By Hedda Friberg, Irene Gilsenan Nordin and Lene Yding Pedersen
A number of methods of gathering, storing and convalescing thoughts were the focal point of the latest joint study undertaking performed by means of a gaggle of Irish experiences students, all dependent within the Nordic nations and participants of the Nordic Irish reports community (NISN). the results of the undertaking, recuperating reminiscence: Irish Representations of earlier and current, is a suite of essays which examines the subject of reminiscence in Irish literature and tradition opposed to the theoretical history of the philosophical discourse of modernity. supplying quite a lot of views, this quantity examines a plurality of representations prior and current of reminiscence, either private and non-private, and the intersection among collective reminiscence and person in sleek eire. additionally explored is the relation among reminiscence and id nationwide and personal in addition to questions of subjectivity and the development of the self. Given eire s tragic prior and its lengthy heritage of colonisation, it truly is inevitable that numerous elements of reminiscence when it comes to nationality, post-colonialism, and politics even have referring to this research. the amount is split into 5 sections, every one of which examines one generally outlined element of reminiscence. The introductory part specializes in reminiscence and background, and is through sections on reminiscence and autobiography, position, id, and reminiscence within the paintings of novelist John Banville. inside of each one part, the person writers interact in a fruitful discussion with one another and with the ways of such theorists as Arendt, Husserl, Merleau-Ponty, Ricoeur, and Baudrillard.
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We remake or repress memories of experiences which are still painful and ‘unsafe’ because they do not easily accord with our present identity, or because their inherent traumas or tensions have never been solved. We seek composure, an alignment of our past, present and future lives. One key theoretical connection, and the link between the two senses of composure, is that that the apparently private process of composing safe memories is in fact very public. Our memories are risky and painful if they do not conform with the public norms or versions of the past.
Gadamer, Hans-Georg. Truth and Method. London: Sheed and Ward, 1975. Gibbons, Luke. Transformations in Irish Culture. Cork: Cork University Press, 1996. Kearney, Richard. Postnationalist Ireland. London and New York: Routledge, 1997. ———. ” The New Arcadia Review 3 (2005). ———. Navigations: Collected Irish Essays, 1976-2006. Syracuse: Syracuse University Press, 2006. Kelleher, Margaret. 2 (2002): 249-76. Kiberd, Declan. Notes in Annotated Students Edition of Ulysses. London and New York: Penguin, 1992.
Cf. Brian Fay, Contemporary Philosophy of Social Science (Oxford: Blackwell, 1996), 39. g. Richard Jenkins, Social Identity, 2nd ed. (London: Routledge, 2004). For reasons of conventional use, however, I will use both terms interchangeably. 5 22 Chapter Two self and also helps to explain why most of us often experience our selves as changeable, complex and ambivalent. However, there are also factors which contribute to stabilising our self-identifications. 7 Another is our ability to organise our experiences and memories structurally as narratives that create continuity between past and present.