"Memory in Play" makes evident that memory, though critically
neglected, is as significant as race, gender, and class as a
feature of dramatic character construction. Favorini skillfully
argues that dramatic models of memory need to be reckoned along
with the constructions of philosophy, psychology, and neuroscience
in order to render a full account of the history of memory. Through
this lens, the work of Aeschylus, Shakespeare, Goethe, Ibsen, and
Strindberg, as well as such pillars of twentieth-century drama as
Pirandello, O'Neill, Wilder, Sherwood, Williams, Miller, Anouilh,
Beckett, Pinter, Friel, Shepard, Kennedy, and Wilson are explored.
By offering a vantage point for recognizing how dramatists have
contributed to the conception of memory alongside other
"memographers," irrespective of discipline, a lingua franca emerges
for discussing a phenomenon studied from the perspectives of so
many theoretical bases.
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