By Evelyne Ender
"An very important, cogently argued, sophisticated and wealthy examine of a subject of significant interest."
--Mieke Bal, collage of Amsterdam
"A paintings of literary reports situated on the intersection of culture and innovation. Evelyne Ender's booklet brings trendy cultural matters to undergo on conventional literary texts-her awesome pedagogical abilities trap and consultant the reader throughout the so much tricky psychoanalytical concepts."
--Nelly Furman, Cornell University
Evelyne Ender is Professor of French reports, collage of Washington. She is the writer of Sexing the brain: Nineteenth-Century Fictions of Hysteria.
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Additional resources for Architexts of Memory: Literature, Science, and Autobiography
11 But the overwhelming response this model of remembrance has received among scientists tells us something else. He describes how memories are, as it were, captured alive, at the frontier between a physio logical and a mental experience-that is, in the very place defined by Oliver Sacks's "neurology of identity" (Man Who, viii). Proust's discov ery calls for its own metaphor: he succeeded in capturing the moment when a bevy of butterflies flits through the mind, and not the butterflies pinned to a board, frozen and gathering dust.
24 A shoulder, an arm, a leg: different parts of the rememberer's body, endowed each with a distinctive sensation, pro vide him with a first map of past experiences. A "body memory" (Proust calls it la memoire du corps) cues the mind into recollection. It is, however, by reassigning each image to the proper category and scene that the waking subject will eventually "find himself"-that is, he will know who he is and where he is. "I remember, therefore I am," Proust thus tells us, in effect, in his rich demonstration of how the remembering subject finds again and again the necessary moorings that reconnect him to his biography and his identity.
I remember, therefore I am," Proust thus tells us, in effect, in his rich demonstration of how the remembering subject finds again and again the necessary moorings that reconnect him to his biography and his identity. 25 But Proust's description also looks ahead, toward the kinds of analyses that bear on the "neurology of identity" and have been developed by Oliver Sacks, and after him by Israel Rosenfield and Antonio Damasio. The complex and bewildering combination of impressions (as Proust calls them) or recollections, sensations, and perceptions (as they look to us) pre sented in this awakening are a perfect instance of Rosenfield's thesis that consciousness arises from "the dynamic interrelations of the past, the pres ent, and the body image" (84 ).