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The making of collective memory
The making of collective memory
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Collective memory is the cultural memory (? ) or the remembered history of a community: “Anyone who during today fixes his eyes on tomorrow must preserve yesterday from oblivion by grasping it through memory” (Assmann 2011: 17). Collective memory is the way groups form memories out of a shared past to create a common identity. The memory of a group is a construction, or reconstruction, of the past. Through the approach of collective memory we can distinguish a cultural sphere that combines tradition, awareness of history, myth in action, and self-definition. This cultural sphere is constantly subject to a vast range of historically conditioned changes (Assmann 2011: 10). Collective memory is the structures that underlie all myths and histories without any distinction between them. The past that is fixed and internalized is myth, whether it is fact or fiction (Assmann 2011: 59). Collective memory can be expressed through a variety of different medias, e.g. festivals, rituals, liturgy, symbols, flags, memorial places, museums, cultural artifacts, as well as oral and written narratives, like myths, prophecies, law material, biographies and perceived historical accounts (Van Seters 2012: 54). The memories are specifically designed to recall events in the history of the collective.
Maurice Halbwachs defines collective memory by three characteristics: Collective memory has 1) a concrete relationship to a time and a space, 2) a concrete relationship to a group, and 3) an independent capacity for reconstruction. Memory is always related to a time and a space, even if this is not a historical time or a geographical place. The past remembered is not necessarily a historically accurate past, but it is based on stories recognized to be the ...
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...y is a collective phenomenon, but one which only manifests itself through individuals. How can we possibly know that one or a few individuals’ representation of their reality is representative for their community? Only by comparing our sources with historical material of the time contemporary with the source, not with the past the source describes, can we comprehend to what extend the source has been representative. We can conclude that if several sources relay the same ideologies, then at least among a certain range of people existing within a certain time period in a certain place, specific ideologies have been influential. Nevertheless, we have to recognize that collective memory is as much a result of conscious manipulation as it is unconscious absorption, which makes it difficult to talk about an author/s’ intention to convey any specific memory to his audience.
"Postmemory" describes the relationship that the "generation after" bears to the personal, collective, and cultural trauma of those who came before-to experiences they "remember" only by means of the stories, images, and behaviors among which they grew up. But these experiences were transmitted to them so deeply and affectively as to seem to constitute memories in their own right. (Hirsch 2016)
Joshua Foer’s “The End of Remembering” and Kathryn Schulz’s “Evidence” are two essays that have more in common than one might think. Although on two totally different topics, they revolve around the central point of the complexities of the human mind. However, there are some key elements both writers have contemplated on in differing ways. A vital difference between Foer’s essay and Schulz’s essay is the overall thesis. Foer uses a comical tone throughout his essay to get readers to realize just how dependent society has become on external means rather than ourselves.
In conclusion, it is through these contradictions between history and memory that we learn not to completely rely on either form of representation, due to the vexing nature of the relationship and the deliberate selection and emphasis. It is then an understanding that through a combination of history and memory we can begin to comprehend representation. ‘The Fiftieth Gate’ demonstrates Baker’s conclusive realisation that both history and memory have reliability and usefulness. ‘Schindler’s List’ reveals how the context of a medium impacts on the selection and emphasis of details. ‘The Send-Off’ then explains how the contradiction between memory and history can show differing perspectives and motives.
This book was published in 1981 with an immense elaboration of media hype. This is a story of a young Mexican American who felt disgusted of being pointed out as a minority and was unhappy with affirmative action programs although he had gained advantages from them. He acknowledged the gap that was created between him and his parents as the penalty immigrants ought to pay to develop and grow into American culture. And he confessed that he got bewildered to see other Hispanic teachers and students determined to preserve their ethnicity and traditions by asking for such issues to be dealt with as departments of Chicano studies and minority literature classes. A lot of critics criticized him as a defector of his heritage, but there are a few who believed him to be a sober vote in opposition to the political intemperance of the 1960s and 1970s.
