Memory: diferenças entre revisões
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first have difficulty re-establishing contact with him. However, as we recall together various circumstances related to the same events, recollections that may not agree, haven't we managed to think and remember in common and don't past events stand out more sharply? Don't we believe that we relive the past more fully because we no longer represent it alone, because we see it now as we saw it then, but through the eyes of another as well? Our memories remain collective, however, and are recalled to us through others even though only we were participants in the events or saw the things concerned. In reality, we are never alone. Other men need not be physically present, since we always carry with us and in us a number of distinct persons. I arrive for the first time in London and take walks with different companions. An architect directs my attention to the character and arrangement of city buildings. A historian tells me why a certain street, house, or other spot is historically noteworthy. A painter alerts me to the colors in the parks, the lines of the palaces and churches, and the play of light and shadow on the walls and fa~ades of Westminster and on the Thames. A businessman takes me into the public thoroughfares, to the shops, bookstores, and department stores. Even if I were unaccompanied, I need only have read their varying descriptions of the city, been given advice on what aspects to see, or merely studied a map. Now suppose I went walking alone. Could it be said _that I preserve of that tour only individual remembrances, belonging solely to me? Only in appearance did I take a walk alone. Passing before Westminster, I thought about my historian friend's comments (or, what amounts to the same thing, what I have read in history books). Crossing a bridge, I noticed the effects of perspective that were pointed out by my painter friend (or struck me in a picture or engraving). Or I conducted my tour with the aid of a map. Many impressions during my first visit to London-St. Paul's, Mansion House~the Strand, or the Inns of Court-reminded me of Dickens' novels read in childhood, so I took my walk with Dickens. In each of these moments I cannot say that I was alone, that I reflected alone, because I had put myself in thought into this or that group, composed of myself and the architect (or, beyond him, the group for 24 The Collective Memory which he was merely the interpreter), the painter (or his group), the land surveyor who had designed the layout of the city, or the novelist. Other men have had these remembrances in common with me. Moreover, they help me to recall them. I turn to these people, I momentarily adopt their viewpoint, and I re-enter their group in order to better remember. I can still feel the group's influence and recognize in myself many ideas and ways of thinking that could not have originated with me and that keep me in contact with it. Forgetting Due to Separation from a Group Witnesses in the ordinary sense of the word-individuals physically present to the senses-are therefore not necessary to confirm or recall a remembrance. Moreover, they would never be sufficient. By putting together remembrances, several people (or even one) may be able to describe very accurately facts or things that we ourselves viewed also, even to reconstitute the entire sequence of our actions and words in definite circumstances, while we are unable to recall anything of all this. That is, the facts may be indisputable. We are shown beyond any doubt that a certain event occurred, that we were present and actively participated in it. Nevertheless this episode remains foreign to us, just as though someone else played our role. Let us revert to an example that ,has been raised in opposition to my views. There have been in our life a certain number of events that had to happen. It is certain that there was a first day that I attended lycee, a first day I entered the third or fourth grade. Although this fact can be located in time and space, and even though my parents or friends provide me an accurate account of it, I am in the presence of an abstract datum to which I cannot make any living remembrance correspond-I recall nothing about it. Or I no longer recognize some place that I have assuredly passed by several times or some person whom I certainly met. Nevertheless, the witnesses are present. Therefore, is their role wholly incidental and complementary, doubtlessly useful to me in specifying and suppleIndividual Memory and Collective Memory 25 menting my remembrances, but only if these have already reappeared and therefore been preserved in my mind? |
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"Memory", muitas vezes erradamente referido como "Memorys", é uma canção do musical [[Cats (musical)|Cats]] de [[Andrew Lloyd Webber]] cantada pelo personagem Grizabella, uma gata glamour que lembra de seus velhos tempos de glória quando era jovem. A canção é uma lembrança nostálgica de seu passado glorioso e uma declaração de seu desejo de começar uma nova vida. É cantada brevemente no primeiro ato e completamente perto do final do show, "Memory" é o clímax do musical, e de longe a sua canção mais popular e bem conhecida. Os autores, Lloyd Webber e Nunn receberam o [[Ivo Novello Award]] em 1981 de Melhor Canção Musicalmente e Liricamente.<ref>Lister, David, Pop ballads bite back in lyrical fashion , The Independent , 28 May 1994 Sugira uma tradução melhor</ref> |
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== Concepção e Composição == |
== Concepção e Composição == |
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Revisão das 15h37min de 13 de junho de 2018
| "Memory" | |
|---|---|
| Canção | |
| Letra | Trevor Nunn |
| Composição | Andrew Lloyd Webber |
