scholarly journals Memory, History and a Mother’s Resistant Mourning in Giuseppe Dessì’s Il disertore

2013 ◽  
Vol 33 (2) ◽  
pp. 133-149
Author(s):  
Amy Boylan
Keyword(s):  
Collective Memory ◽  
Memory Theory ◽  
Individual Memory ◽  
War Memories ◽  
Private And Public ◽  
Italian Women ◽  
Mourning And Melancholia ◽  
The Way

This essay proposes a re-reading of Giuseppe Dessì’s Il disertore (1961) in the context of collective memory theory and postmodern concerns with mourning and melancholia. Through an examination of the way Dessì represents the interaction between individual memories and official memorialization in the post-WWI period, I argue that Dessì anticipates postmodern perspectives on commemoration. In particular, I look at the protagonist, Mariangela, both as a recuperation of the private and public anti-war activities of many Italian women, and as a melancholic mother whose refusal to obey normative modes of mourning results in a form of resistant mourning. Furthermore, it is precisely through Mariangela’s oppositional gaze that Dessì exposes the inadequacies of her town’s official receptacle of war memories, the monumento ai caduti, in order to interrogate the way collective—but also individual—memory is constructed.

scholarly journals Memory, collective memory, orality and the gospels

2011 ◽  
Vol 67 (1) ◽  
Author(s):  
Dennis C. Duling
Keyword(s):  
Collective Memory ◽  
Oral Tradition ◽  
Oral Poetry ◽  
Memory Theory ◽  
Individual Memory

This article first explores individual memory as understood from the time of the ancient Greeks and Romans to modern-day neurology and psychology. The perspective is correlated with collective memory theory in the works of Halbwachs, Connerton, Gillis, Fentress and Wickham, Olick, Schwartz, Jan and Alida Assmann and Kirk and Thatcher. The relevance of ‘orality’ is highlighted in Kelber’s works, as well as in oral poetry performance by illiterate Yugoslavian bards, as discussed in studies by Parry, Lord and Havelock. Kelber’s challenge of Bultmann’s theory of oral tradition in the gospels is also covered. The article concludes with observations and reflections, opting for a position of moderate−to−strong constructionism.

scholarly journals La reconstrucción de la memoria contra la irreversibilidad del tiempo. Reescrituras del melodrama en el cine de Juan José Campanella

2019 ◽  
Vol 28 ◽  
pp. 1601
Author(s):  
Nekane Erritte Zubiaur Gorozika
Keyword(s):  
Collective Memory ◽  
Individual Memory ◽  
The Creation ◽  
Second Chance ◽  
The Way

El artículo analiza la forma en que las películas de Juan José Campanella El mismo amor, la misma lluvia (1999) y El secreto de sus ojos (2009) reformulan algunos de los rasgos principales del melodrama. Ambas películas ponen en escena la reconstrucción de la memoria del personaje, narrada por él mismo, con el objetivo de obtener una segunda oportunidad que le permita recuperar el amor perdido y alcanzar un final feliz. Esta reconstrucción permite además articular un juego reflexivo y metalingüístico en torno a la creación de la ficción y vincular la memoria individual con la memoria histórica y colectiva de Argentina.This article analyzes the way the films by Juan José Campanella Same Love, Same Rain (1999) and The Secret in Their Eyes (2009) reformulate some of the main characteristics of melodrama. Both films show the reconstruction of the main character’s memory, told by himself, in order to earn the opportunity of a second chance, the possibility to recover the lost love and come to a happy end. This reconstruction starts a reflexive and metalinguistic game up around the creation of fiction and links individual memory to the historical and collective memory of Argentina.

Content and Consistency in the Endogenous Depressive Pattern

1966 ◽  
Vol 112 (486) ◽  
pp. 471-484 ◽  
Author(s):  
Saul H. Rosenthal ◽  
Gerald L. Klerman
Keyword(s):  
19Th Century ◽  
The Other ◽  
Psychotic Depression ◽  
Public Attention ◽  
Half Century ◽  
Manic Depressive ◽  
Wide Range ◽  
The 19Th Century ◽  
Mourning And Melancholia ◽  
The Way

As currently used, the diagnosis of depression includes a wide range of clinical phenomena. This has not always been the case. Near the end of the 19th century, when the term depression began to evolve the meanings that it has today it was applied primarily to psychotics. The formulations of Freud in Mourning and Melancholia (1917), and of Kraepelin in Manic Depressive Insanity (1921) were based upon observations of patients who were both depressed and psychotic. In their work the contrast was between psychotic depression (or “melancholia”) on one hand, and normal sadness on the other. In the succeeding half-century, however, as psychiatry has extended its boundaries, increasing attention has been focused on non-psychotic depressions, often called “neurotic” or “reactive.” As these “neurotic” or “reactive” depressions reached public attention, a debate began over the way in which the depressive population should be described and the extent to which it should be subdivided. Critical and often sarcastic written battles were fought between the separatists and the unifiers during the 1920's and 1930's. These debates have been informatively chronicled by Partridge (1949). We have found it useful to divide these theorists into unifiers, dualists, and pluralists.

