Dialectics Of Memory Research Articles

‘Suffering ought not to be’: Adorno on the dialectics of memory

In recent decades, social and cultural memories have been much discussed in human geography. In line with an increasing interest in the nexus between memory and social justice, this article theoretically investigates the political geographies of remembering and its emancipatory potential. Surveying recent literature on the topic, I argue for a more nuanced consideration of capitalist thought forms as generally hindering remembrance. To pin down this argument, I draw on Theodor W. Adorno’s negative dialectics, stressing the all-encroaching totality of capitalist thought forms while adhering to the hope of overcoming them. While this perspective stresses how capitalist relations render remembrance precarious, it also enables us to conceptualize spontaneous, embodied moments of memory as acts of resistance against the dominance of these capitalist thought forms. Thus, this article introduces negative dialectics as an approach to consider how places of memory might challenge capitalist relations by circumventing the respective thought forms and transforming society through tenderness and solidarity between diverse people.

Карл Ясперс и Поль Рикёр: работа памяти как работа самосознания

The paper presents a comparative analysis of the problem of memory in the philosophy of Karl Jaspers and Paul Ricœur. The author’s thesis is the existen­tial philosophy of Jaspers was of decisive importance for the formation of Ricœur’s memory discourse. The paper discusses the main dimensions of the problem of memory and guilt in Jaspers’ philosophy, its central concepts in con­nection with the theme of guilt and self-consciousness, the early works of Ricœur, which directly refer to the existential project of the German philo­sopher, while attention is paid to the communicative history of philosophy and the doctrine of truth. Based on the results of a comparative study, it is con­cluded that an important metaphor for Ricœur’s philosophy (as well as for Jaspers) is the metaphor of constant movement and path in communication, which turns into a discourse of memory as an emphasis on the need to under­standing work with the past, without which impossible the philosophical con­sciousness. Ricœur’s memory discourse studies focus on the dialectic of memory and self-consciousness in situations of guilt and forgiveness. It is noted that Ricœur problematizes guilt in relation to the past in an existential sense as a borderline situation. For him, this is the problem of a person’s treatment of himself, the constitution of his identity, his living as a person who can and wants something. The work of memory as the work of self-consciousness and the overcoming of guilt becomes the path to a moral society, as for Jaspers, it acts as the basis for communication and life in truth, communication of “care” for oneself and others.

The dialectic of memory and oblivion in Friday or the Other Island. The key to happiness according to Michel Tournier

The dialectic of memory and oblivion in Friday or the Other Island. The key to happiness according to Michel Tournier

The dialectic of memory and habit: The situation in the 21st century architecture

The author’s two articles are united by the theme of the fate of modern architecture in the context of social changes. The first one analyses the dynamics of history, the change in the rhythm of interpretation of its course, and the mal-synchronization of changes in the world and people. The pace of renewal is organically connected with the pace of habituation. Accordingly, the arguments for or against the preservation or change can also radically change. The de-synchronization of historical changes is a problem which can be solved by architecture and urban planning.

Alt er sandt!

David Hasberg Zirak-Schmidt: “All is true! Memory, Oblivion and History in Shakespeare and Fletcher’s Henry VIII”
 In this article I examine the dialectic of memory and oblivion in Shakespeare and Fletcher’s history play Henry VIII. Taking off from a close reading of the ambivalent apotheosis of Catherine of Aragon, the article argues that Henry VIII questions the relationship between fiction and historical truth. Through this process, I argue, that the play self-consciously reflects on the theater’s role and ability as a transmitter of historical knowledge and truth.

Dijalektika sećanja i logika zaborava - od nastanka do nestanka Pionirske železnice u Beogradu

Dijalektika sećanja i logika zaborava - od nastanka do nestanka Pionirske železnice u Beogradu

Paul Ricœur et la question de la singularité et de l’unicité de l’événement à l’épreuve de la Shoah