first have difficulty re-establishing contact with him. However, as we recall together various circumstances related to the same events, recollections that may not agree, haven't we managed to think and remember in common and don't past events stand out more sharply? Don't we believe that we relive the past more fully because we no longer represent it alone, because we see it now as we saw it then, but through the eyes of another as well? Our memories remain collective, however, and are recalled to us through others even though only we were participants in the events or saw the things concerned. In reality, we are never alone. Other men need not be physically present, since we always carry with us and in us a number of distinct persons. I arrive for the first time in London and take walks with different companions. An architect directs my attention to the character and arrangement of city buildings. A historian tells me why a certain street, house, or other spot is historically noteworthy. A painter alerts me to the colors in the parks, the lines of the palaces and churches, and the play of light and shadow on the walls and fa~ades of Westminster and on the Thames. A businessman takes me into the public thoroughfares, to the shops, bookstores, and department stores. Even if I were unaccompanied, I need only have read their varying descriptions of the city, been given advice on what aspects to see, or merely studied a map. Now suppose I went walking alone. Could it be said _that I preserve of that tour only individual remembrances, belonging solely to me? Only in appearance did I take a walk alone. Passing before Westminster, I thought about my historian friend's comments (or, what amounts to the same thing, what I have read in history books). Crossing a bridge, I noticed the effects of perspective that were pointed out by my painter friend (or struck me in a picture or engraving). Or I conducted my tour with the aid of a map. Many impressions during my first visit to London-St. Paul's, Mansion House~the Strand, or the Inns of Court-reminded me of Dickens' novels read in childhood, so I took my walk with Dickens. In each of these moments I cannot say that I was alone, that I reflected alone, because I had put myself in thought into this or that group, composed of myself and the architect (or, beyond him, the group for 24 The Collective Memory which he was merely the interpreter), the painter (or his group), the land surveyor who had designed the layout of the city, or the novelist. Other men have had these remembrances in common with me. Moreover, they help me to recall them. I turn to these people, I momentarily adopt their viewpoint, and I re-enter their group in order to better remember. I can still feel the group's influence and recognize in myself many ideas and ways of thinking that could not have originated with me and that keep me in contact with it. Forgetting Due to Separation from a Group Witnesses in the ordinary sense of the word-individuals physically present to the senses-are therefore not necessary to confirm or recall a remembrance. Moreover, they would never be sufficient. By putting together remembrances, several people (or even one) may be able to describe very accurately facts or things that we ourselves viewed also, even to reconstitute the entire sequence of our actions and words in definite circumstances, while we are unable to recall anything of all this. That is, the facts may be indisputable. We are shown beyond any doubt that a certain event occurred, that we were present and actively participated in it. Nevertheless this episode remains foreign to us, just as though someone else played our role. Let us revert to an example that ,has been raised in opposition to my views. There have been in our life a certain number of events that had to happen. It is certain that there was a first day that I attended lycee, a first day I entered the third or fourth grade. Although this fact can be located in time and space, and even though my parents or friends provide me an accurate account of it, I am in the presence of an abstract datum to which I cannot make any living remembrance correspond-I recall nothing about it. Or I no longer recognize some place that I have assuredly passed by several times or some person whom I certainly met. Nevertheless, the witnesses are present. Therefore, is their role wholly incidental and complementary, doubtlessly useful to me in specifying and suppleIndividual Memory and Collective Memory 25 menting my remembrances, but only if these have already reappeared and therefore been preserved in my mind?
Concepção e Composição
A letra, escrita pelo diretor Cats,[1] Trevor Nunn, foi baseado nos poemas de T.S. Eliot "Preludies" 's e "Rhapsody on a Windy Night". Ex-parceiro de Lloyd Webber na escrita, Tim Rice e o colaborador contemporânep Don Black, apresentaram uma letra para os produtores do show, para apreciação, mas a versão de Nunn foi favorecida. Elaine Paige disse que ela cantou uma letra diferente para a melodia de Memory nas dez primeiras prévias de Cats.
Lloyd Webber, temendo que a música soava muito semelhante a uma obra de Puccini, e da abertura - o tema principal do assombro - também se assemelha à flauta de solo (improvisada por Bud Shank no estúdio) de California Dreamin de The Mamas & the Papas, pediu opinião de seu pai. De acordo com Lloyd Webber, seu pai respondeu: "Parece que um milhão de dólares!". [2]
Antes de sua inclusão em Cats, a melodia foi ouvido em projetos anteriores de Lloyd Webber, incluindo em uma balada de Perón em Evita e como uma música para Max em seu projeto original de Sunset Boulevard nos anos 70.
Em sua orquestração original o clímax da canção está na chave de D-flat major, favorita do compositor.
Covers
A canção foi cantada e regravada por Nicole Scherzinger , Barbra Streisand, Susan Boyle, Hayley Westenra, Celine Dion, Lea Salonga, Chris Colfer, Sarah Brightman, Michael Ball, Banda Epica e muitos outros.
