scholarly journals Interactions of narrative version and multiple forms of memory In narrations of Zahra Ramij. The narrative group "Anin almaa" is a model. تفاعلات الصيغ السردية وتعدد أشكال اشتغال الذاكرة في سرود الزهرة رميج. المجموعة القصصية _أنين الماء_ أنموذجا

2019 ◽  
Author(s):  
TAOUFIK تــوفــيــق STITI الــســتــيــتــي
Keyword(s):  
Collective Memory ◽  
Narrative Discourse ◽  
The Novel ◽  
Multiple Forms ◽  
The Social ◽  
Individual Memory ◽  
Narrative Patterns ◽  
The Individual ◽  
Aesthetic Characteristics ◽  
Narrative Forms

تُعتبر الصيغة السردية إحدى أهم المقولات المشكلة للخطاب السردي عموما، حيث تنتظم السرود وفق نمط حكائي معين يعكس الأسلوب المتفرد والمتميز لكل كاتب على حدة. وتُشَكِّلُ المجموعة القصصية "أنين الماء" للقاصة والروائية والشاعرة المغربية الزهرة رميج، بتعدّد صيغ خطابها وتنوع أشكال اشتغال الذاكرة فيها، كونا مُكثّفا وبالغ التعقيد. حيث تُزاوج القاصّة، في تشكيلٍ إبداعي قشيب، بين المحكي والمعروض تارة، أو تُعَضِّضهُما بالخطاب المُحوّل تارة أخرى، كما تُدمِجُ في صَوْغِ سرودها الذاكرة الفردية والذاكرة الجماعية، وتمزج الذاكرة الاجتماعية بالذاكرةِ الثقافيةِ والسياسيةِ. وسنحاول في هذه الورقةِ تقديم قراءةٍ مُركّزةٍ ومُختصرةٍ، في المجموعة القصصية "أنين الماء" للقاصة والروائية الزهرة رميج، لاستجلاء بعض الخصائص الفنية والجمالية التي تُميِّزُ سرود الكاتبة، مع التركيز بشكل خاص على أنماط الحكي والصِّيَغ السردية وتعدد أشكال اشتغال الذاكرة.The narrative version is one of the most important arguments for the narrative discourse, the narratives are organized according to a specific style of reflection. The novel "Anin almaa" by the Moroccan novelist Zahra Ramej, with its varied forms of speech and the diversity of its forms of memory, is an intensive and highly complex universe. Where the mating is intertwined in a creative form, between the narrator and the viewer, or alternating with the converted discourse. It also integrates the individual memory and the collective memory into its narratives, and mixes the social memory with the cultural and political memory. In this paper, we will attempt to present a concise reading of the novel "Anin Almaa" by Zahra Ramej, to explore some of the artistic and aesthetic characteristics that characterize the writer's narratives, with particular emphasis on narrative patterns, narrative forms and multiple forms of memory.

scholarly journals Fisuras en los monopolios discursivos de dos narradores: el indio inexistente de «Huasipungo» y el indio ausente de «Raza de bronce»

2012 ◽  
Vol 19 ◽  
pp. 105-131
Author(s):  
María Ximena Postigo
Keyword(s):  
Critical Realism ◽  
Narrative Discourse ◽  
The Novel ◽  
Literary Modernism ◽  
Central Difference ◽  
The Andes ◽  
The Social ◽  
Jorge Icaza ◽  
Cultural World ◽  
Alcides Arguedas

Two were the main concerns in Latin America during the first half of the twentieth century: the consolidation of the nation-State and the incipient development of capitalism. In the Andes the “Indian problem” added complexity to these concerns. This article proposes a comparative analysis of how Alcides Arguedas, with Raza de bronce (1919), and Jorge Icaza, with Huasipungo (1934) –despite similarities in their social projects, the racism of their speeches and the stories that they address– differ in how they incorporate indigenous issues into the novel. If Huasipungo’s social realism responds to a need for change in the relations of production, Raza de bronce’s critical realism responds to a fear of an indigenous uprising. The above is not, however, the central difference. The latter consists of a monopolistic coherence in the narrative discourse of Icaza versus the fissures that literary modernism produces in Arguedas’ positivism. As a result, the social narrative of these writers creates a bourgeois responsibility in Huasipungo (where the indigenous cultural universe is reduced to a non-existence) and a dangerous indigenous potential in Raza de bronce (where the reader does not feel the presence of the Andean cultural world, but neither its non-existence).Las preocupaciones centrales de la primera mitad del siglo XX en Latinoamérica pueden resumirse en las siguientes dos: la consolidación del estado-nación y el desarrollo incipiente del capitalismo. En los Andes se añade además la problemática indígena. En este trabajo planteo un análisis comparativo de cómo Alcides Arguedas, con Raza de bronce (1919), y Jorge Icaza, con Huasipungo (1934) –pese a asemejarse en el proyecto social que promulgan, el racismo de sus discursos y la historia que cuentan– se diferencian en cómo incorporan la problemática indígena a la novelística de la época. Si el realismo social de Huasipungo responde a la necesidad de cambio de las relaciones de producción, el realismo crítico de Raza de bronce responde al temor de un levantamiento indígena. La anterior no es, sin embargo, la diferencia central. Esta última consiste en la coherencia monopólica del discurso narrativo de Icaza versus las fisuras que el modernismo produce en el positivismo de Arguedas. Como resultado, el proyecto social de estos escritores compone una responsabilidad burguesa en Huasipungo (donde el universo cultural indígena es reducido a su inexistencia) y una peligrosa potencialidad indígena en Raza de bronce (donde, efectivamente, no experimentamos la presencia del mundo cultural andino, pero al menos tampoco su inexistencia).

