Recognition and realization live as brothers do—though both may
seem to act as separate entities, interdependence inevitably binds the two at
the core. At the surface, “recognition” denotes the perception of a complete
phenomenon that the observer has comprehended before, while “realization”
indicates the union of several previous ideas into a new single reality in the
mind. In director Christopher Nolan’s thriller Memento, Leonard, a man who has lost the ability to synthesize new
memories, undergoes many “realizations” by observing facts and creating new truths
in his mind. Only after tattooing his body or collecting photographs can
Leonard exercise “recognition”, in which he links new observations directly to
his mementos. Seemingly, the main difference between Leonard’s recognition and
realization lies within what type of knowledge each process yields; recognition
merely allows old encounters to resurface, while realization signifies an
awareness that was not present before. Upon
further exploration however, the boundaries separating recognition and
realization melt, as each process cannot exist without the other.
Oscar Wilde details the downfall of an impressionable youth
through a mixture of recognitions and realizations in The Picture of Dorian Gray. Dorian initially realizes his own
beauty after admiration from artist Basil, but he could not have come to this
realization without recognition of Basil’s words as truth; therefore, Dorian’s
vain acknowledgement bears elements of both realization and recognition. When
Dorian recognizes that his portrait reflects his own internal evil, he must
have first realized the existence of evil and wrongdoing. Similarly, Leonard’s
realizations in Memento thrive upon
his recognition of facts from before, while his recognitions of his mementos
manifest only after his realization of their connection to new facts.
Ultimately, recognition and realization work in tandem to create one’s understanding
of the world, and their differences remain subtle at best.
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