Aufgabe II

Outline Amy Tan’s experiences with memory.

(30%)

Analyze how the author presents her experiences with memory. Focus on the use of language and its effect on the reader.

(30%)

Choose one of the following tasks:

3.1

“[A]ging memory is impressionistic and selective in details, much like fiction is.” (l. 36)

Taking Amy Tan’s statement as a starting point, comment on the impact of perception and memory on a person’s life. Also refer to the text at hand and materials studied in class, such as the novel Atonement.

3.2

You are taking part in an international school project on “Crafting Identity: Our Presentation – Our Truth?”

Write an article for the project website, discussing the benefits and dangers of presenting yourself through photos on social media.

(40%)

Excerpt from Amy Tan, “Introduction” to Where the Past Begins: A Writer’s Memoir (2017)

In my office is a time capsule: seven large clear plastic bins safeguarding frozen

moments in time, a past that began before my birth. During the writing of this book, I

delved into the contents – memorabilia, letters, photos, and the like – and what I found

had the force of glaciers calving. They reconfigured memories of my mother and

father.

[…] I never throw away photos, unless they are blurry. All of them, even the horrific

ones, are an existential record of my life. Even the molecules of dust in the boxes are

part and parcel of who I am – so goes the extreme rationale of a packrat, that and the

certainty that treasure is buried in the debris. In my case, I don’t care for dust, but I did

find much to treasure.

To be honest, I have discarded photos of people I would never want to be reminded

of again, a number that, alas, has grown over the years to eleven or twelve. The longer

I live the more blurry photos I’ve accumulated, along with a few sucker punches from

people I once trusted and who did the equivalent of knocking me down to be first in

line at the ice-cream truck. Age confers this simple wisdom: Don’t expose yourself to

malarial mosquitoes. Don’t expose yourself to assholes. As it turns out, throwing away

photos of assholes does not remove them from consciousness. Memory, in fact, gives

you no choice over which moments you can erase, and it is annoyingly persistent in

retaining the most painful ones. It is extraordinarily faithful in recording the most

hideous details, and it will recall them for you in the future with moments that are even

only vaguely similar.

With only those exceptions, I have kept all the photos. The problem is, I no longer

recognize the faces of many – not the girl in the pool with me, or three out of the four

women at a clothes-swap party. Nor those people having dinner at my house. Then

again, I have met hundreds of thousands of people in my sixty-five years. Some of

them may have even been important in my life. Yet, without conscious choice on my

part, my brain has let a lot of moments slide over the cliff. While writing this memoir,

I was conscious that much of what I think I remember is inaccurate, guessed at, or

biased by experiences that came later. If l were to write this same book five years from

now, I would likely describe some of the events differently, either because of a change

of perspective or worsening memory – or even because new evidence has come to

light. That is exactly what happened while writing this book. I had to revise often as

more discoveries appeared.

I used to think photographs were more accurate than bare memory because they

capture moments as they were, making them indisputable. They are like hard facts,

whereas aging memory is impressionistic and selective in details, much like fiction is.

But now, having gone through the archives, I realize that photos also distort what is

really being captured. To get the best shot, the messiness is shoved to the side, the

weedy yard is out of the shot. The images are also missing context: the reason why

some are missing, what happened before and after, who likes or dislikes whom, if

anyone is unhappy to be there. When they heard “cheese,” they uniformly stared at the

camera’s mechanical eye, and put on the happy mask, leaving a viewer fifty years later

to assume everyone had a grand time. I keep in mind the caveat that I should question

what I see and what is not seen. I use the photos to trigger a complement of emotional

memories. I use a magnifying glass to look closely at details in the black-and-white

images in sizes popular in the 1940s and 1950s – squares ranging from one and a half

to three and a half inches. They document a progression of Easter Sundays after church

and the annual mauling of Christmas presents, which were laid underneath scraggly

trees or artificial ones, in old apartments or new tract homes. Some of these photos

refuted what I had believed was true, for example, that our family owned no children’s

books, except one, Chinese Fairy Tales, illustrated by an artist who made the

characters look like George Chakiris and Natalie Wood from West Side Story. A photo

of me at age three shows otherwise: I am mesmerized by the words and pictures in a

book spread open in my lap. In other photos of that same day, there is evidence of

presents of similar size waiting to be ripped open. I had not known this when I wrote

the piece “How I Learned to Read.” But it all makes sense that I would have had books

given by family friends, if not by my parents. As a writer, I’m glad to know that my

grubby little paws were all over those pages. […]

This past year, while examining the contents of those boxes – the photos, letters,

memorabilia, and toys – I was gratified to learn that many of my childhood memories

were largely correct. In many cases, they returned more fully understood. But there

were also shocking discoveries about my mother and father, including a little white lie

they told me when I was six, which hugely affected my self-esteem throughout

childhood and even into adulthood. The discoveries arranged themselves into patterns,

magnetically drawn, it seemed, to what was related. They include artifacts of expectations

and ambition, flaws and failings, catastrophes and the ruins of hope, perseverance

and the raw tenderness of love. This was the emotional pulse that ran through my life

and made me the particular writer that I am.