Il s’agit dans cet article d’analyser le travail de désingularisation relative de l’événement que Ricœur opère par couplage avec le récit dans Temps et récit au début des années 1980, puis la reprise de la question de la singularité et de l’unicité de l’événement dans La mémoire, l’histoire, l’oubli (paru en 2000) dans le cadre théorique recomposé de la représentation historienne mise à l’épreuve de “l’événement aux limites” qu’est la Shoah. Dans Temps et récit Ricœur entend dépasser, par l’entrecroisement entre histoire et fiction appliqué à des événements fondateurs d’identité collective comme la Shoah, l’aporie épistémologique de la dichotomie entre une histoire qui dissout l’événement dans l’explication et une attitude purement émotionnelle face aux événements à intensité éthique considérable. Cette narrativisation de l’événement se heurte cependant à la puissance traumatique de l’extra-textuel radical de l’événement-Shoah qui constitue ainsi un défi pour la représentation historienne du passé. C’est cette question que Ricœur reprend dans La mémoire, l’histoire, l’oubli, mais cette fois-ci cet examen a été largement reconfiguré par la dialectique de la mémoire et de l’histoire contribuant à la représentation du passé. Tout en distinguant l’incomparabilité absolue au plan moral de la Shoah et l’incomparabilité relative (c’est-à-dire la comparabilité possible) sur le plan historiographique, Ricœur maintient que l’enchevêtrement entre jugement historiographique et jugement moral est inévitable, ouvrant ainsi sur la grande question de la responsabilité sociale, politique et éthique de l’historien.

Memory Remains: Haunted by Home in Lebanese (Post)war Fiction

This article examines the dialectics of memory and oblivion in two Arabic novels deeply imbricated in the Lebanese civil war (1975-1990) and its aftermath: Ghādah al-Sammān’s (b. 1942) wartime novel Kawābīs Bayrūt (Beirut Nightmares), first published in 1976; and Ilyās Khūrī’s (b. 1948) postwar novel Yālū (Yalo), first published in 2002. Characters in both novels sift through fragments of their wartime memories, selectively forgetting some and remembering others in order to craft particular textual narratives for themselves that impede, enable, critique, and/or complicate the possibility of their belonging to the postwar Lebanese nation. Ruins are strewn throughout the novels. Instead of embracing ruins as nostalgic markers as did the classical bards of Pre-Islamic Arabia, the narrator of Kawābīs Bayrūt conjures up their innovators, such as al-Mutanabbī and Abū Tammām, to whose introspective meditations on ruins al-Sammān adds her own textured rereading of ruination atop their visceral rejection of all things nostalgia-infused. As the protagonists are continually entangled in (and are produced by) the violence of the war machine, they persistently struggle to integrate into their respective realities, revealing the contradiction at the heart of so-called ‘national belonging.’

Letteratura e poteri: forme e funzioni del consenso e del dissenso

Mimetic fictions, mimetic narratives are the multi-faceted multiplication of some foundation myth representing the legitimation of any political power based on the consent on common values, common beliefs grounding the common political ratio, and the social pact in democratic societies. This also implies the consent on the common dissent on behaviours, opinions, and values shaping some counter-foundation myth, or simply denying the truth of any given master-fiction. Literature often defines its own autonomy from any given power, its own purete detached from the materiality and violence of history and the struggle for power. As a matter of fact the production of fictions opens an imaginary space in which cultural memory, history itself, takes its shape in the dialectic of memory and oblivion. Mass culture largely coincides with the production of mimetic fictions and therefore with the production space of both global consent and global conflict and dissent. In this global/glocal space a new intellectual must invent a new critical language.

Dialectic of memory. Between a yesterday that no pre-written and a future that is not written

<p dir="ltr"><span>En el presente artículo se presentan resultados de un proyecto de investigación desarrollado con víctimas de ejecuciones extrajudiciales. En el texto se hace un análisis desde las injusticias de la memoria. En Colombia, estas se han reproducido en los diferentes periodos de justicia transicional, entre los siglos XIX y XX, a través del binomio amnistía amnesia, para imponer un modelo de paz política y monopolizar la memoria. En concordancia con este argumento, desde una perspectiva dialéctica, me permito proponer un abordaje de la justicia desde la memoria de las injusticias, desde la singularidad histórica de cada victimización, los daños causados y la responsabilidad histórica en la comisión de los mismos. Este análisis se realiza desde diferentes puntos de referencia, en los cuales los marcos sociales de memoria-tiempo-espacio-sujeto del recuerdo son alterados por las victimizaciones. En este sentido, se proponen cuatro ejes de análisis de los resultados de investigación: la temporalidad de la memoria, la desnaturalización de la historia, la muerte física, y la muerte hermenéutica y los usos de la memoria, todos los cuales funcionan como premisas de una justicia ontológicamente fundada en la memoria de las injusticias.</span></p><div><span><br /></span></div>

