Tuesday, July 19, 2011
Macbeth - Foul is fair and fair is foul
The “fair is foul and foul is fair” motif runs throughout Act 1 of Macbeth in a way that it can apply to every occurrence in the play. Its central meaning explores versions of reality and directly relates to how appearance may be deceptive. The play opens with the weird sisters chanting the line and thus, introducing to the audience that what is fair and foul, although opposite in meaning, can co-exist, ‘Fair is foul and foul is fair, Hover through the fog and filthy air’ (1.1.1). This stresses that difference between reality and illusion, good and evil, and other antonyms, is often as murky as ‘fog and filthy air’. Macbeth also draws on this idea in Scene 3 line 40, ‘So foul and fair a day I have not seen.’ This reiterates that things can be both foul and fair simultaneously. In this case, he may have been alluding to the bloodshed but also the victory, which come hand-in-hand. In Scene 4, the underlying message of the motif is captured by Macbeth’s intentions to kill the King and commit treason although he has just been praised for his bravery and patriotism. This emphasises that appearances are sometimes misleading and through suggesting that Duncan is fooled again, the motif underpins that it is impossible to know the truth by appearance and that there may always be two contrasting sides in people and situations.
Friday, April 15, 2011
Write a paragraph which might act as the introductory paragraph to a conference paper on the way the article by Philip Adams constructs a version of childhood. You should identify the key elements of the version of childhood and the main points you would want to cover in this paper about how the version is constructed. In class, we have focussed on selection and organisation of material as well as use of language, so remember to consider these. Remember also that you should try not to discuss all of your main points in one sentence. Post to your blog by 4pm Friday, April 15th.
Phillip Adams constructs a version of childhood in his book The Unspeakable Adams as a intolerable time of restriction and perceives it as greatly overrated by adults. His arguments are that children are property to adults and thus are caged within numerous regulations,that school is agonizing to attend, that children are not as innocent as they are perceived and encompass an ugly aspect of personality, that children are punished for being naturally ignorant, and that childhood is typically boring. He supports his thesis through his selection of material which almost completely silences the positive aspects and which emphasizes that the reality of childhood is not the ideal childhood adults reminisce upon. These components of childhood established by Adams are also highlighted by his use of the political allusions which draws parallels between the treatment received by children and the moments of shame inscribed in the past by adults. Furthermore, his use of language communicates his construction of childhood with clarity through descriptions which are explicit in meaning.
Phillip Adams constructs a version of childhood in his book The Unspeakable Adams as a intolerable time of restriction and perceives it as greatly overrated by adults. His arguments are that children are property to adults and thus are caged within numerous regulations,that school is agonizing to attend, that children are not as innocent as they are perceived and encompass an ugly aspect of personality, that children are punished for being naturally ignorant, and that childhood is typically boring. He supports his thesis through his selection of material which almost completely silences the positive aspects and which emphasizes that the reality of childhood is not the ideal childhood adults reminisce upon. These components of childhood established by Adams are also highlighted by his use of the political allusions which draws parallels between the treatment received by children and the moments of shame inscribed in the past by adults. Furthermore, his use of language communicates his construction of childhood with clarity through descriptions which are explicit in meaning.
Friday, February 11, 2011
Catcher in the Rye - Chapter 9
The grand clock at Penn Station had struck half past eleven when a tall, lanky boy of an obvious youth had stepped on to the arrival platform. He carried a large suitcase, too big of a size for the boy to be leisurely travelling alone. The Pencey Prep sticker on one of his Gladstones explained everything; he was returning from school. However, no apparent parent was thereto welcome him home. In fact the station was quite deserted. Curiously enough, the boy went into a phone booth.
What he did in the next twenty minutes was even more confusing. He stood inside with the phone grasped by his hands with a face which became increasingly distorted. His fingers would flinch to dial a number every few minutes but then a look of apprehension would cross his face as he thought about it. His fingers ended up dialling nobody. His shoulders drooped and he trudged out of the booth. As sadness filled his eyes, he picked up his bag and caught a cab.