Collective Memory

2007 ◽  
pp. 56-69
Author(s):  
Luca Iandoli ◽  
Giuseppe Zollo
Keyword(s):  
Collective Action ◽  
Collective Memory ◽  
Organizational Memory ◽  
Fundamental Component ◽  
Individual Memory

In the previous chapter we focused on the concept of collective action. In the same spirit, this chapter investigates another fundamental component of learning, i.e., memory, and attempts to reformulate this concept at the collective level. Do organizations remember? In which sense it is possible to talk about collective memory? What is the nature of such a memory? The chapter presents a model of organizational memory which can not be reduced to a metaphor, nor to a mere extension or generalization of individual memory.

How Berlusconi will be remembered: notoriety, collective memory and the mediatisation of posterity

Modern Italy ◽  
2015 ◽  
Vol 20 (1) ◽  
pp. 91-109 ◽  
Author(s):  
Stephen Gundle
Keyword(s):  
Mass Media ◽  
Collective Memory ◽  
Collective Consciousness ◽  
The Past ◽  
Personality Cult ◽  
The Mass Media ◽  
Silvio Berlusconi ◽  
The Way

This article explores the ways in which Silvio Berlusconi might figure in collective memory. It approaches this from a number of angles. First, consideration is given to the way political figures of the past have resonated culturally and the role of institutions including the mass media in this. Second, Berlusconi's own efforts to situate himself in relation to a shared past are explored, with reference to the place of three nostalgic appeals that figured with varying intensity at different points in his career. Third, Berlusconian aesthetics are investigated to explore the relative roles of kitsch and glamour. It is shown that kitsch gained the upper hand and that this also manifested itself in the monarchical aspects that his personality cult took on. Finally, Berlusconi is considered as a possible subject for a biopic and a discussion is offered of the way his life and career might be presented in different variants of this genre. Overall, it is suggested that expectations that he will be damned by history fail to take account both of the way he imposed himself on the collective consciousness and of the generic requirements of the mass media.

scholarly journals A CONSTRUÇÃO IMAGÉTICA BRASILEIRA: O ANJO DA HISTÓRIA E A RESSIGNIFICAÇÃO DO OLHAR ESTRANGEIRO NO BRASIL

2021 ◽  
Vol 5 (9) ◽  
pp. 85
Author(s):  
Daniele Cristina Liberato de Oliveira ◽  
Giselle Liberato Caetano de Souza
Keyword(s):  
El Salvador ◽  
Collective Memory ◽  
Cultural Production ◽  
Brazilian History ◽  
Over Time ◽  
The Way

ResumoO objetivo deste trabalho é analisar Anjo da História, de Herbert de Paz, considerando elementos estéticos e as possibilidades de relação com uma produção cultural brasileira, ressignificada ao longo do tempo. A obra foi exposta na galeria do Centro Municipal de Artes Hélio Oiticica, pela exposição formAÇÃO 2016. Herbert de Paz é de origem de El Salvador e constrói sua obra dialogando a forma como ele começa a compreender a história brasileira e os conflitos contemporâneos por ele vivenciados, sendo, portanto, um olhar do estrangeiro para o Brasil. Neste sentido, este presente trabalho relaciona elementos da obra com possíveis interpretações de construção de memória coletiva, da história brasileira e da reprodutibilidade imagética como forma de pertencimento e reconhecimento da cultura de um povo.AbstractThe aim of this work is to analyze Angel of History, by Herbert de Paz, considering aesthetic elements and the possibilities of relationship with a Brazilian cultural production, resignificance over time. The work was exhibited in the gallery of the Municipal Arts Center Hélio Oiticica, through the exhibition formACTION 2016. Herbert de Paz is from El Salvador and builds his work by dialoguing the way he begins to understand Brazilian history and the contemporary conflicts he experienced , therefore, being a look from abroad to Brazil. In this sense, this present work relates elements of the work with possible interpretations of building collective memory, Brazilian history and imagery reproducibility as a way of belonging and recognizing the culture of a people.

scholarly journals Ballads as Vessels for Collective Cultural Memory: A Critical Comparison of Alfred Noyes’s “The Highwayman” and Federico García Lorca’s “Romance sonámbulo”

2021 ◽  
pp. 55-79
Author(s):  
Maria C. Fellie
Keyword(s):  
Twentieth Century ◽  
Collective Memory ◽  
Cultural Memory ◽  
Oral Traditions ◽  
Collective Memories ◽  
Critical Comparison ◽  
Early Twentieth Century ◽  
Historical Periods ◽  
The Way

Alfred Noyes’s “The Highwayman” (1906) and Federico García Lorca’s “Romance sonámbulo” (1928), two early twentieth-century ballad poems, serve as literary vessels for the collective memory of historical periods and share aesthetic and narrative similarities. Common images and colors (red, green) also illustrate both texts. The shared imagery calls attention to the ballads’ roles in preserving and transmitting collective memories. This study references the way that ballads stabilize in cultural memory, in line with David Rubin’s assessments of memory and literature in Memory in Oral Traditions (1995), as well as the studies of other scholars (e.g., Benjamin, Boyd, Connerton).

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