Baker uncovers the capacity of memory to humanise history, leading to the limitations of history in discovering the ultimate objective truth. He interweaves the representation of memory within the construction of history through his stream of consciousness, “I turn to archives to fill the blank spaces in my father’s” to produce a more authentic recount. By using history as a backdrop to personalised stories, Baker is able to produce a more authentic recount of past events, gaining a deeper understanding of his culture and its relevance to his identity. Structured on the Midrash text, Baker provides individualised anecdotes formed upon the basis of cultural memory in his italicised testaments, “smell of decay…doors are closed, our eyes look upwards at the showerheads praying for a stream of water”. The use of olfactory imagery correlates to the synonymous portrayal of the Holocaust where the inverse effects of dramatic irony enables the reader to amalgamate the accuracy between memory and its significant counterpart, history.
I stay strong" (15). In order to consolidate its supreme authority, the dominant discourse may suppress different values or ways of thinking. But her ghost story is like inerasable cultural memory that needs retelling and recollecting. Kathleen Brogan rightly observes that "Ghosts in contemporary American ethnic literature function similarly: to recreate ethnic identity through an imaginative recuperation of the past and to press this new version of the past into the service of the present" (4). Brogan further points out that "through acts of narrative revision-which are very often presented as acts of translation, linguistic or cultural-the cycle of doom is broken and the past digested" (11).
They will follow the steps of Emerson in “Self-Reliance”, Thoreau in “Civil Disobedience”, and the theme of the film Dead Poets Society. Within the writings of these authors there are both benefits and consequences of living self-reliant and “sucking the marrow out of life”. One of the main ideas for Transcendentalism is “Self-Reliance” a step by step writing by Ralph Emerson. Emerson explains having trust and confidence in yourself, he explains controlling your emotions and speaking your voice. He also describes society and how the problems that occurred decades ago still occur now.
Malcolm Cowley’s Exile’s Return uses an autobiographical frame as a means of discussing the author’s development as a subjective actor within a generational structure of similar thinkers, thereby contextualizing his opinions and individual experiences inside a canonical category. His tone alternates between narrative and analysis, allowing him to relate his experiences and opinions through a trackable process of “becoming” both personalized and generalized. These factors characterize his autobiography as a rational yet carefully historical document, one which uniforms his artistic generation by a lengthy exposition on “deracination” and then develops conclusions looking back on its parallels with those previous and its significant differences.
As argued by Andrew Dix, ‘narrative reoccurrence may also denote the complexity and ambiguity of an event, its openness to multiple interpretations’ (2008, 114), and Pulp Fiction certainly supports this. An example would be in the prologue of Pulp Fiction, where the action and event isn’t resolved till the end, emphasising the films relationship between film time and real time. It is this which makes the shot chosen in the opening scene to be an essential part in the films overall narrative, something viewers are unaware of. Here, the minimal use of camera movement is to be crucial to the contribution to the storytelling within the sequence. The initial shot is of the two protagonists, Ringo and Yolanda who are sat at a table of what looks
In this case, the audio, including the background music fully demonstrated the cultural aspects of Chinese-American culture. For instance, the director solely used Chinese traditional instruments as background music, which conform to the visual impacts of the settings. It was mostly used for the throwback to the character’s past lives, which allowed the audiences to take more considerations to understand the Chinese aspects of the Chinese-American culture. However, the book did not provide any audios, and this affected the understanding of the exact feelings in certain circumstances. When the book described Yingying’s past life, it was brief and direct, whereas the movie slowed down the scene of the expressions by adding musics to convey more detailed and vivid emotions.
“The paradoxes of time travel are oddities, not impossibilities” (Lewis, 2009, p.310). This essay will, firstly explain the differences between logical and physical possibilities in order to analyse the storyline in the film Terminator One. Drawing on that definition, this essay will give two examples supporting the logical possibility of the film Terminator One. The first defense supporting the logical possibility of this film will be on the subject of the grandfather paradox while the second on the concept of causal loops. A logical possibility is a conceivable concept without contradiction.
In Malcolm X (Lee, 1992), the director has used history to tell a story that cannot be contested, in part because the primary subject of the narrative is deceased, thus creating a sort of documentary fiction. This documentary fiction opens the door to a new mode of narrative in which the spectator becomes a part of the storytelling, inasmuch as they are required by the viewing experience to analyze, contextualize, and draw conclusions from the images and narrative, as presented. The facts, as they are presented, are open for review, providing the spectator with the opportunity to shape the narrative independent of the director 's hand. Since the images have been reimagined through editing and the intervention of time, they are therefore mediated, creating a space that intervenes between the "real" and the "imagined" in order to bring about an historical and logical agreement of events. With this reconciliation, the spectator operates according to the guidance of the director.
Memory plays the most important role in the The Glass Menagerie, because the figure narrator of the play, Tom Wingfield, tells the story through his own memory. Because the story is told through Tom’s memory, it is therefore non-realistic, sentimental, dimly lighted and takes a poetic licence. What this means is that whilst Tom may omit some details, he may exaggerate other details in accordance with his emotional connection to the memory. However, despite all of this, Tom tells an honest story. He quotes that “memory is seated predominantly in the heart.” Tom re-calls his past, by mentally confronting Amanda, whom he had blamed and dismissed as a young man.
The reality of the universe of this particular work in One Hundred Years of Solitude by García Márquez erases the boundaries between the fantastic or imaginary and the real in order to present a situation in which both coexist in harmony. Although literary critics who see the novel as a totality unto itself, with its own declared ends bearing only an analogous relationship to society 's activity, may well object to this kind of test. Such critics may seek to judge novelists, not according to how well they depict real life, but in terms of how they create a new reality in an independent literary world. But since the novelist has an impact upon society, we argue that his work must also be judged on its view of "reality" and its interaction with human events. The characters in One Hundred Years of Solitude speak as if at a long and phenomenal party.
Zinn starts off by saying " Traditionally , he is passive observer, one who looks for sequential patterns in the past as a guide to the future, or else describes the historical events as unique and disorderly- but without participating himself in attempts to change pattern or tidy the disorder" (Zinn 43). The "he" in the passage is in reference to historians as a whole. Zinn is saying that generally a historian must merely be an onlooker and facilitate. They must understand how the past is a basis for current events. Zinn goes onto say "For historians, there is an additional trap: The more we work on the data of the past the more weighted the past seems" (Zinn
The story constructed by Hewes has a deeply inspiring quality to it. However, it is my belief that although he does make efforts to disentangle the biographers and Hewes’ potential skewing of events, he does not go far enough at certain points. At times he seems to enable the old adage, “When the legend becomes fact, print the legend” without due skepticism. The strength of Young’s article rests on how well he buttresses the more questionable parts of the story with well sourced and verifiable information. His use of such a wide array of evidence to substantiate his narrative when viewed holistically, make up for the shortcomings of his less reliable