Whether this boy had a destination in the beginning is a good question as the cab driver was told a wrong address at the start. However, the boy only seemed to be fascinated about the ducks or in other words, he seemed desperate to know where they all went when they could not live in the lake anymore. He became upset when the cab driver could not give him an answer. Interestingly, the lost boy did not return home but booked into a small hotel.
What he did in the next twenty minutes was even more confusing. He stood inside with the phone grasped by his hands with a face which became increasingly distorted. His fingers would flinch to dial a number every few minutes but then a look of apprehension would cross his face as he thought about it. His fingers ended up dialling nobody. His shoulders drooped and he trudged out of the booth. As sadness filled his eyes, he picked up his bag and caught a cab.
Whether this boy had a destination in the beginning is a good question as the cab driver was told a wrong address at the start. However, the boy only seemed to be fascinated about the ducks or in other words, he seemed desperate to know where they all went when they could not live in the lake anymore. He became upset when the cab driver could not give him an answer. Interestingly, the lost boy did not return home but booked into a small hotel.
Sunday, February 6, 2011
Version of Childhood found in Winnie the Pooh
Winnie the Pooh, the book by, constructs a version of childhood through demonstrating different aspects in each character as well as communicating a consistent representation through similarities in the actions of all characters. This is created through the text and the visuals.The most significant version of childhood illustrated throught the book is the idea that it is a period when companionship has uttermost importance. This is is closely followed by the construction of childhood as a time of self-aware dependence.
The version of childhood that a child's daily life revolves constantly around companionship and their dislike for isolation is articulated through the characters' response to certain situations. For example, when Piglet's house is entirely flooded, instead of thinking of the dire cicumstances that he is trapped in he only wishes to be with his friend, Pooh. He mutters, "If only I had been in Pooh's house when it began to rain, then I should have had Company all this time, instead of being here all alone." This shows his lack of concern for his survival and naive attitude towards reality. Piglet's desire to be with a friend is communicated most strongly and the fact that his first reaction is to be not alone highlights that childhood is a time of simple longing for interaction with others.
Childhood is also constructed to be a time of dependece of which the child is completely aware and have accepted. Pooh represents this version through innocently admitting that he cannot read and claiming that 'someone smarter' could read it for him. He says, "I must find Christopher Robin or Owl or Piglet, one of those CLever Readers who they can read things and they will tell me what the missage means." This allows an insight into a child's mind that they believe that they are incapable of some qualities in which they admire in others but have no problem of accepting that they cannot achieve it. This is derived from the mindset of children that adults are automatically more experienced and therefore can be depended on. Therefore, the text constructs a version of childhood which entails that it is a time of accepted and required dependence.
The version of childhood that a child's daily life revolves constantly around companionship and their dislike for isolation is articulated through the characters' response to certain situations. For example, when Piglet's house is entirely flooded, instead of thinking of the dire cicumstances that he is trapped in he only wishes to be with his friend, Pooh. He mutters, "If only I had been in Pooh's house when it began to rain, then I should have had Company all this time, instead of being here all alone." This shows his lack of concern for his survival and naive attitude towards reality. Piglet's desire to be with a friend is communicated most strongly and the fact that his first reaction is to be not alone highlights that childhood is a time of simple longing for interaction with others.
Childhood is also constructed to be a time of dependece of which the child is completely aware and have accepted. Pooh represents this version through innocently admitting that he cannot read and claiming that 'someone smarter' could read it for him. He says, "I must find Christopher Robin or Owl or Piglet, one of those CLever Readers who they can read things and they will tell me what the missage means." This allows an insight into a child's mind that they believe that they are incapable of some qualities in which they admire in others but have no problem of accepting that they cannot achieve it. This is derived from the mindset of children that adults are automatically more experienced and therefore can be depended on. Therefore, the text constructs a version of childhood which entails that it is a time of accepted and required dependence.
Sunday, October 24, 2010
"Emelia is the real hero of Othello".
Write an introductory paragraph which presents your thesis and at least two main points in support of this, as well as one of the body paragraphs.
