Analysis and Modern Memory of the Great War
Every war is expected to be ironic as it is worse than anticipated. It consists of very ironic situation because the purposes of war are so histrionically disproportionate to its assumed ends. Million of people were destroyed in the Great War as people like Archduke and Francis Ferdinand and his Consort both who were shot dead. However, Second World War evolves around even more ridiculous sarcasms. The potential of the war being irony were its sequential events that took place.
During the Great War, language of popular cultures were introduced which were however exploited by a number of avant-grade artists of that time. Art at war time were experimental and traditional both that marks the most notable cultural association of the war. In Britain, a lot of writers used verse for the fallen by speaking about them. Soldiers also participated by developing their own type of genre. At that time war was a set of meditation for the dead and their short-lived life.
Apart from culture, modern memory that emerged out from the Great War plays a vital role in grammar and syntax for our understanding of the world in which we exist. The Great War provided a language in form of memory, culture and poems that is found in our heart symptomatic the practices of war time violence, cruelties and its enormities. Analysis and Modern Memory of the Great War Great War was somewhat part of the modern memory though many of its rituals of remembrance and mourning were traditional, classic and even romantic.
The initial cultural project appeared in the year of 1914 to 1918. Languages and practices emerged after and during the Great War pictured in which future divergences were remembered. Conversely, every corner of life provides an evidence of the major change that takes place therefore the analysis of memory. Such an act is often worked by certified historians who take memory as a process related to history. All people from the past or historians leave their traces from their work and memories. Most of the times, historians reshape their own memories that fits in history.
Although, memory and history both overlap, introduce each other and generate vital inappropriateness. (Paul Ricoeur, 2004) However, memory is drawn magnetically by first generation to the current generation as it is inherited from the earlier generations who were indeed obsessed with memory. Over here, first generation refers to the generation of memory in modern era that took place from 1890s to 1920s. The most significant part of the movement was the fall of the First Great War though in 1960s to 1970s the second generation of memory was the last piece of remembering the Second Great War.
These days, people confront of multiple subjects situations which is than occupied at different time in their lives but a century ago, as compared to the people of that time, memory was connected to them as they were known to be fortified identities or national identities. That age has vanished away by time and so its certainties though memory is still in its place as ideological and cultural forms. In late nineteenth century, memory was phrase that was used to define ethics, history and arts.
Today, memory is adopted and placed into different styles of work. For many people, memory is more like a language of protest who seeks for solidarities based on traditions to defy pressure. (J. M. Winter, 1998). In first generation war, it is essential to acknowledge men who died in the Great War as it lay behind a study for proper commemorative forms. But like every history of war, the new generation understood the importance of people who gave their life and marked the nation before it became independent.
In first quarter of twentieth century, memory was transformed in a long lasting way especially people who came in literary and academic profession at the time era of 1890s to 1920s. For example, Sigmund Freud and Henri Bergson published their book Matter and Memory in 1896. In late nineteenth and twentieth century, memory rushed towards three great important procedures such as adaptation, construction and circulation. These three processes were formed due to independent work gathered from arts, academy, science and other free professions.
The other development of cultural activities which surrounded the construction of people’s memory particularly those who formed social groups. According to Halbwachs’s theory of collective memory it is developed by people in the day light and when people remember those memories they step into a domain further than an individual memory. In Europe during 1890 and 1920, the works of collective memory was found everywhere and were widely passed on. In 1851, people who were depressed due to rapid urbanization of the state was no longer existed y the book Howard’s End, publish in 1910 by E. M. Foster.
Economic motivations were however even more obvious in the first generation war but understanding of political agendas were probably given more importance. Ideas and images played a common role in Europe late nineteenth century. The newer were the powerful means to broadcast those images and ideas. The expansion of art market, mass circulation news press and leisure industry associated to the initial development of photography and cinematography generated a powerful means for broadcasting narrative, images and texts in Europe.
In Britain, the usage of photography reached to areas where the peak of interest into modern world was adopted by Victorian and Edwardian industry. Groups of photographers were sent outside to capture images especially those that were linked with China or Africa where native life style were being worn. (The War Times Journal, 2003) From here warfare moved in the era of consumption and mass communication. After the war amid France and Persia, “Souvenir Francais” was released to preserve the memory of people who died in the 1870 – 1871.
As shown in Mur des Federees, memory of communards who served for their nation was preserved in this cemetery. Stamps, coins and bills of exchange took all the imprint of national dignity which was conveyed through historical notation. After 1914, cemetery evolved around the images and words of the dead in the Great War. Over here memory cult was converted into a universal event. Memory of war was constructed in almost every British society. Their message was just to remember the sacrifice and suffering of the fallen names.
In the reflection of books, painting and films the memory cult became the cult of mourning. Hence, the pioneer of the first generation such as Mann, Freud, Rivers and many more joined into memory of their generation in 1914, representing their work of honor for the dead due to the Great War. During 1919, most of the film makers reached back towards the romantic ideas regarding the war. Europe became popular for buying and selling such imagery thoughts. However, film industry was developed in seventeenth century but flourished rapidly when techniques for printing became cheaper and easier.
Such a business was highly developed in most parts of Europe. The demand for this product went internationally and was growing gradually. However, rivalry came in between though it was not Catholic but a small sect which belonged to Catholicism. Women were now even more mobilized than ever before as they belonged to the market of popular sacred artwork. Women were the main consumers of buying medals and especially posters to display it on their cupboards or walls.
The historical mystification reached to the peak of not only the poster art but also in cinema industry which focused the modern culture and entertainment in the era of the Great War. There were many films that opposed from the situation of Great War such as All Quiet on the Western Front (1930), illustrating dissimilar messages for peace. However, a number of war memories are fictional as well as artwork. This work expanded due to the propaganda of war sons in the light opposite to the sons of darkness, which there were supernatural forces mobilized in many unusual or usual forms of the Great War. (J. M. Winter, 1998)
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