By A. Favorini
Reminiscence in Play makes glaring that reminiscence, even though significantly missed, is as major as race, gender, and sophistication as a function of dramatic personality development. Favorini skillfully argues that dramatic versions of reminiscence have to be reckoned besides the structures of philosophy, psychology, and neuroscience on the way to render a whole account of the background of reminiscence. via this lens, the paintings of Aeschylus, Shakespeare, Goethe, Ibsen, and Strindberg, in addition to such pillars of twentieth-century drama as Pirandello, O’Neill, Wilder, Sherwood, Williams, Miller, Anouilh, Beckett, Pinter, Friel, Shepard, Kennedy, and Wilson are explored. by way of providing a vantage element for spotting how dramatists have contributed to the belief of reminiscence along different "memographers," regardless of self-discipline, a lingua franca emerges for discussing a phenomenon studied from the views of such a lot of theoretical bases.
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Extra info for Memory in Play: From Aeschylus to Sam Shepard (Palgrave Studies in Theatre and Performance History)
The third act is devoted almost entirely to the confrontation of the rival queens, into which Alexander intrudes to reject Roxana and reclaim Statira, while fourth act develops further grounds for the assassination. 14), followed immediately by the fulfillment of the prophecy and Alexander’s death by Roxana’s poisoning. Resisting a reading that would make the contradictions of Lee’s text intentionally or deliciously ambiguous, Brown argues it “presents two parallel and absolutely irreconcilable accounts of Alexander’s story.
1349), another Franciscan, follows in this tradition, though his valorizing of individual experience as a reliable foundation for remembering had implications for politics and the interpretation of Scripture “that would both inspire and alarm contemporaries and subsequent thinkers” (Coleman, 501). Ockham theorized “habit” as a disposition or potentiality of mind to bridge the gap between an act of intuitive knowledge and intellection—a concept not dissimilar from the notion of some cognitive scientists that the capacity to categorize predetermines perception.
No Renaissance figure makes greater claims for memory than Giordano Bruno (1548–1600), and it is through Bruno that we can follow the impact of memory systems on drama in the age of Elizabeth I. Bruno went far beyond mnemotechnics in his works, which combine Neo-Platonism, Renaissance magic, Copernican science, and Petrarchan conceits. His first publication was a book on memory, De umbris idearum (1582), and it was Bruno’s reputation as a mnemonist that brought him to France, England, Germany, and ultimately back to Italy—and burning at the stake.