scholarly journals The Memory of the National and the National as Memory

2015 ◽  
Vol 42 (3) ◽  
pp. 92-106 ◽  
Author(s):  
Juan Poblete
Keyword(s):  
Collective Memory ◽  
Political Violence ◽  
Social Memory ◽  
Human Rights Abuses ◽  
Individual Level ◽  
Centered Form ◽  
Derechos Humanos ◽  
The Social ◽  
The World ◽  
The Individual

This essay seeks to illuminate a different, more encompassing kind of transition than that from dictatorship to post-dictatorship (and its attendant forms of memory of military brutal force and human rights abuses) often privileged by studies of political violence and social memory. The focus is twofold: first, to describe a transition from the world of the social to that of the post-social, i.e. a transition from a welfare state-centered form of the nation to its neoliberal competitive state counterpart; and secondly, to analyze its attendant memory dynamics. The double articulation of collective memory under neoliberalism, the deep and recurring violence it has involved at both the social and the individual level, and its self-articulation as a social memory apparatus are apparent in two Chilean films exploring the logic (Pablo Larraín’s Tony Manero) and the history (Patricio Guzmán’s Nostalgia de la luz) of the implementation of this neoliberal memory apparatus in Chile. Este trabajo intenta iluminar una transición más amplia que aquella entre dictadura y post-dictadura ( y sus correspondientes formas de memoria sobre la violencia militar o los abusos a los derechos humanos) que suele ser el objeto de estudio de los trabajos sobre violencia política y memoria social. Mi interés es doble: primero, describir una transición del mundo social al post-social (es decir, una transición desde una forma de estado-nación centrada en el estado de bienestar a su contraparte neoliberal y competitiva; y en segundo lugar, analizar sus correspondientes formas de memoria. La doble articulación de la memoria colectiva bajo el neoliberalismo, la profunda y recurrente violencia presente, tanto a nivel social como a nivel individual, y su autoarticulación como un aparato de la memoria social son evidentes en las dos películas chilenas Tony Manero de Pablo Larraín y Nostalgia de la luz de Patricio Guzmán que exploran la lógica y la historia de la implementación de este aparato de la memoria neoliberal en Chile.

scholarly journals Valores culturales e identidad nacional en Largo ha sido este día de José Manuel Crespo

2021 ◽  
Vol 21 (2) ◽  
pp. 19-30
Author(s):  
Luz Stella Hurtado Rúa
Keyword(s):  
National Identity ◽  
Collective Memory ◽  
Cultural Values ◽  
Social Group ◽  
Narrative Discourse ◽  
Identidad Nacional ◽  
Long Day ◽  
National Memory ◽  
The Social ◽  
Oral Testimony

Cultural Values and National Identity in Largo ha sido este día by José Manuel Crespo. The main topic of this paper is the exposition of some of the cultural values and certain characteristics of national identity shown in the autobiography Largo ha sido este día [It’s been a long day] (1987), by the Colombian writer José Manuel Crespo. The research is based on the analysis and interpretation of the various elements that compose the syntactic, semantic and pragmatic levels of the work and, especially, on the role played by individual and collective memory for the organization of the narrative discourse. The features exposed are related to Ciénaga (the author’s birthplace), in which the importance of the social group that surrounds the writer’s environment and the influence of oral testimony are discovered, as well as certain words related to fauna and flora. Within the autobiographical space, customs and traditions of the period in question (1940s and 1950s) and the acquisition of knowledge through the discourse exposed by all the characters referred to, are linked. The author manifests through this work not only personal aspects of his childhood, but also the transcendence of the culture of Ciénaga when he evokes features that allow knowing facts that affect national memory and identity

scholarly journals "Let Fair Weather Bring Me Home: A Maltese Story" // "Deja que el buen tiempo me traiga a casa: una historia de Malta"

