Autobiographical memory in simplest terms can be described as memory for events and issues related to yourself and includes memories for specific experiences and for the personal facts of one`s life.
Neisser , a psychologist who specialised in memory, defined autobiographical memory in the following way:½If the remebered event seems to have played a significant part in the life of the rememberer, it becomes an example of autobiographical memory and may form part of s life narrative.½ The three major characteristics of autobiographical memory are: long term recollection of general features of an event, interpretations of an event, and some racall of a few specific details of an event.
The following excerpt is Chapter 2 of the book.Penetrating Aether: The Beat Generation and Allen Ginsberg’s Americaby Sean WilentzAaron Copland’s first important musical project after Billy the Kid was to write the score, in 1939, for a film by the innovative director Lewis Milestone, made from John Steinbeck’s novella about hard-luck migrant workers in California, Of Mice and Men.
Acoustic Properties: Radio, Narrative, and the New Neighborhood of the Americas discovers the prehistory of wireless culture. It examines both the coevolution of radio and the novel in Argentina, Cuba, and the United States from the early 1930s to the late 1960s, and the various populist political climates in which the emerging medium of radio became the chosen means to produce the voice of the people. Based on original archival research in Buenos Aires, Havana, Paris, and the United States, the book develops a literary media theory that understands sound as a transmedial phenomenon and radio as a transnational medium. Analyzing the construction of new social and political relations in the wake of the United States' 1930s Good Neighbor Policy, Acoustic Properties challenges standard narratives of hemispheric influence through new readings of Richard Wright's cinematic work in Argentina, Severo Sarduy's radio plays in France, and novels by John Dos Passos, Manuel Puig, Raymond Chandler, and Carson McCullers. Alongside these writers, the book also explores Che Guevara and Fidel Castro's Radio Rebelde, FDR's fireside chats, Félix Caignet's invention of the radionovela in Cuba, Evita Perón's populist melodramas in Argentina, Orson Welles's experimental New Deal radio, Cuban and U.S. "radio wars," and the 1960s African American activist Robert F. Williams's proto–black power Radio Free Dixie. From the doldrums of the Great Depression to the tumult of the Cuban Revolution, Acoustic Properties illuminates how novelists in the radio age converted writing into a practice of listening, transforming realism as they struggled to channel and shape popular power.
That was more than thirty years ago. And it has now been more than twenty years since I became a page O.K.’er—a position that exists only at The New Yorker, where you query-proofread pieces and manage them, with the editor, the author, a fact checker, and a second proofreader, until they go to press. An editor once called us prose goddesses; another job description might be comma queen. Except for writing, I have never seriously considered doing anything else.
I grabbed up the book and took it back to my room and placed it in its place, alphabetically on my shelf." (p.626-627)
As seen in this paragraph of ’s autobiographical essay "Achievement of Desire", he looks back on his childhood remembering his family, friends, and himself.
This volume is the first of a series of autobiographical essays by noted American anesthesiologists. The Wood Library-Museum (WLM) of the American Society of Anesthesiologists (ASA) began the series to commemorate the 1996 sesquicentennial anniversary of the first public demonstration of surgical anesthesia. It supplements another WLM project of videotaped interviews, the Living History series. Essay authors were invited to describe and reflect on the formative events and encounters of their careers.
Students read and discuss several biographies and autobiographies. They analyze two autobiographical incidents, identifying the structure, organization, and style of the pieces. After talking with family members and brainstorming possible topics, students select a focus for their autobiographical incident and use an online tool to organize the events in chronological order. Students then draft their autobiographical incident and complete the writing process by conferencing, revising, editing, publishing, and sharing with the class. They assess their writing with a rubric.
It was not until after Jung's death in 1961 and especially after the publication of his remarkable autobiographical fragments, entitled Memories, Dreams and Reflections, that a continuous stream of progressively more daring revelations began to pour forth from the pens of his disciples and from posthumously published notes and letters of Jung himself. From these sundry disclosures we learn that between 1912 and 1917 Jung underwent an intense period of experience which involved a tremendous flooding of his consciousness from within by forces which he called archetypal but which previous ages would have declared to be divine and demonic. A certain amount of information regarding these experiences Jung communicated in confidence to various of his associates, but undoubtedly he experienced much more than he ever disclosed, indeed more than ever will be disclosed. The great explorer often called this experience, or rather cycle of experiences, his Nekyia, using the term whereby Homer described the descent of Odysseus into the underworld. (See James Kirsch, "Remembering C.G. Jung, in Psychological Perspectives, Vol. 6, p. 57) At this time, so we are told, he withdrew from most external activities, with the exception of a modicum of his psychiatric practice. It is even reported that during this period he did not read any books, assuredly a great event in the life of such an avid student of every form of literature. Although he did not read, he wrote. His writing at this time consisted of the records of his strange, inner experiences which filled 1,330 handwritten pages, illustrated by his own hand. His handwriting at this time changed to one that was used in the fourteenth century; his paintings were painted with pigments which he himself made, after the fashion of the artists of bygone ages. He had some of the most beautiful paintings and scriptures bound in red leather and kept in a place of honor among his belongings; hence they became known as the Red Book. According to eyewitnesses, the writings of this period of his life fall into two distinct categories; some are bright and angelic, while others are dark and demonic in form and content. One is tempted to say that Jung, in the manner of other magicians, went through experiences belonging to the categories of Theurgic Invocation of gods and of Goetic Evocation of spirits and that he kept a "magical record" of each.
Episodic knowledge has yet to be integrated with the autobiographical memory knowledge base and so takes as its referent the immediate past of the experiencing self or the `I`.
1. Create a work of art in the style of Kiki Smith. Look online at sites such as () and () for examples of both her print and sculpture work.
2. Ask to observe at your local hospital’s emergency room for an evening. Keep a journal of your observations. Afterward, create a work of art, or write a poem or short story, based on your experience there.
3. Create a series of illustrations for a book written by your favorite children’s author. You may choose a book that has not been illustrated, or create new illustrations in a different style for a previously illustrated book.