Suturing The Memories Of The Liberation War Of 1971: The Narrative Poetics Of Sorayya Khan’s Noor

This essay will engage in the dialectics of memory and (dis/re)membering through its questioning of the basic assumption that memory helps one to understand an event holistically. Memory plays a pivotal role in Sorayya Khan’s debut novel, Noor (2003; revised ed. 2006), shaping the identities of the main characters, both victims and perpetrators. Through a close reading of the novel in relation to the Liberation War of 1971 and the recent emphasis on the ‘memory boom’, the author will examine the theoretical and textual nexus between history and memory, tracing the shift in analytical focus from the historical to the psychological and how personal memory of public events is transcribed into the larger collective memory of the nation-state. The analysis of the novel will demonstrate how the trauma of 1971 resides both within and outside the individual.

In the dialectic of memory: rediscovering graced fatherhood in Farida Karodia's stories

This article considers Farida Karodia's construction of an alternative engagement with the violence of apartheid on the nuclear family. It proposes that central to her representation is the narration of this primary space of socialization in enunciations that reveal how apartheid interpellated kith and kin in the besieging of fatherhood. The suggestion is that depicting the family in these elocutions foregrounds it as a site of gender-specific casualties. I also propose that the healings of these wounds are revealed through textures that call for reflexivity. The discussion then proceeds to focus on how these inflections ratify the family and fatherhood in porous terms. Key to this analysis is, therefore, an attempt to demonstrate that the stories that let slip how the family members, who became implicated in the domino consequences set in motion by apartheid, define fatherhood in permeable lines. The exploration purports that this diplomacy highlights a productive tension between documenting atrocities, on the one hand, and taking an ironical distance from them, on the other hand. This examination suggests that the paradox, which is apparent in re-calling the family from inside it and through its gendered pivot, is pertinent to an enterprise on memory.

Attention as bounded resource and medium in cultural memory: A phenomenological or economic approach?

What is the role of attention in the dialectics of memory and communication? How far is attention functioning as a medium? Which role does attention play in the information management practices? Attention is not only fundamental to human existence but also to the process of understanding. If understanding is mediated by memory (tradition) and communication (dialogue) then attention can be identified with the medium. So whenever you search to explain the role and mechanisms of memory in the information society, the question of attention is asked immediately. Furthermore, attention can be analyzed under the following topics: as cognitive process, as subjective, intersubjective and cultural phenomenon, and as resource and medium within an 'Attention Economy'. Whereas the first aspect has to be seen in the context of empirical studies in psychology and cognitive sciences, the phenomenological, cultural, and economic aspects seem to have common points and similar implications in their theoretical approaches. In the last twenty years, the notion of attention has been the central core of several discourses in German phenomenology (Bernhard Waldenfels, 2004), economy (Franck) and cultural studies (Assmann). Similar to Georg Franck's theory of mental capitalism, the idea of an attention economy also was followed up in the American discourse (e.g. Goldhaber; Lanham). This article is supposed to explore the role of attention and its function as a medium within communication, cultural memory and science.

Lyric maps and the legacies of 1971 in Kamila Shamsie’s Kartography

This article examines how recent Pakistani literature in English negotiates the legacies of Partition and the 1971 civil war, focusing on Kamila Shamsie’s Kartography (2002). I argue that Shamsie engages with Urdu literary culture to explore the complex dialectics of memory and forgetting, intimacy and estrangement that affect Pakistani subjectivities in the post‐Partition, post‐Bangladesh period. Shamsie fuses two non‐narrative forms, Urdu lyric poetry and maps, to produce what I call “lyric maps” of Karachi, to interrogate the multiply layered “cartographic anxiety” that affects contemporary Pakistani subjectivities, and to disrupt national narratives that censor – or seek to forget – the loss of Bangladesh. Drawing together questions of narrative form with those of national forgiveness, I end by exploring the novel’s “mapping” of Karachi as a conflicted, but potentially productive, site for processes of reconciliation structured by difference and discontinuity.

