Cultural and Domestic Memory in Seamus Heaney's Bog Poems
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This paper deals with Seamus Heaney's bog poems and the meaning of cultural memory. He delves into the bog, examines its past and history, develops its present situation and negotiates between the present and past, not missing its originality. In fact, the bog poems suggest different reconstructions of the same event, different ways of remembering or recalling memory traces. And memory emerges from these negotiations and strategies as a range of processes of recovery. The person remembering an object can enter into the unknown. So, it is a creative or interpretative process of narrating memory traces in terms of the context of retrieval, rather than an archaeological process of revealing discrete or complete memories. It is also a means of representing the ongoing trace of the past or the presence of the past, rather than of discovering a finished past. In the context, poems such as “Kinship,” “The Tollund Man,” “The Bog Queen” and “The Grauballe Man” can be applicable to memorial images of Irish bog. Heaney's attitude to the past has changed radically in the bog poems. The poet's attitude to the past is so subdued and private, as exemplified by the inclusion his wife in the peaceful pastoral scene. Irish history and memory is considered to be originated and completed on a domestic dimension rather than a national dimension.
Abstract
This paper deals with Seamus Heaney's bog poems and the meaning of cultural memory. He delves into the bog, examines its past and history, develops its present situation and negotiates between the present and past, not missing its originality. In fact, the bog poems suggest different reconstructions of the same event, different ways of remembering or recalling memory traces. And memory emerges from these negotiations and strategies as a range of processes of recovery. The person remembering an object can enter into the unknown. So, it is a creative or interpretative process of narrating memory traces in terms of the context of retrieval, rather than an archaeological process of revealing discrete or complete memories. It is also a means of representing the ongoing trace of the past or the presence of the past, rather than of discovering a finished past. In the context, poems such as “Kinship,” “The Tollund Man,” “The Bog Queen” and “The Grauballe Man” can be applicable to memorial images of Irish bog. Heaney's attitude to the past has changed radically in the bog poems. The poet's attitude to the past is so subdued and private, as exemplified by the inclusion his wife in the peaceful pastoral scene. Irish history and memory is considered to be originated and completed on a domestic dimension rather than a national dimension.
참고문헌 (22)
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