2013 ◽  
Vol 4 (2) ◽  
pp. 227-243
Author(s):  
Oliver Friggieri
Keyword(s):  
Personal Relationship ◽  
Social Aspects ◽  
Southern Europe ◽  
The Novel ◽  
Way Of Life ◽  
Fair Weather ◽  
The Past ◽  
The Social ◽  
The Individual ◽  
Descriptive Element

Let Fair Weather Bring Me Home: A Maltese Story (Excerpt from unpublished novel)Life in itself largely depends on one’s personal relationship with nature. Humankind develops as it discovers new modes of relating more efficiently with whatever surrounds it. Thus both the individual and the social aspects of such a condition greatly  depend on each other. Let Fair Weather Bring Me Home is a Maltese novel which strives to portray such a bond in terms of what it entails to live in a traditional village far removed from the center of the country where nature had to succumb to a great extent to the dictates of culture, and mainly to technology. The descriptive element of the novel, as evinced in this excerpt, is meant not only to construct a context within which the villagers live, but also to suggest a sharp contrast with the modern city, impersonal, overcrowded, noisy and inevitably distant from spaces which are considered to be still undeveloped, namely still left in their primeval state. The depiction of such a way of life in such a village, inspired by an environment typical of Southern Europe, may seem to be simply an evocation of the past, as it originally is, but it also recognizes the fact that such a relationship with nature still survives in various parts of various countries. The essential message of the excerpt is that modern ecological considerations are necessarily the expression of  humanity’s need to rediscover nature and to return to where it once belonged.                   

scholarly journals Between Individual Memory and Social Memory. What Do People in Poland Remember About 1989?

2020 ◽  
Vol 3 (1) ◽  
pp. 1
Author(s):  
Aneta Ostaszewska
Keyword(s):  
Eastern Europe ◽  
Collective Memory ◽  
Central And Eastern Europe ◽  
Social Memory ◽  
Political Transformation ◽  
The Past ◽  
Individual Memory ◽  
Collapse Of Communism ◽  
The Individual ◽  
The Relationship

30 years have passed since the events of 1989 that led to the collapse of communism in Central and Eastern Europe. In the paper the themes of social memory of political transformation in Poland in 1989 are discussed. The content of online statements collected from popular Polish news portals are analysed. When asking the question what events and experiences do Poles bring back when they think of 1989, I am interested in the relationship between the individual (biographical) memory and collective memory – the socially reconstructed knowledge of the past.

THE PROBLEM OF NATIONAL TRAUMA IN THE COLLECTIVE MEMORY OF GERMANS IN THE UNITED GERMANY

2021 ◽  
pp. 117-126
Author(s):  
Marina V. Novikova ◽  
Keyword(s):  
Collective Memory ◽  
Second World War ◽  
World War ◽  
Civilian Population ◽  
Global Context ◽  
National Trauma ◽  
Feature Films ◽  
Individual Memory ◽  
The Individual ◽  
Second World

The article attempts to characterize the state of historical con- sciousness of the Germans at the end of the 20th – beginning of the 21 st century. The article examines what factors influenced the formation of the “sacrificial narrative” in the collective memory of the Germans of the united Germany. The research is based on the publications in the German, Polish and Russian press, autobiographical works, interviews, diaries and memoirs of Gunther Grass, Gerhard Schroeder, etc., analyzes the works of art and filmography released at that time. Memories of the suffering of the German civilian population during the Second World War usually belonged to the individual memory or remained part of the German family history. True, the traumatic past was often used for political purposes, especially in the FRG in the matters related to the theme of exile. In the first decade of the new millennium, thanks to the changes in the cultural agenda – the release of a number of books and feature films, the plot of which was based on the suffering of the Germans, the traumatic past is at the center of public debate. However, the rethinking of the theme of the suffering of the German civilian population was met with a rather wary response in the global context, primarily from Poland and the victor countries.

Postcards from Europe: The Workings of Memory and the Role of Language in Tuvia Ruebner’s Postcard Poems

2016 ◽  
Vol 10 (2) ◽  
pp. 151-170
Author(s):  
Shahar Bram
Keyword(s):  
Collective Memory ◽  
Human Nature ◽  
The Past ◽  
Individual Memory ◽  
Presence And Absence ◽  
The Individual

Tuvia Ruebner’s postcard poems undermine the stereotypical, commercial image that tourist postcards wish to create. The name of the poem and the structure hint at such postcards, but attempt to change their appearance, to broaden the limits of the present, and integrate the past into it. The poet offers a memento that combines presence and absence, what is visual and what is verbal, and an inner and an outer reality. The individual memory is thus woven into a collective memory. These poems offer a sober worldview where Europe turns out to be the source of pain and longing, alongside great joys and pleasures. Ruebner’s postcard poems subvert the normative boundaries and binary divisions, providing the reader with a deeper look at human nature, and at the workings of memory.

