“Remembering or forgetting is doing gardener’s work, selecting, pruning. Memories are like plants: there are those that need to be quickly eliminated in order to help the others burgeon, transform, flower.”
For the health of the psyche and the culture, for the individual and the whole society, oblivion is as necessary as memory. One must know how to forget, Marc Augé suggests, not just to live fully in the present but also to comprehend the past.
Renowned as an anthropologist and an innovative social thinker, Augé’s meditation moves from how forgetting the present or recent past enables us to return to earlier pasts, to how forgetting propels us into the present, and finally to how forgetting becomes a necessary part of survival. Oblivion moves with authority and ease among a wide variety of sources—literature, common experience, psychoanalysis, philosophy, ethnography—to illustrate the interplay of memory and forgetting in the stories of life and death told across many cultures and many times. Memory and oblivion, he concludes, cannot be separated: “Memories are crafted by oblivion as the outlines of the shore are created by the sea.”
How do we use our mental images of the present to reconstruct our past? Maurice Halbwachs (1877-1945) addressed this question for the first time in his work on collective memory, which established him as a major figure in the history of sociology. This volume, the first comprehensive English-language translation of Halbwach's writings on the social construction of memory, fills a major gap in the literature on the sociology of knowledge.
Halbwachs' primary thesis is that human memory can only function within a collective context. Collective memory, Halbwachs asserts, is always selective; various groups of people have different collective memories, which in turn give rise to different modes of behavior. Halbwachs shows, for example, how pilgrims to the Holy Land over the centuries evoked very different images of the events of Jesus' life; how wealthy old families in France have a memory of the past that diverges sharply from that of the nouveaux riches; and how working class construction of reality differ from those of their middle-class counterparts.
With a detailed introduction by Lewis A. Coser, this translation will be an indispensable source for new research in historical sociology and cultural memory.
Lewis A. Coser is Distinguished Professor of Sociology Emeritus at the State University of New York and Adjunct Professor of Sociology at Boston College.
This work is a detailed study of how Americans in the 1920s and 1930s interpreted and remembered the First World War. Steven Trout asserts that from the beginning American memory of the war was fractured and unsettled, more a matter of competing sets of collective memories—each set with its own spokespeople— than a unified body of myth. The members of the American Legion remembered the war as a time of assimilation and national harmony. However, African Americans and radicalized whites recalled a very different war. And so did many of the nation’s writers, filmmakers, and painters.
Trout studies a wide range of cultural products for their implications concerning the legacy of the war: John Dos Passos’s novels Three Soldiers and 1919, Willa Cather’s One of Ours, William March’s Company K, and Laurence Stallings’s Plumes; paintings by Harvey Dunn, Horace Pippin, and John Steuart Curry; portrayals of the war in The American Legion Weekly and The American Legion Monthly; war memorials and public monuments like the Tomb of the Unknown Soldier; and commemorative products such as the twelve-inch tall Spirit of the American Doughboy statue.
Trout argues that American memory of World War I was not only confused and contradictory during the ‘20s and ‘30s, but confused and contradictory in ways that accommodated affirmative interpretations of modern warfare and military service. Somewhat in the face of conventional wisdom, Trout shows that World War I did not destroy the glamour of war for all, or even most, Americans and enhanced it for many.
A Brill classic now in paperback from SBL Press
Essays in this volume describe the shift in biblical exegesis within the last several decades from the interpretation of biblical texts as the outcome of historical development, or diachronic methodology, to the exploration of the text as the result of a reading process rather than a historical process, or synchronic methodology. The methods discussed include ideology criticism, semantic and poetic analysis, cognitive linguistics, drama theory, narratology, deconstruction, and anthropology, and intertextuality. The authors of this work challenge biblical scholars not to just perform exegesis, but to explore the methods and aims underlying their interpretations.
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