What is History?

The following is an excerpt from a paper I wrote for my Christian History and Literature class. In it I discuss what exactly is meant by the word ‘history,’ what it is and is not, and how scholars of all fields ‘do’ history. The was to write an outline of Neville Morley’s book, Writing Ancient History. Fun fact: when I received my paper back, my professor commented on it that it was “probably the best paper in the class.”

What is history? Though history is read by people all over the world, few people actually fully understand what history is and it is commonly taken for granted as simply being ‘stuff about the past’. In ways that is true, but history, like many words in the English language can have various meanings depending on the context in which it is used. In some cases it may refer to what happened in the past. In others it can refer to something more abstract which can be studied. History can also refer to an academic profession, or a process that academics practice. Even then the different uses of the term can and often do overlap with each other, making the question of what is history more complicated. History, in a general sense can be understood as events that happened in the past. However, the distinction must be made between accounts of the past, and the past as it really was. History cannot determine events as they really were, but can only give accounts of the past. Further, not all accounts of the past can or should be considered history. For example, the stories of King Arthur, should not be considered historical works.

History can in other ways be described as the methodical study of evidence from the past, and interpretation of that evidence. Still, in many cases Morley argues that simple common sense can be used to identify history and thus a rigid definition is not necessarily required. Tacitus’ Annals of Imperial Rome is clearly a work of history whereas Renae De Liz’ Legend of Wonder Woman is clearly fiction.

Like many other things, history originates from the ancient Greeks. Some of the earliest examples of history come from Herodotus and Thucydides. Herodotus is commonly considered to be the father of history for his work on the wars between the Greeks and Persians. Still, Herodotus also left the door open for supernatural and divine explanations, which Thucydides rejected, and wrote of “giant ants and flying snakes.” In that sense, Thucydides more closely resembles what modern historians refer to as “proper history.” Thucydides also established that the proper subjects of historical study should be war and politics, which frequently overlap. Through the works of Thucydides emerged what Morley calls one of the first examples of “something that we wish to identify as history.” (pp. 27)

Thucydides compared and contrasted history to fiction and though he was willing to utilise the works of Homer as a source for early Greek history, he qualified it by claiming that they tended to exaggerate, which is quite an understatement. Similarly, Aristotle argued that one key difference is that historians purport actual events while poets relay things that might have happened in the past. Because fiction, which in Latin (fingo) means ‘I shape, arrange, devise, or imagine’ it is inadequate as tool for historians. Historians base their findings on evidence alone, whereas fiction creates and imagines evidence which makes the two ultimately incompatible as records of the past.

The reality is that while studying ancient history may seem trivial in relation to the job market, it’s more than just the literal study of antiquity. Studies in ancient history teach students how to analyse, think critically, and how to write well, all skills that employers look for in perspective employers. What history can teach people is how to take in large amount of information, process the information, and present arguments and ideas based on that information. There are many fields, completely unrelated to ancient history, in which those skills would be immensely helpful.

Morley suggests that history is a useful tool simply because knowledge of the past is useful as it can produce predictive models for the future. Understanding the past can better help us interpret the present and build models for what we might expect to see in the future. He argues that by examining the past, “we can try to understand our society by placing it in a wider historical context.” (pp. 152)

In political circles, the past can have great influence as politicians and political parties may seek to advance ‘traditional values and idea.’ Whether it’s PM Thatcher advocating a return to ‘Victorian values’ or American political leaders advocating to return to a time when America was great, the past can greatly influence the present. Morley says that we can better understand events that are happening now by looking back at events that precede the current ones to see how they relate to the current situation. This way, history almost becomes necessary as a way to understand things going on today.

–M

Wonder Woman: Rise of the Olympian–Review

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Other than The Circle this is perhaps Gail Simone’s best story arc with Wonder Woman. Granted I feel like I said that about every arc, but this one is the real deal. Obviously in my opinion she’ll never top the Circle, but that’s a bit like saying that The Eminem Show will never be as good as The Marshall Mathers LP

Anyway, though this volume, which collects Wonder Woman #26-#33, is admittedly a bit messy at times with many tie-ins to previous volumes which if you haven’t read (you should) can make things a bit confusing, I contend it still stands as one of Diana’s greatest moments. In many ways Diana’s victory in this story is not so much physical as it is mental.

