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The Memory ProcessNeuroscientific and Humanistic Perspectives$
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Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland

Print publication date: 2010

Print ISBN-13: 9780262014571

Published to MIT Press Scholarship Online: August 2013

DOI: 10.7551/mitpress/9780262014571.001.0001

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PRINTED FROM MIT PRESS SCHOLARSHIP ONLINE (www.mitpress.universitypressscholarship.com). (c) Copyright The MIT Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MITSO for personal use.date: 21 September 2021

Memory in Theater

Memory in Theater

The Scene Is Memory

Chapter:
(p.315) 15 Memory in Theater
Source:
The Memory Process
Author(s):

Attilio Favorini

Publisher:
The MIT Press
DOI:10.7551/mitpress/9780262014571.003.0016

This chapter joins Henrik Ibsen, Tennessee Williams, and Samuel Beckett with Sigmund Freud, Jerome Bruner, and Gerald Edelman—three playwrights with three kindred, twentieth-century memographers or writers and thinkers about memory. The study of the correspondences between scientific conceptions of memory and the constructions of dramatists can contribute substantively to the histories of both drama and memory, and it is a shame that they have largely gone unnoticed. Memory has always been considered a variable, not a constant, in dramatic character; however, it had become a system property of character construction by the early twentieth century, even as it came to be considered a system property of the psyche or, later on, of the neuroanatomical connections responsible for the brain's ability to recognize and categorize perceived objects.

Keywords:   memographers, Henrik Ibsen, Tennessee Williams, Samuel Beckett, Sigmund Freud, Jerome Bruner, Gerald Edelman, dramatists, character construction, neuroanatomical connections

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