Its Not Finished,, , but My Speech on "Reflect Upon How Your Understanding of Representation, History and Memory Has Been Shaped by This Elective'

History is story we tell ourselves as Khalil Gibran Muhamad defined it , or Story we tell ourselves about how past explains our present and the way story is told is shaped by contemporary needs as Aurora Levnis Morales nicely put it. Likewise it could be stated that we become stories we tell ourselves. Thus, history has role in construction of our identity. Given the importance of the story for us, could it be different story then the one we are told in mainstream media and thought in schools? The one that empowers us instead of enslaving us?

In The Death of History is Bunk, Patrick Watson argues that the decrease of historical content in the curriculum does not indicate that history, as a subject, is declining. While many complain about the decreasing prominence of history classes in Canadian schools, the content of those classes is excessively dull as it consists of memorizing lists of facts. Despite this, there are still protests that knowledge of “defining events” is required to contribute to “the National Conversation”. However, history is not so simple as a list of events—it is the sum of the small happenings in society around the events. A whole variety of factors influence history, which is created by the common people. Unlike Americans, who turn to their constitution for

When I first examined the prompt, instantly, what came to thought was John Tosh’s book The Pursuit of History. This a text that seems to be revisited in much of our class discussions, especially, in our ongoing analysis of the theme of "past and the present” in relation to historical narratives. This theme can be dangerous when it comes to the task of writing history, specifically when you must confront conventional social memory. I truly believe that it is too hard for those who cling to their social (or cultural) memory to come grasps with the reality of history—rejecting historical voices (awareness) that would contradict what they believe is “right”. Writing history can be a thankless task, where you never seem to please everyone, especially

The soldiers who had attended the war were shown to have died brutally, like “cattle”, yet when reaching the home front, it is seen that they are laid to rest in a much more civil and dignified manner. The concept of this can be seen as an extended metaphor throughout the entire poem, with the battle front seen as a world filled with violence, fear and destruction, where as the home front is perceived as a place marked by order and ritual, a civilized world. The second sonnet opens with “What candles may be held to speed them all?”, invoking a more softer and compassionate tone towards the audience, more specifically through Owen’s use of a rhetorical question. It captures the readers’ attention, engaging them to feel empathetic and notice the shift of energy from anger and bitterness to a sadder and more somber tone. Owen’s use of descriptive language, as simple as it seems, such as ‘boys’ and ‘girls’ provokes the audience to view the horrors of the war as if they had been placed onto children, because in reality the ‘men; who had signed themselves into war to fight in glory for their country had really only just been boys themselves.

In Telling the Truth About History, three historians discuss how the expanded skepticism and the position that relativism has reduced our capacity to really know and to expound on the past. The book talks about the written work of history and how individuals are battling with the issues of what is “truth.” It likewise examines the post-modernist development and how future historians

Para-rhymes, in Owen’s poetry, generate a sense of incompleteness while creating a pessimistic, gloomy effect to give an impression of sombreness. Strong rhyming schemes are often interrupted unexpectedly with a para-rhyme to incorporate doubt to every aspect of this Great War. Who are the real villains and why are hundreds of thousands of lives being wasted in a war with no meaning? In ‘Anthem for Doomed Youth’, the consistent sonnet rhyming scheme is disturbed by a half rhyme, “guns … orisons”, to show how the soldiers all died alone with only the weapons that killed them by their side, and a visual rhyme, “all … pall” to indicate that the reality of war is entirely the opposite to what it seems - no glory, no joy and no heroism, but only death and destruction. Owen occasionally works with this technique in a reverse approach to create similar thought. For instance, the assonance, consonance and half rhyme based poem, ‘The Last Laugh’, contains an unforeseen full rhyme, “moaned … groaned”, to emphasise that nothing is ever fixed in war except the ghastly fact that the weapons are the true winners. Different forms of Para rhymes often work together with common schemes to ably bring out the main ideas of Owen’s poetry.