Still hungover from Mission’s End, and Superman: Sacrifice (in which she killed Maxwell LorScreen Shot 2016-10-17 at 7.05.41 PM.pngd), Wonder Woman struggles to gain trust of her peers, while balancing a double life as an agent at a government agency, the Department of Metahuman Affairs, which really is not too fond of superheroes. Wonder Woman finds herself battling a seemingly unbeatable monster named Genocide. Perhaps one of the strongest opponents Diana has ever faced, the Amazon princess goes head to head––and loses. Badly. After Wonder Woman is thoroughly beaten by Genocide she is rescued and cared for by her friends. She then assembles an army of her Gorilla Knights, and a few members of the Justice League including Green Lantern, as well as Donna Troy and others. Vastly unprepared for how powerful Genocide is they all are beaten, with Wonder Woman, who has lost confidence in her ability, taking the biggest hits. 

Post fight, it is revealed that the Cheetah, along with the help of a few of Wonder Woman’s other enemies, allied together to create Genocide. Oh and by the way, I forgot to mention, Genocide has also stolen Wonder Woman’s lasso and is capable of unleashing the true power of the lasso which was previously only know to Diana. Genocide has also taken Etta Candy hostage. 

Meanwhile, Zeus is planning to “reward” the Amazons for their loyalty by “releasing” them of their duty and replacing them with a group Olympians and their champion, Achilles. The goal of these new “Manazons” is to force peace on the world. Yes, forced peace. Also, Zeus has not exactly asked the Amazons what they think of being replaced, which makes things more interesting.


Throughout this intense epic, Diana must come to terms with who she is and what she’s willing to do to stop Genocide. She also must confront both Zeus and Ares, who plays a crucial role as an antagonist, and the sea Monsters of Euphemus. She does all this, mind you, while severely injured and weakened from her fight with Genocide.Eventually though, as she learns more about herself, she becomes determined to defeat Genocide and save Themyscira from Ares’ plot. When Diana, not being able to take anymore defeat, decides to go beast mode, even Felix Faust, allied with the Cheetah and Dr. Psycho, realizes that pissed off Wonder Woman is not someone you want to have to face. rco016

The ending of this volume is immensely satisfying and reinforces Diana’s strong ideals that she fights for. Genocide is a perfect counter to her, standing for everything she stands against. This arc is a test for Wonder Woman in terms of her physical strength and her mental strength. With a heavy reliance on Greek mythology, this book is very classic Wonder Woman in it’s nature. Aside from feats such as beating the shit out of Ares, Diana also punches a ballistic missile to stop it, unharmed in this volume.

Overall, this volume, while confusing at times, is a great story that highlights the values and principles which Diana represents and fights for. Simone writes Wonder Woman as a compassionate and caring character in light of some doubts that had been raised about her in the Mission’s End storyline. She emerges out of this wounded, and yet stronger than ever and determined to continue fighting for her ideals.

To top it all off, the artwork in this book is fantastic and Gail Simone’s writing is top-notch. While it’s not The Circle this volume is easily one of the most enjoyable Wonder Woman stories I’ve read. 8/10.

–M

Some Thoughts on the Martyrdom of Perpetua and Felicitas: Literary Themes and Genre

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One of the prevailing literary themes laced throughout Perpetua is the use and intentional referencing of scripture and Christian literature. For example, in chapter 4 alone there are references to the dragon of Revelation 12.3, Jacob’s latter from Genesis 28.12, and another reference to Genesis 3.15. Perhaps one reason for linking in scripture and other themes from various Christian literature is as a means of establishing credibility. By playing to the themes of already accepted tradition it can legitimize the writer’s theology and embed the story into an already existing mold.

Another possible example of the use of literature is in chapter 4 where the author describes thousands of people clad in white garments. It is possible that this is an allusion to Revelation 7.13-14 which refers to “these robed in white” who are “they who have come out of the great ordeal.” Other translations say “out of the great tribulation” but in either case, ordeal and tribulation are meant as ‘suffering.’ This would then indicate that the people robed in white are those ones who have overcome a great suffering. Thus the author of Perpetua could have picked up this theme as a means of bolstering their own narrative when talking about people who have overcome martyrdom.

Other themes from early Christian writings can be seen in the imagery of children. In chapter 8, the brother of Perpetua, Dinocrates is described as being delivered from his suffering. It is said that he “began to play as children do.” Though somewhat ambiguous, it is possible that the theme being stressed here is playing into the theology of Matthew 18.1-4 in which Jesus states that “unless you change and become like children you will never enter the kingdom of heaven. Whoever becomes humble like this child is the greatest in the kingdom of heaven.” The message of this appears to play into the innocence of children and that by becoming childlike, one can enter the kingdom of heaven. By describing Dinocrates as playing like a child he is then delivered from his suffering and can presumably enter the kingdom of heaven. This reinforces a theme from the gospels and can be used to anchor the story into a much older tradition which as previously stated can further legitimize it.