(963 words)

From: Amy Tan. Where the Past Begins: A Writer’s Memoir. London: 4th Estate, 2017. 1– 6.

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Note:
Our solutions are listed in bullet points. In the examination, full marks can only be achieved by writing a continuous text.

Amy Tan

Preserves and reflects on items from her past to retain memories.
Realizes that many of her recollections are fragmented, distorted, or inaccurate.
Concludes that memory cannot be controlled, as:
$\rightarrow$ she has attempted, but failed, to erase bad memories by discarding objects or photos.
$\rightarrow$ she has forgotten details of past events despite holding onto photographs.
Recognizes that although photos have limitations in aiding memory, they can also help correct personal recollections.
Understands the influence that memories have had on shaping her life and personality.

In her reflections on memory, Amy Tan uses a range of stylistic devices to convey the complexities of preserving and interpreting past experiences. Through metaphors, imagery, and contrasts, she emphasizes the importance of objects in shaping memory and the profound emotional impact they can have. Her choice of language reveals the fluidity and unpredictability of memory, highlighting both its power to retain and distort personal history. Tan’s informal and personal style allows readers to relate to her insights, making her exploration of memory both intimate and accessible.

Introduction

Metaphor
$\rightarrow$ "plastic bins safeguarding frozen moments in time," (l. 1f.)
$\rightarrow$ This metaphor underscores the importance of preserving memories for Amy Tan, using relatable imagery that conveys the idea of memories being carefully stored and protected.

Enumeration
$\rightarrow$ The use of enumeration highlights the abundance of objects Tan encounters, demonstrating their significance in shaping and reflecting on her memories.
$\rightarrow$ "memorabilia, letters, photos, and the like," (l. 3), "the photos, letters, memorabilia, and toys," (l. 59f.), "artifacts of expectations and ambition, flaws and failings, catastrophes and the ruins of hope, perseverance and the raw tenderness of love," (l. 65-67)

Imagery
$\rightarrow$ Through vivid imagery and hyperbole, Tan expresses the profound emotional impact that objects from her past have on her, comparing the experience to the immense and powerful force of a glacier breaking apart: "what I found had the force of glaciers calving," (l. 3f.)

Personification
$\rightarrow$ Tan personifies memory as a powerful, almost autonomous force, suggesting it has control over what is retained or forgotten, highlighting her perception of memory as influential and unpredictable.
$\rightarrow$ "Memory [...] gives you no choice [...]. It is extraordinarily faithful," (l. 18f.), "my brain has let a lot of moments slide over the cliff," (l. 27)

Anaphora
$\rightarrow$ The repetition in this anaphora emphasizes the idea of learning from past memories, warning against repeating negative experiences and showing how memory can offer lessons for the future: "Don’t expose yourself to," (l. 15f.)

Main body

In conclusion, Amy Tan's use of various literary devices, such as metaphor, imagery, and contrast illustrates the profound impact of memory on her life. Through her reflections, she reveals the complex, often fluid nature of memory, acknowledging both its power to preserve significant moments and its potential to distort or fade over time. Tan's informal and personal style invites readers to connect with her experiences, emphasizing the importance of accepting all memories—both good and bad—as essential components of one's identity.

Conclusion

3.1

Memory plays a powerful role in shaping how individuals perceive and understand their lives, often blending reality with subjective interpretations. Amy Tan’s observation that "[A]ging memory is impressionistic and selective in details, much like fiction is." (l. 36) highlights the ways in which memory, like a story, can be altered by perception and emotions. This concept is explored in various texts, including Tan's work and Atonement by Ian McEwan, where characters' memories and perceptions lead to significant consequences in their lives. Examining these themes reveals how memory influences identity, relationships, and the decisions we make.

Introduction

Memory is shaped by perception, which can be flawed perception
$\rightarrow$ Emotions can distort perception (e.g., Briony's jealousy in Atonement makes her misinterpret Cecilia and Robbie's relationship; Amy Tan holds onto negative memories of those who wronged her).
$\rightarrow$ Circumstances or physical limitations can affect perception, leading to biased views (e.g., Briony observing events from afar or in the dark).
$\rightarrow$ Perception can be influenced by prejudice (e.g., class differences shaping judgments in Atonement).