The memory of judgment: The Holocaust, witnesses and mediocrity in William Gass’s Middle C

2020 ◽  
Vol 4 (2) ◽  
pp. 167-179
Author(s):  
Fan Fang ◽  
Zhixiang Gao
Keyword(s):  
Collective Memory ◽  
Daily Life ◽  
War Crimes ◽  
The Novel ◽  
Ordinary Life ◽  
The Holocaust ◽  
Individual Memory ◽  
The Relationship

AbstractThe memory of judgment and the Holocaust is of great interest in postmodernists’ writings. The relationship between postmodernism and the Holocaust is always paradoxically juxtaposed. William Gass, an American postmodern writer and critic, touches the topic of the Holocaust in his masterpiece Middle C (2013). Gass tends to trivialize fascism to every man and every ordinary life, to disrespect the “sacred”. The novel has the skill in faking the identity or the details of its putative history. Is the Holocaust a subcategory of war crimes or the inhumanity of genocide? Is there any reliable way of establishing the reality of the Holocaust either through the memory of groups or individuals? Are genocide and occasional or no systematic atrocities the inevitability of a state? In this paper, we tend to explore the collective memory and individual memory of witnesses of the Holocaust presented in Middle C and the puzzlement of judgment as a war crime or inhuman genocide, thus arguing the ethos of history and shock of mediocrity in our daily life.

scholarly journals SOVIET MYTHS AS A POSTCOLONIAL PROJECTION OF HISTORICAL MEMORY

2019 ◽  
pp. 317-324
Author(s):  
O. М. Pavlova
Keyword(s):  
Collective Memory ◽  
Historical Memory ◽  
Collective Consciousness ◽  
Main Character ◽  
Way Of Life ◽  
Biological Father ◽  
Organic Part ◽  
The Social ◽  
Individual Memory ◽  
Artistic Images

 In this article the author studies the process of decoding Soviet myths in the play "Autumn Flowers"  by О. Pohrebinska and "A Dream in a Olivier's Salad or the Tail Slave." By N. Vorozhbyt. The author focuses on rethinking of the social and political myths of that era, their devastating impact on the process of self-identification, even in today's information space. Pohrebinska in the play “Autumn flowers” unfolds the story of a woman, who is immersed in the pathological nostalgia for the Soviet times. The main character – Vilena – is fixated on the unraveling of her own mother’s death and the man, who caused it – Victor Mykolajovych – and who is her biological father and unchanging bureaucrat. In the plot of the play “A Dream in a Olivier's Salad or the Tail Slave” N. Vorozhbyt captures the colonial consciousness of an entire generation that grew up on the collapse of the totalitarian epochs through the psychological problems of the main character – Mariia (the inability to get rid of the Soviet past, which became in fact her personality). Both heroines view the Soviet past as their own individuality. The injection of collective historical memory into personal one has been traced, because Soviet slogans, mottos and behavioral patterns have become the organic part of being for those women. They made up their own personality from the typical Soviet ideological puzzles and way of life. In fact, individual memory has been replaced by collective memory. The article proved that one of the key identities of Soviet myths was "happy childhood". The artistic images of Mariyka and Vilena represent the scenarios of children's behavior, prescribed in accordance with Soviet norms. At the same time, their memories illustrate the psychological traumas of childhood caused by the ideological machine and the totalitarian system. Both women are amazed by the image of the "young Leninist", and the prerogative of a "happy childhood", no matter what. The Soviet myths are firmly anchored in the collective consciousness of the citizens of the former communist empire. Even today, they continue to produce quasi-memories about "happy childhood", "right authority" and "just order".

scholarly journals Особенности образа современного русского интеллигента на примере романа Алексея Варламова Затонувший ковчег (1997)

2020 ◽  
Vol 45 (2) ◽  
Author(s):  
Natalia Królikiewicz
Keyword(s):  
Literary Work ◽  
Social Processes ◽  
The Novel ◽  
Crisis Period ◽  
Literary Research ◽  
Moral Perfection ◽  
The Social ◽  
Russian Intelligentsia ◽  
Reason And Faith ◽  
The Individual

The article focuses on the image of the modern Russian intellectual, depicted in the artistic text of Aleksey Varlamov, the Sunken Ark. Understanding the phenomenon of the Russian intelligentsia in the analysed literary work is associated with the problem of the opposition of reason and faith in the process of the personality formation of the modern intellectual. The analysis carried out in the text allows not only to trace and better understand the social processes of the crisis period in Russia, but also to notice their enormous impact on the consciousness of the main hero-intellectual Ilya Petrovich. The use of the methodology of historical and literary research in the work is adequate to the problems posed. The novel under analysis, as a kind of warning, has a deep philosophical undertone that touches upon the problems of faith, unbelief, freedom of the individual and the pursuit of moral perfection. Varlamov’s intellectual, as a typical “hero of our time”, regardless of his weakness, defenselessness and internal rupture, seems to be most needed in life.

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