The visions of beasts throughout, such as in chapter 10 are also an allusions to Revelation which also describes visions of beasts. The overarching theme of suffering and receiving glory can be aptly applied to Revelation as it describes the suffering of the world in a sense, followed by the new heaven and new earth. Like in Revelation, in these visions, Perpetua is able to conquer her adversaries and attains victory over death via her suffering.

Also mirroring Revelation is the reference to the “four angels” from chapter 7. Throughout the Martyrdom of Perpetua there is a perpetual linkage to Revelation among other early Christian writings. With the theme of suffering, torment, and destruction preceding triumph, glory, and heaven it makes sense that Revelation would be a suitable text to utilise for martyrologies. The theme of martyrdom suggests

that in order to attain glory in heaven one must first suffer. This is also a prevailing theme from Mark’s gospel; that suffering precedes glory. Through Mark’s suffering servant and suffering disciple motif one arrives at the conclusion that in order to gain access to the kingdom of heaven one must suffer, or “take up their cross and follow.” One of the lessons Mark’s gospel teaches is as Dale Martin writes, “endurance in the face of suffering by a promise of glory and salvation at the end.” In many ways this is the same kind of message that one sees in martyrologies.

Further, the idea of having “no hope in this world” could also be a lose reference to Mark 8.33 in which Jesus rebukes Peter by saying “get behind me Satan, for you are not setting your mind on the things of God, but on the things of man.” This would imply that there is much more beyond the mortal world and that one should not consume themselves with earthly matters, but instead on divine matters.

The actual martyrdom of the five happens only by their own accord. Through all their suffering it is not until they decide and by their design that they finally die. Perpetua is beaten and tortured greatly, but not until she takes the hand of a gladiator and brings it to her throat is she “dispatched.” This has two parallels with the gospels and the passion of Jesus. Jesus does not die until he gives his last breath. Throughout his suffering, not until he decides it’s time does he expire. When he does, a Roman centurion exclaims, “surely, this man was God’s son.” Likewise, at the end of their suffering, the five are identified as “most valiant and blessed Martyrs! Truly are you called and chosen for the glory of Christ Jesus our Lord!”

In terms of the literary structure, Eliezer Gonzalez writes, “the resonances of the language and imagery of the Passion of Perpetua with Jewish apolcayptic literature has long been recognised.” Gonzalez argues that Perpetua was written as an adaptation of Jewish apocalyptic writings in order to make sense of the challenges facing the north African Christian communities. To further establish this, Gonzalez points to pseudonymity as being a staple element of Jewish apocalypses. Though parts of Perpetua claim to record the actual prison diary of Perpetua, Gonzalez poses that it is possible that the author is making that up and attributing it to her diary to fall in line with the standard literary structure of Jewish apocalypse. This gives the martyrdom of Perpetua a far more cosmic nature than a simple martyrdom of a Christian. Gonzalez points to parallels between Perpetua and 1Enoch, the Ascension of Isaiah, and the Apocalypse of Peter. Because these ancient genres are harder to define and because in many instances genres can overlap, it is entirely possible for Perpetua to count as a martyrology, which it clearly is, and also double as apocalyptic literature. Using the working definition of apocalyptic provided by John Collins, “a genre of revelatory literature with a narrative framework, in which a revelation is mediated by an otherworldly being to a human recipient…” Gonzalez is able to further ground his argument.

–M

The Infancy Gospel of Thomas: Dating and Composition

The Infancy Gospel of Thomas (IGT) is a collection of writings which purports to tell miracle stories about Jesus as a child. None of the canonical gospels (Mark, Matthew, Luke, John) gives us any information about Jesus during his childhood. In Matthew and Luke we get two birth narratives (which cannot be harmonised) and then immediately they jump to a 30 year old Jesus (Luke has one story from the L source which describes Jesus as 12 in a temple). We get no information in any of the gospels about what happened between his birth and the beginning of his ministry.

The infancy gospel comes to us in several manuscripts, mostly medieval, in 13 different languages. Among those language are; Latin, Slavonic, Irish, Arabic, Armenian, Ethiopic, and Georgian, demonstrating its widespread popularity. There are also several manuscripts written in both Greek and Syriac. As far as dating the text goes, the earliest known reference comes from Irenaeus in 185 CE who appears to quote from the text. Irenaeus knows of a story in which Jesus argues with a teacher on the meaning of the alpha and the beta. Though a similar story is found in the IGT, it is not clear whether Irenaeus is quoting directly from it.