Memories are symbols that are used to demonstrate the progression from the past into the development of one’s current personal identity. We often use our personal memories to investigate our thoughts. Native Guard by Natasha Trethewey and Never Let Me Go by Kazuo Ishiguro are 21st century works that reflect on the use of memoires to enhance personal thoughts to impact perspectives. Perspectives are created and altered by addressing and reflecting on thoughts and feelings towards previous events. In Native Guard, Trethewey uses her memories to develop a perspective on her past and history. In Never Let Me Go, Ishiguro uses Kathy’s memories to develop her actions and decisions. Tretheway and Ishiguro both demonstrate that a memory is a symbol
Memory is everything to the human society. We communicate and build relationships off of our memories through the stories we tell. We are natural story tellers and have been telling stories since the beginning of time. More than half of the human race lives their lives based off of stories told by others such as culture, religion, and our general history. Have you ever asked yourself how real are these stories? Not saying that they are false, but it has been recently revealed that memory is false. So if memories are false then that would mean the stories that are being told are false. You probably looking at me as if I’m crazy but if you pay attention you will understand by the end of this essay. “It has been proven
In the speech “keep memory alive” Elie Wiesel talks about keeping the memory alive. He goes on to say in the speech “Because if we forget, we are guilty, we are accomplices.” He is trying to persuade the audition by saying if you don't remember you are as guilty as anyone who participated in making the holocaust happen.
and Memory in a World Without Relics.” Past and Present. The Past and Present Society,
The White Male Fantasy of Total Recall After saving the planet from a ruthless dictator and barely avoiding death on the hills of Mars, Douglas Quaid (Schwarzenegger) puts a final spin on Total Recall with his final lines: "I just had a terrible thought. What if this is all a dream?" This last statement by Quaid leaves the audience pondering the question of reality, wondering what truly was 'real.' By the end of the film, one could easily argue a whole realm of possibilities: The events were all real; they were all a dream; they were the Recall implant fantasy played out; or they were the Recall fantasy gone haywire. In addition, the film seems to reject imperialism and the domination of white males, also rather postmodern in ideology.
The first issue that needs to be addressed however is what exactly is memory? “ Without memory we would be servants of the moment, with nothing but our innate reflexes to help us deal with the world. There would be no language, no art, no science, no culture. Civilization itself is the distillation of human memory” (Blakemore 1988). The simple interpretation of Blakemore’s theory on what memory is that a person’s memory is at least one of the most important things in their life and without it civilization itself could not exist.
Repressed memories is a topic that has been an ongoing dispute among some, however ac...
Lebow, Richard Ned. "The Future of Memory." American Academy of Political and Social 617 (2008): 25-41. JSTOR. Web. 21 Apr. 2014.
Collective memory is commonly defined as “shared individual memories” but in the source Collective Memory from a Psychological Perspective, it is better defined as “publicly available symbols maintained by society” (Coman et al.). The article went on to explain how collective memory differs from an individual memory in the sense that “an individual restructures the world” so that one can better remember, whereas in collective memory, the memory is restructured by society. In this case, the photograph from atop Mount Suribachi is most definitely a symbol that has been passed on from person to person, family to family, newspaper to newspaper since the day it was taken. It was printed in papers all over country, used as a means of gathering funds
The introduction to Adrian Forty’s “The Art of Forgetting” discusses the uncertain relationship between memory and material objects, particularly regarding societal/ collective memory. Forty builds upon three distinctive points concerning objects and memory to illustrate the doubts in the Aristotelian tradition. He suggests that objects are agents to forgetting and that there is a process to remembering. With this argument Forty establishes a means of further understanding collective memory.
Memory is the tool we use to learn and think. We all use memory in our everyday lives. Memory is the mental faculty of retaining and recalling past experiences. We all reassure ourselves that our memories are accurate and precise. Many people believe that they would be able to remember anything from the event and the different features of the situation. Yet, people don’t realize the fact that the more you think about a situation the more likely the story will change. Our memories are not a camcorder or a camera. Our memory tends to be very selective and reconstructive.