LA COMPLEJIDAD Y LOS ALCANCES DE LA CATEGORÍA DE SEMIOSFERA: PROBLEMAS DE OPERATIVIDAD ANALÍTICA

En este artículo, los objetivos son reflexionar sobre los alcances de la categoría de semiosfera, que corresponde a la segunda etapa de las propuestas lotmanianas. En este sentido, procuramos problematizar sobre esta categoría para revisar los funcionamientos que propone Iuri Lotman, y tratar las otras categorías que se relacionan con ella. La semiosfera es una categoría dialéctica y polisémica que permite el análisis de toda la producción cultural, porque puede abordar y explicar todas las prácticas semiótico-discursivas. Además, en la semiosfera existen fronteras internas y externas que explican los cambios y las dinámicas culturales. En síntesis, uno de los movimientos más explicativos de la semiosfera es el del centro-periferia, que produce peculiares y complejos procesos en la dinámica de la cultura. Otro aspecto que se considera es la dialéctica de la memoria y el olvido, en la cual Iuri Lotman se detiene para tratar sobre lo que queda en la memoria de la cultura y lo que queda en el olvido.

Un autre genre d’antimémoires

One of the main characteristics of Romain Gary is the constant attempt to transgress the boundaries between life and fiction. His autobiographic texts are as a rule highly fictitious. On the other hand, in real life, he tried to live out a fiction written for him by his mother and, later on, by himself. The ambivalence of the relation between fiction and truth characterizes all of his books, but it is particularly interesting in his attempts at the autobiographical genre where it reveals a quite original understanding of human identity, and the dialectics of memory and forgetting,

Einführungin die Literatur des Vormärz by Norbert Otto Eke

MLR, I02. 3, 2007 887 Mathias Mayer's hermeneutic analysis of 'Idylle am Bodensee' iselegant and insight ful, while Helmut J.Schneider's discussion of 'Wald-Idylle' in thecontext of M6rike's relationship topoetic traditionmakes interesting arguments about influence and the idea of the feminine. In an excellent contribution, Giinter Oesterle takes thepoem 'An Longus' as the starting-point for a rich account ofMorike's relation to discourses of grace and social politeness, and Christina Muller's treatmentof M6rike's reception of ancient literaturemoves gracefully from metrical analysis todiscussion ofmeasure and moderation ('Mal3', 'MaiB3igung')as components ofGeselligkeit. This is an extremely welcome, stimulating, and coherent collection, inwhich up-to-date theoretical per spectives are pleasingly deployed in the service of literature, and which is sensitive enough to the elusive figureat itscentre to succeed inbringing him closer tous. A useful complement to Braungart's and Simon's collection is Jan Koneffke's monograph Die Schonheit des Vergdnglichen, originally written as a dissertation in I987. Koneffke's themes are beauty, time,andmemory, and he isconcerned tocounter what he sees as the Idealist interpretation ofMorike, which he finds in such standard works as thatofGerhard Storz, and which centres on 'Aufhebung der Zeit inder Zeit', permanence being granted to the transientmoment. Against this,Koneffke develops an approach (partly derived from,but not dictated by, Adorno) which findsbeauty not in such intimations of eternity,but rather in thepathos of transience-in themoment that is recoverable bymemory, but only ever as something irrecoverable. Koneffke's Morike, we might say, inhabits a negative dialectic ofmemory. The book treats Maler Nolten and a broad range ofMorike's poetry, and inboth cases achieves a high degree of critical purchase, thanks to its insistence on the advantages of close reading. That said, Koneffke's finely lyrical style ismore suited to reflections on individual poems than to sustained analysis of a novel, and themost rewarding parts of the book are his discussions of such pieces as 'Denk es, o Seele!' and the tantalizing 'Gottliche Re miniszenz'. From a scholarly perspective itwill seem odd thatKoneffke's book was published in2004 (with a foreword by theauthor written in200 I, inwhich he reflects with hindsight on itsmain ideas) without any attempt to update the bibliography, which reflects the state ofMorike scholarship in I987. This means that some impor tantstudies, such as Pierre Labaye's EduardMorike: symbolismeet transparence (Bern: Peter Lang, I988), which is similarly informed by a spirit of quiet anti-Idealist icono clasm, are notmentioned. However, Koneffke's remains a thoughtful account which allowsMorike's texts tobreathe, and it too should finda place in Morike scholarship. SELWYN COLLEGE, CAMBRIDGE IANCOOPER Einfuihrungin die Literatur des Vormdrz. By NORBERT OTTO EKE. (Einfuihrungen in die Germanistik) Darmstadt: Wissenschaftliche Buchgesellschaft. 2005. I67 pp. ?I4.9o. ISBN 978-3-534-I5892-8. 'Als interdisziplinare Forschung ist die Vormarz-Forschung heute aus der Wis senschaft nichtmehr wegzudenken' (p. I6). This statement summarizes Norbert Otto Eke's account of critical approaches to the I830-48 period inGerman literaryhistory. Having fora long time been considered a transitional phase between the 'klassisch romantische Periode' and theera ofRealism, and as suchwithout intrinsicmerits, the Vormdrz became thecentre of attention fortheyoung generation ofGermanists in the I960s who found their literary model in thepoliticized writing of the I83os and I840s and established an understanding of thisperiod in termsof subversive and revolutio nary currents erupting in i848-49. With regard to the former West Germany, thevery name Vormdrz, as Eke reminds us, bears thestamp of theanti-Establishment struggles within a discipline stifled by the post-war restoration of the I950S and early I96os. Among other things,Vormiirz served as a counter-concept to the termBiedermeier, 888 Reviews which subsumed the literature of the I8I 5-48 period under notions of domesticity, self-restriction, and contentedness. Today's interest in the I820S-I840s has come a long way, acknowledging the period's inherent contradictions and its dynamism as manifestations of an 'open' or 'experimental' stage in the development ofmodernity and hence as a prime object of interdisciplinary enquiry. A Cinderella ofold-fashioned Germanistik has turned into a princess of contemporary Kulturanthropologie. Eke's Einfzihrung in die Literatur des Vormdrz is itself informed by cultural anthropological thought and thus...

