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Despite – or perhaps because of – all this activity, Samuel only published one sole-authored book in his lifetime, Theatres of Memory (1994), an account of the popular historical imagination in late 20th-century Britain told via case studies, from Laura Ashley fabrics to the touristification of Ironbridge. Since his death from cancer in 1996, however, Samuel has been prolific. A second volume of Theatres of Memory, titled Island Stories: Unravelling Britain, came out in 1998, followed in 2006 by The Lost World of British Communism, a volume of essays combining research and recollections.
Theatres of Memory (1994) sounds like it's taking lots of examples from a zettelkasten and tying them together.
It's also interesting to note that he published several books posthumously. Was this accomplished in part due to his zettelkasten notes the way others like Ludwig Wittgenstein?
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- Jul 2022
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This perspective has been called an “emblematic worldview”; it is clearly visible in the iconography ofmedieval and Renaissance art, for example. Plants and animals are not merely specimens, as in modernscience; they represent a huge raft of associated things and ideas.
Medieval culture had imbued its perspective of the natural world with a variety of emblematic associations. Plants and animals were not simply specimens or organisms in the world but were emblematic representations of ideas which were also associated with them.
example: peacock / pride
Did this perspective draw from some of the older possibly pagan forms of orality and mnemonics? Or were the potential associations simply natural ones which (re-?)grew either historically or as the result of the use of the art of memory from antiquity?
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