Preamble Narratives and Social Memory - Universidade do Minho

Drawings and Narrative: the Inmates Memory and Experience (At the Prison of Monsanto)Mariana Carrolokey-moments that frame the plot. And it is where the interconnected images create attachmentand sequences even if they are not intentionally organized afterwards.The reading of the drawing leads us, then, to a second narrative. This one beginswith the image that reflects a learned reality. This is done differently from what happensin photography or painting. Its aim is to materialize the memory through aesthetics placedbetween the factual and the abstract, subject to a personal screen made of values, sensibilitiesand wishes, and also mostly made of options – allowing space to emerge in betweenthe subjective and the interpretation.Regarding the plastic language, the metaphor, the self and the background interpretation’smetamorphosis, from the narrative eyes or self-diegetic, is the main character ofthat time, that space and that action; all this lives in the drawing. In the drawing the (re)construction of the place happens, and individually finds in the other person, both spectatorand actor, like another similar reality that confirms itself through lexicon, conceptsand sureness of its life experience and daily life notions, in a prison and reclusion lifeenvironments – validating or not its experience and, reciprocally, the other’s, creating aprojection of identity.Figure 8 – Cell III (2009). Perspective. (Anonymous).Narratives and social memory: theoretical and methodological approaches307