Perilous Memories: The Asia-Pacific War(s) (review)

Reviewed by: Perilous Memories: The Asia-Pacific War(s) Yuehtsen J. Chung Perilous Memories: The Asia-Pacific War(s). By Fujitani, White, and Yoneyama (eds.). Durham: Duke University Press, 2001. In their efforts to reclaim marginalized subjects’ right to history, the authors of this conference volume bring together multiple, contradictory, unsettled and unsettling memories of the world war and challenge the dominant form of history writing on perpetrators, heroes, political leaders, military planners or policymakers. As decolonization during the postwar era has been supplanted by recolonization, the liberation forces have turned into another regime of domination in most parts of Asia and the Pacific. Likewise, the authors argue that the centrality and marginality of the selected memories are basically a binary pair and any lopsided emphasis of each would give rise to a cycle of repression and suppression. Conceiving memory as the process of past events acquiring truthfulness and power by virtue of being represented, shared, debated, suppressed and negotiated, the authors remind us of the current danger of various forces at work: 1) transnational capitalism which promotes plural representation with a single teleology of victory of capitalism in order to accommodate the interest of tourism and globalization; 2) conservative politicians who preserve nationalistic nostalgia and frequently deny the occurrence of war atrocity so as to sway popular support in the name of defending patriotism; 3) funding agencies which preclude critical projects as such to engage the debates between the dominating and the marginalized history writings and preempt possible opportunities of dialogue and reconciliation. Compared to two recent excellent monographs on war memory, Lisa Yoneyama’s Hiroshima Traces: Time, Space, and the Dialectics of Memory (UC, 1999) and Yoshikuni Igarashi’s Bodies of Memory: Narratives of War in Postwar Japanese Culture, 1945–1970 (Princeton, 2000), this collection demonstrates the strength of comparativism and broadens our perspective of heterogeneous forms of remembering and representation, which is a befitting mode in which to recast the heterogeneity of the Asia-Pacific War. The first set of five articles focuses on memory fragments absent and present in the cultural production of war images, an approach similar to the one found in Igarashi’s aforementioned work. Marita Sturken’s piece on Rea Tajiri’s recreation of her family’s memories of mainland Japanese Americans in the internment camps during the war presents the part left out not only by the Tajiri family but also in American national memory. Daqing Yang’s discussion of the contested memory of the Nanjing Massacre within the national framework finds the topic not only the focus of textbook dispute but also a target for the rightists to gain political ascendancy by criticizing their opponents “anti-Japanese” and “masochistic” in Japanese domestic politics. Meanwhile in China, Chinese assertive efforts to refresh the memory of Japanese aggression stems from a fear of the revival of Japanese militarism in the teeth of growing economic power. Ishihara Masaie’s “Memories of War and Okinawa” complicates the issues of war responsibility and the complicity of the Okinawans, who had been discriminated against by the Imperial Army and forced to participate in the war while witnessing Japanese troops killing their own countrymen in the Battle of Okinawa. Lamont Lindstrom analyzes conflicting images of the Pacific islanders from war photography, ranging from exotic and primitive jungle dwellers, servant, victims and apt pupil to the loyal allies and fellow human beings. Lindstrom’s reflection points out that the “justification of the war to ourselves and to others eroded the boundary between civilized self and native other” (109). Morio Watanabe enframes various incidents of 1995, the Hanshin earthquake, the Sarin event and the gang rape of an Okinawa girl by U.S. Marine soldiers, to capture the images of war memory concealed in the sites of popular cultural production such as simulation war series and the obsession with cuteness. The second set of six articles reveals, in a straightforward and powerful biographic manner, the true color of “liberation.” As an American Pacific Islander, Vicente M. Diaz’s recurrent nightmare of his struggle for survival in the wars in the Philippines and Guam even before he was born tells us that his body has been afflicted by his parents’ traumatic...