Besides the above, they adduce and unspeakable number of apocryphal and spurious writings, […] they bring forward that false and wicked story which relates that our Lord, when He was a boy learning his letters […] ~Irenaeus (Against Heresies book I)

Either way it provides evidence that such a story was circulating prior to 185. As such, the general scholarly consensus dates the text to the mid second century. 

Syria is the likely place of origin of the text as Thomas Christianity was immensely popular in Syria, just as Markan Christianity was all the rage in Egypt. Given the theological differences, it likely did not come out of the Thomas Christianity tradition, but given its attribution to Thomas, Syria remains the most likely place of origin. 

Narratively, the IGT takes places between Luke 2.40, where the infancy narrative ends, and Luke 2.41 when Jesus is 12 years old. In fact, the ending of the IGT directly quotes the story of Jesus at 12 years old in the temple from Luke 2.41-51. This implies that the author of IGT had access to Luke’s gospel. 

Arrangement wise, the author most likely had access to several stories circulating about Jesus, either in manuscript form or by oral transmission and organised them together in an anthology. At the time there was much interest in Jesus’ life during his childhood and prior to his ministry and thus the author fulfilled the demand. However, simply because the stories are cast as taking place during his early childhood years, that should not mean that they were originally about Jesus prior to age 12. It is possible that they were originally about Jesus between the years of 12 to 30 which the canonical gospels are also silent on. 

–M

Quote of the Day

It’s October 3rd. Today is international Mean Girls day, and as such, my quote of the day is one of the more inspiring quotes from the iconic movie.

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“Calling somebody else fat won’t make you any skinnier. Calling someone stupid doesn’t make you any smarter. And ruining Regina George’s life definitely didn’t make me any happier. All you can do in life is try to solve the problem in front of you.” ~Cady Heron

31 Days of Horror

Tomorrow is October 1st. With that, fall is officially in full force as the temperatures drop, the leaves change colour, Starbucks sales go up, and basic white girls break out their uggs. But not only that, it also marks the return of one my favourite fall traditions; 31 Days of Horror.

For the past several years I have been watching a horror movie (or tried to) every single day throughout the entire month of October. My selection ranges from slasher films, supernatural horror, monster movies, classics, and low-budget movies, ending with a screening of John Carpenter’s incomparable, Halloween on October 31st. 

Horror is by far one of my favourite genres and has been the centre of my cinematic interest for as long as I can remember. While I frequently enjoy a good slasher during every month of the year, October is the one month where I get to fully submerge myself into the blood trail that is the horror genre. Every year I try to mix it up a little, but I always keep a few classics on the list from year to year. Prom Night, The Burning, Friday the 13th, and Black Christmas always seem to make the list.

This week, I took the time to watch a few movies that almost made the list, but didn’t, as a sort of “pre-game” to put me in the right mood. It also helps that American Horror Story season 6 premiered 3 weeks ago. Wednesday night I watched the highly touted, 97% Rotten Tomatoes scoring, It Follows. All I have to say is….what the hell were those reviewers thinking? Were they high when they rated it?? It Follows may be one of the worst horror flicks I’ve seen to date. Seriously, I think Texas Chainsaw Massacre 2 might surpass this thing. It’s boring. It’s drawn out. There’s almost no suspense, and the entire rising action falls apart with the shoddy, whiplash ending that leaves you going, “…what?” Simply put, if you have the opportunity to literally anything else besides watching It Follows, do it.

So, while this is not typed in blood and is subject to change, here is my 2016, 31 Days of Horror list:

  1. Day 1. Trick-Or-Treat (2007)
  2. Stage Fright (1987)
  3. Sleepaway Camp (1983)
  4. The Burning (1981)
  5. The Blair Witch Project (1999)
  6. Ju–On (2002)
  7. The Red Shoes (2005)
  8. The Orphanage (2007)
  9. Prom Night
  10. Slumber Party Massacre (1982)
  11. The Babadook (2014)
  12. The Conjuring 2 (2016)
  13. Friday the 13th (1980)
  14. My Bloody Valentine (1981)
  15. A Tale of Two Sisters (2003)
  16. The Woman In Black (2012)
  17. Audition (1999)
  18. Jennifer’s Body (2009)
  19. Suspira (1977)
  20. The Innkeepers (2011)
  21. He Knows You’re Alone (1980)
  22. The House that Scream (1970)
  23. Cabin In the Woods
  24. Blood and Black Lace (1964)
  25. Black Christmas (1974)
  26. The House on Pine Street (2015)
  27. Scream (1996)
  28. The Case of the Scorpion’s Tale (1971)
  29. The Exorcism of Emily Rose (2005)
  30. The VVitch (2016)
  31. Halloween (1978)

–M