(2), 2001, pp. 188–216. The most influential work in this field includes Cathy Caruth, ‘Introduction to Psychoanalysis, Culture and Trauma’, American Imago, vol. 48(1), 1991, pp. 1–12; Unclaimed Experience: Trauma, Narrative and History, Baltimore, MD: Johns Hopkins University Press, 1996; Trauma: Explorations in Memory, Baltimore, MD: Johns Hopkins University Press, 1992; Shoshana Felman and Dori Laub, Testimony: Crises of Witnessing in Literature, Psychoanalysis and History, New York and London: Routledge, 1992.