Yeats’s The Only Jealousy of Emer: Dialectic of Memory and Hope

Yeats’s The Only Jealousy of Emer: Dialectic of Memory and Hope

Yeats’s The Only Jealousy of Emer: Dialectic of Memory and Hope

『에머의 유일한 질투』에서의 쿠쿨레인은 예이츠의 다른 극에서 보여주는 두려움 없는 신화적 영웅이 아니다. 그는 자연계와 초자연계 사이에서 분열되어 있으며 자신의 운명 또한 에머의 손에 달려있는 전적으로 수동적인 인물로 그려진다. 이러한 쿠쿨레인의 속수무책과 그를 둘러싸고 일어나는 세 여인 및 브로크리우가 보여주는 욕망의 파노라마는 그의 영웅적 모습이 단순히 그들이 갖고있는 그의 경험적 종합으로는 설명할 수 없는 어떤 면이 있음을 암시한다. 즉 이들의 욕망을 고려해야만 경험적 종합으로 환원되지 않은 그의 영웅적 이미지를 이해할 수 있다. 본고에서는 이들 욕망사이의 갈등을 기억과 희망의 변증법을 중심으로 고찰한다. 에머가 에이스니로 하여금 쿠쿨레인의 이름를 부르고 그에게 키스를 하도록 하는 제의적인 모습은 그의 영웅적 정체성과 이름과 욕망간에 밀접한 관계가 있음을 보여준다. 한편 에머에게 주어진 잔인한 선택은 확정되지 않은 미래를 이미 확정된 것으로 가정함으로써, 에머는 미래의 희망을 희생한 것이 단순히 비극으로 끝나지 않고 그녀의 욕망을 비밀스럽게 실현시킨다. 시디의 여인(the woman of sidhe)의 욕망은 쿠쿨레인과의 결합을 통해 자신의 영혼의 완전히 실현하려는 것이다. 쿠쿨레인이 비통한 과거의 기억으로 인해 자신과의 결합에 머뭇거리는 것을 알고 그 기억을 자신과의 키스로 지우도록 유혹한다. 그런데 이 초자연적인 세계에 살고 있는 이 여인은 결코 자신의 욕망을 실현할 수 없는 운명에 놓여있는데 이는 모든 기억을 지운다는 그 세계조차 이미 언어와 기억으로 물들어 있기 때문이다. 이 극에서 에머와 시디의 여인의 욕망이 좌절되는 것에 비해 브로크리우만은 자신의 욕망을 실현하는 것처럼 보인다. 하지만 그 실현을 위해서는 자신과 철저히 동일시했던 쿠쿨레인의 모습을 포기해야하는 대가를 치루어야 가능하다. 이러한 점에서 그의 욕망은 애매한 실현으로 그친다. 이렇게 욕망은 결코 실현되지 않으며 항상 대체되고 환치된다는 점은 이 극의 초두의 두 노래에서 이미 암시되어 있다. 이 노래는 여인의 미와 이를 묘사하는 비유사이의 긴장, 특히 지나간 비유에 대한 기억과 다가올 비유에 대한 기대 사이의 긴장을 잘 보여준다. 이 긴장은 욕망을 둘러싸고 진행되는 기억과 희망의 변증법을 상징적으로 예시해 준다