By Evelyne Ender
"An vital, cogently argued, sophisticated and wealthy examine of an issue of significant interest."
--Mieke Bal, college of Amsterdam
"A paintings of literary reports located on the intersection of culture and innovation. Evelyne Ender's e-book brings trendy cultural matters to endure on conventional literary texts-her amazing pedagogical talents trap and consultant the reader in the course of the so much tough psychoanalytical concepts."
--Nelly Furman, Cornell University
Evelyne Ender is Professor of French reviews, collage of Washington. She is the writer of Sexing the brain: Nineteenth-Century Fictions of Hysteria.
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Extra resources for Architexts of Memory: Literature, Science, and Autobiography
A physical occurrence deter mines a mental process; a sensation prompts the mind to produce, through associations, a scene that is registered as a memory. 19 In his conception, the mind and the intelligence alone do not give us access to the lived experience of the past: this "real" past is founded on emotion, summoned up through the shock of an impression that sets into motion the work of imaginative construction. 20 Whenever we rehearse a memory beyond that first invol untary encounter, when we dwell, that is, on "the memory of a memory," we are no longer rememberers, just the historians of our past.
Awakenings The Recherche begins with a memory experiment centered on an experience of amnesia, which leads to a crucial discovery concerning the relation between memory, consciousness, and biography. 22 Under the cover of this first scene, Proust defines in one gesture two distinctive stories that are both of crucial significance for his study of auto biographical memory: one story is biographical in essence (it sets up the defining, beginning elements of the rememberer's experience), the other is philosophical and scientific (it documents the emergence of subjectivity and consciousness that memory enables).
26 Only through memory can the subject answer the questions that assail him or her on awaking (most often fleetingly and subliminally), questions that are, in Antonio Damasio's words: "Where am I? What am I doing here? How did I come here? " (Feeling, 203). 27 Her diary (an unedited report of an episode of amnesia that hampers autobiographical recollection to the point where, for a moment, she cannot even "retrieve her own name") reveals a state of mind akin to that of Proust's awakening rememberer.