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Síða 328
What we see emerging in Azam's work is a conception of memory — and traumatic memory in particular — as a kind of pathogenic ... Allan Young notes that in the nineteenth century traumatic memories became considered , on the one hand ...
What we see emerging in Azam's work is a conception of memory — and traumatic memory in particular — as a kind of pathogenic ... Allan Young notes that in the nineteenth century traumatic memories became considered , on the one hand ...
Síða 329
17 The fundamental idea of the science of memory as articulated by Ribot was that memory , and consequently selfhood , is not based on unity but is something malleable . The textures of memory and sensibility that sustain the subject ...
17 The fundamental idea of the science of memory as articulated by Ribot was that memory , and consequently selfhood , is not based on unity but is something malleable . The textures of memory and sensibility that sustain the subject ...
Síða 335
To emphasize , in Kador , the circuit between the screen and the soul established by the hypnotic - like play of light and shadow is meant to create new memories , new pasts . The picture of memory the film draws is hence somewhat ...
To emphasize , in Kador , the circuit between the screen and the soul established by the hypnotic - like play of light and shadow is meant to create new memories , new pasts . The picture of memory the film draws is hence somewhat ...
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Efni
Hypnotic Images Contingent Pasts | 322 |
Mourning Kafka | 342 |
Genocide in Ruins | 367 |
Höfundarréttur | |
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