Remnants of the Past and the Quest for Identity: Reading August Wilson’s The Piano Lesson in the Context of Collective Memory

IF 0.2 3区 文学 N/A LITERATURE
Lamiaa S. Youssef
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引用次数: 0

Abstract

In our quest to negotiate the present and define our place within the continuum of the human experience, we try to engage with the past, examining relics, searching for roots, and sifting through memories. As members of a group, our engagement is shaped by two representations of the past: history and collective memory. The latter term was introduced by the French philosopher and sociologist, Maurice Halbwachs, in his seminal work On Collective Memory first published in 1950. Collective memory is a conglomeration of individual recollections of past experiences handed down from one generation to another, thus helping in the formation of a group identity that differentiates it from other groups, each with its own collective memory. In that respect, collective memory is different from history, which is a physical representation of past events in the form of accounts, monuments, and artifacts. Whereas neither has a claim to objective representation of the past because both are mere interpretations by their transmitters, collective memory is more dynamic because it is more apt to engage with the present and can undergo gradual transformation based on how the group defines its identity and envisions its future. For African Americans, “It was the memory of slavery and its representation through speech and art works that grounded African American identity” (Eyerman 2). This identity did not take form in the land of origin, where people identified themselves through tribal affiliations, but was defined or rather imposed on them through the experience of slavery and its subsequent reproductions that gave rise to the group’s collective memory. The Charles family in August Wilson’s The Piano Lesson is a microcosmic representation of that collective memory which binds the different group members together and ultimately saves them from utter loss and despair. The surviving members of that family span three generations reflecting the growing distance from https://doi.org/10.1080/00144940.2021.2005518
过去的残余和对身份的追求:在集体记忆的背景下阅读奥古斯特·威尔逊的钢琴课
在我们寻求协商现在和定义我们在人类经验连续体中的位置的过程中,我们试图与过去接触,检查遗迹,寻找根源,并筛选记忆。作为一个群体的成员,我们的参与受到过去的两种表现形式的影响:历史和集体记忆。后一个术语是由法国哲学家和社会学家莫里斯·哈尔布瓦克斯(Maurice Halbwachs)在他1950年首次出版的开创性著作《集体记忆》(On Collective Memory)中引入的。集体记忆是个体对代代相传的过去经历的回忆的集合体,因此有助于形成一个群体身份,使其与其他群体区别开来,每个群体都有自己的集体记忆。在这方面,集体记忆不同于历史,后者是以记录、纪念碑和文物的形式对过去事件进行物理表征。然而,两者都没有要求对过去的客观再现,因为两者都仅仅是它们的传递者的解释,集体记忆更具活力,因为它更倾向于与现在接触,并且可以根据群体如何定义其身份和设想其未来进行逐步转变。对于非裔美国人来说,“正是对奴隶制的记忆及其通过演讲和艺术作品的表现奠定了非裔美国人身份的基础”(Eyerman 2)。这种身份并不是在原籍地形成的,在那里人们通过部落关系来认同自己,而是通过奴隶制的经历及其随后的复制来定义或强加给他们的,从而产生了该群体的集体记忆。奥古斯特·威尔逊的《钢琴课》中的查尔斯一家是集体记忆的微观表现,这种集体记忆将不同的群体成员联系在一起,最终使他们免于彻底的失落和绝望。该家族的幸存成员跨越三代,反映出与https://doi.org/10.1080/00144940.2021.2005518的距离越来越远
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来源期刊
EXPLICATOR
EXPLICATOR LITERATURE-
CiteScore
0.10
自引率
0.00%
发文量
17
期刊介绍: Concentrating on works that are frequently anthologized and studied in college classrooms, The Explicator, with its yearly index of titles, is a must for college and university libraries and teachers of literature. Text-based criticism thrives in The Explicator. One of few in its class, the journal publishes concise notes on passages of prose and poetry. Each issue contains between 25 and 30 notes on works of literature, ranging from ancient Greek and Roman times to our own, from throughout the world. Students rely on The Explicator for insight into works they are studying.
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