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By Chris Wickham, James J. Fentress
We take note the previous in a few other ways, a few of which we will be able to slightly describe. yet we discuss the earlier in additional particular social contexts, at domestic, at paintings, within the bar, reminiscing approximately previous event or narrating earlier occasions with particular teams of kin acquaintances and associates. How humans speak about the earlier is helping outline their id. during this e-book the point of view, the philosophy and the psychology of remembering and the ways that occasions are narrated are used to assist figure out how remembering and speaking outline societies in situations as different as medieval France and Iceland and modern Brazil and South Wales.
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Extra resources for Social Memory
Sample text
In other words, Bartlett's subjects frequently found themselves in Goethe's dilemma of having no way of telling whether a remembered visual image was real or fancy. Visual techniques retained an image that could be introspectively consul ted. Thus, visual techniques preserved the information in fuller form. None the less, visual techniques tended to preserve the images in an unstructured form. This made them harder to recall. Nor were visual images free from distortion. Concentrating on an image could not, it seems, really be done without fantasizing about it.
It is easy to mistake a memory for the 'real thing' when the memory is vivid enough, for we often fail to recognize that what we remember are only memories, not preserved sense data. This ambiguity can be disconcerting, for it undermines any easy faith that we have in our ability always to distinguish true memories from imagination, from our experience of the memories alone. The empiricists' dilemma is rooted in their conception of memory as retained sense data. This conception can probably be traced ultimately to Aristotle's problematic account of perception in De Anima,6 yet the empiricists developed this conception within the confines of a Cartesian notion of mind that would have been entirely £or_eign to Aristotle.
In principle, scholars have always been aware of the special character of poetry in non-literate society. They knew that an Anglo-Saxon scop, like the comparable figures in other 'heroic' cultures, was a master of the word hoard. He was also a master of 'measure', capable of improvising a poem within whatever metre, rhyme scheme, or pattern of assonance and alliteration the traditional culture demanded. Yet, tied as they were to their own text-based habits, scholars before Parry (and many after him) failed to perceive any real difference between a scop's use of the language and measure of heroic verse and that of, say, Tennyson: it was really only a matter of style.