Memories can evolve over time
$\rightarrow$ New information (e.g., Tan revisits old family photos to adjust her understanding).
$\rightarrow$ Maturity and experience (e.g., Briony realizing her mistakes as she grows older).

Memories have long-lasting effects on behaviour and identity
$\rightarrow$ Relationships (e.g., Tan becoming cautious in friendships; Briony's family falling apart).
$\rightarrow$ Self-esteem (e.g., Tan’s view of herself damaged by her parents' lie; Briony feeling guilty and flawed).
$\rightarrow$ Key life choices (e.g., Briony becoming a nurse and writing Atonement; Cecilia leaving home).
$\rightarrow$ Motivation, both positive and negative (e.g., Cecilia and Robbie’s determination to reunite; Briony’s reluctance to reach out to her sister).

Awareness of memory’s unreliability leads to
$\rightarrow$ A desire to seek objective truth (e.g., Tan trying to recall events accurately; Robbie proving his innocence; Briony confessing to her lie).
$\rightarrow$ Using evidence to reduce bias (e.g., Tan reviewing photos; Robbie’s arrest based on witness testimony and the letter).
$\rightarrow$ The urge to collect keepsakes (e.g., Tan’s large collection of memorabilia).

Main Body

In both Amy Tan’s reflections and Atonement, memory is portrayed as a fluid, sometimes unreliable force that profoundly shapes individuals' lives. Whether through distorted perceptions, emotional biases, or evolving understanding over time, memories can impact relationships, identity, and behavior. Recognizing the unreliability of memory encourages a search for objective truth, while also underscores how deeply personal and subjective our recollections are, reminding us that memory, like fiction, often rewrites itself.

Conclusion

3.2

In today's digital age, social media platforms have become powerful tools for self-presentation and identity crafting, with photos playing a central role in how individuals express themselves. Through visual storytelling, people can share their experiences, interests, and personalities, shaping their online personas. However, while presenting oneself through photos can bring benefits, such as self-expression, empowerment, and connection with others, it also carries potential dangers. This article explores both the positive and negative aspects of sharing personal images on social media, highlighting the impact it can have on one’s identity, mental health, and privacy.

Introduction

Self-expression through visual storytelling
$\rightarrow$ Allows users to easily share personal experiences.
$\rightarrow$ Helps in crafting narratives that showcase one's personality.
$\rightarrow$ Facilitates expression beyond the confines of written language.

Empowerment through online identity
$\rightarrow$ Enables individuals to select images that reflect their values, interests, and goals.
$\rightarrow$ Encourages self-reflection and supports personal growth.

Building community and fostering connections
$\rightarrow$ Connects people with shared interests or experiences.
$\rightarrow$ Promotes a sense of belonging.
$\rightarrow$ Provides insights into different cultures and lifestyles.

Creating and preserving memories
$\rightarrow$ Photos serve as digital keepsakes, helping individuals document significant life events and moments.
$\rightarrow$ Social media platforms act as a digital archive, allowing users to revisit and reflect on their past experiences.

Main Body
Potential advantages of sharing photos on social media

Selective self-representation
$\rightarrow$ Leads to idealized digital personas, creating unrealistic expectations.
$\rightarrow$ Pressure to maintain a flawless online image may harm self-esteem and mental health.
$\rightarrow$ Increases the gap between the curated online self and authentic real-life experiences.

Privacy issues
$\rightarrow$ Increases risks such as identity theft, cyberbullying, and harassment by revealing too much personal information.
$\rightarrow$ Difficulty in fully deleting or controlling content once it's shared.
$\rightarrow$ Personal boundaries can become blurred or violated in online environments.

Exposure to social judgement
$\rightarrow$ Creates dependency on external validation for self-worth.
$\rightarrow$ May cause self-doubt, isolation, or mental health challenges in response to negative feedback.
$\rightarrow$ Can lead to performance anxiety and an inability to manage real-life stress.

Potential risks of sharing photos on social media

In conclusion, presenting oneself through photos on social media can be a valuable tool for self-expression, connection, and memory preservation. However, it is important to be aware of the potential risks, including the pressure to present an idealized version of oneself, privacy concerns, and exposure to judgment. Striking a balance between authentic self-presentation and mindful curation is key to navigating the benefits and dangers of social media, ensuring it remains a positive space for personal growth and interaction.

Conclusion

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