Wilfred Owen’s poetry effectively conveys his perspectives on human conflict through his experiences during The Great War. Poems such as ‘Futility’ and ‘Dulce et Decorum Est’ portray these perceptions through the use of poetic techniques, emphasising such conflicts involving himself, other people and nature. These themes are examined in extreme detail, attempting to shape meaning in relation to Owen’s first-hand encounters whilst fighting on the battlefield.

When reading literature we often attempt to use particular threads of thought or lenses of critique to gain entry into the implied historic or legendary nature of literature. To accurately process a tale in the light in which it is presented, we have to consider the text from multiple viewpoints. We must take into consideration intentional and affective fallacies and the socioeconomic circumstances of the presenter/author/narrator. We also have to consider how our personal experience creates bias by placing the elements of the story into the web of relationships that we use to interpret the external world. There also is the need to factor in other external pressures, from societal norms, cultural ideals, and psychological themes, and how

Throughout Literature the reader often finds themselves thrust into the world of its author, this world relies heavily upon imagery to assist in the formation of this world. In saying this, however, a significant amount of this literary world derived from text is lost due to it being written from the point of view of the recorder, this is even more true in regards to history. Narrowing down the notion of historical point of view, the reader must often times seek out information from both sides to get a pure account of the past and are scarcely ever given a completely unbiased historical account due to the primary ascender being given free reign as to what will be recorded. This idea of the victorious being the recorders of history connects

It was a common saying of the past that the history of a conflict was told by the victors. That was true then, the losers of the conflict had to rebuild after their defeat and the winners could share their side of the story, twisting it so it would seem that they did no harm and the losers deserved defeat because they were the villains. This is not true today. With the wealth of information at one’s finger tips and the available research opportunities the stories can be untangled and both sides of the story can be told. However, some have held strong to the truths that their side proclaimed and refuse to admit that their victory was tarnished by lies, deceits, and omissions. This very idea is what shaped how

Recently deceased, author and historian Dr. Michel Rolph Trouillot gives an explanation to what the meanings of “history” are in his ever important work Silencing the Past: the Power and Production of History. Trouillot explains that there are two meanings of “history,” one being the

This poignant dichotomy is seen explicitly in two poems in Seamus Heaney’s Field Work. One poem, “The Strand at Lough Beg” is written for “Heaney’s cousin Colum McCartney (ambushed and shot in a sectarian killing)” and is rich with pastoral scenery, dark tones, and religious imagery (Vendler 60). Another poem, “A Postcard from North Antrim” is about “his friend the social worker Sean Armstrong (shot by a ‘pointblank teatime bullet’)” (Vendler 60). These two elegies, both with a strong presence of Heaney’s personal voice, are imbued with a sort of ambiguity as Heaney struggles with the death of two people who were both very close to him. In both poems, Heaney “tries to converse with and question the dead” in an attempt to rationalize, or at least display his sentiments on the untimely deaths (Parker 159). It is interesting to watch Heaney oscillate in imagery, tone and diction as he progresses through both poems. This wavering can be seen as a result of Heaney’s background.

In spite of Calloway, Lepore, and Stavans desiring for “good history” to be written and valued by society at large, the suggested alternative forms of writing and producing history are liable to the same human fallacies and errors faced within the standard historical evidence. As Calloway notes, all historical records need critical consideration. This is due to various factors like bias, fallible memory, and audience that colors these sources. How we discern fact from fiction is still unresolved. Ultimately, the truth is relative for everyone.

How does the way history is told have power in our understanding of the past and present?

What is History? This is the question posed by historian E.H. Carr in his study of historiography. Carr debates the ongoing argument which historians have challenged for years, on the possibility that history could be neutral. In his book he discusses the link between historical facts and the historians themselves. Carr argues that history cannot be objective or unbiased, as for it to become history, knowledge of the past has been processed by the historian through interpretation and evaluation. He argues that it is the necessary interpretations which mean personal biases whether intentional or not, define what we see as history. A main point of the chapter is that historians select the facts they think are significant which ultimately