Readers may easily be misguided to believe that Emelia is the real hero of Shakespeare’s tragedy, Othello, when only considering her last actions in the play. The truth is that Emelia cannot be the real hero as she purposefully created opportunities for the antagonist, her husband, Iago, for her own benefit and she did not prevent the unfortunate events which she foresaw. To claim that she is the ultimate hero of the play is to ignore all complexities surrounding her character and the consequences of her initial actions.
Although, Emelia died trying to justify Desdemona’s innocence, in essence, it was herself who allowed this chaos to occur. She provided the ‘ocular’ proof for Othello as she stole the handkerchief from Desdemona’s chamber. She gave it to her husband, not questioning the reason why he desired it and what use he would have with Desdemona’s treasured possession. In Act 3 Scene 3 Line 319, she admits that Desdemona will be distressed if she realised that the handkerchief had vanished, "Poor lady, she'll run mad when she shall lack it." Ultimately, she was ompletely aware that it was of high importance and that it would cause trouble if it were to go missing. In Act 3 Scene 3 Line 307 she says to Iago in their chamber, "What will you giveme now for that same handkerchief?" This certainly suggests that she neglected her duties to protect her lady for her own gain, to satisfy her husband's desires and to receive attention from him.Thus she was building a foundation and prospects of misfortune which might be delivered to her mistress. Emelia was conscious of the possible consequences of taking that gift of Othello’s from Desdemona and this denies her of being the real hero of Othello.
The consequences of her initial action were evident, however, Emelia chose to ignore its dire impact on Desdemona and her position. She predicted Othello's growing sense of betrayal and witnessed his anger towards his wife, yet remained detached from the situation, although she had caused it. This directly refers to the consequences of the missing handkerchief for Desdemona. In Act 3 Scene 4 Line 19-20, Desdemona questions, "Where should I lose that handkerchief, Emilia?" and Emilia merely answers, "I know not, madam." This significant lie, which is evident to the audience, is crucial when determining whether Emilia is the real hero of Othello, as it demines her character as an honest person. Furthermore, Emilia was present in the room when Othello had angrily asked to see the handkerchief and Desdemona had been shocked at his rash and jealous behaviour. Even then, she did not reveal what she had done or tried to restore Desdemona's marriage through acquring the handkerchief again to return it. Although, Emilia did not intend to cause trouble, she allowed for more mayhem through being irresponsible of her past irrational behaviour.
Ultimately, Emila cannot be the real hero of Othello when her actions throughout the whole play is explored. She ignited a fire initially, knowing that it is potentially dangerous and she did not quench it when she was given proof that it had become damaging.
Readers may easily be misguided to believe that Emelia is the real hero of Shakespeare’s tragedy, Othello, when only considering her last actions in the play. The truth is that Emelia cannot be the real hero as she purposefully created opportunities for the antagonist, her husband, Iago, for her own benefit and she did not prevent the unfortunate events which she foresaw. To claim that she is the ultimate hero of the play is to ignore all complexities surrounding her character and the consequences of her initial actions.
Although, Emelia died trying to justify Desdemona’s innocence, in essence, it was herself who allowed this chaos to occur. She provided the ‘ocular’ proof for Othello as she stole the handkerchief from Desdemona’s chamber. She gave it to her husband, not questioning the reason why he desired it and what use he would have with Desdemona’s treasured possession. In Act 3 Scene 3 Line 319, she admits that Desdemona will be distressed if she realised that the handkerchief had vanished, "Poor lady, she'll run mad when she shall lack it." Ultimately, she was ompletely aware that it was of high importance and that it would cause trouble if it were to go missing. In Act 3 Scene 3 Line 307 she says to Iago in their chamber, "What will you giveme now for that same handkerchief?" This certainly suggests that she neglected her duties to protect her lady for her own gain, to satisfy her husband's desires and to receive attention from him.Thus she was building a foundation and prospects of misfortune which might be delivered to her mistress. Emelia was conscious of the possible consequences of taking that gift of Othello’s from Desdemona and this denies her of being the real hero of Othello.
The consequences of her initial action were evident, however, Emelia chose to ignore its dire impact on Desdemona and her position. She predicted Othello's growing sense of betrayal and witnessed his anger towards his wife, yet remained detached from the situation, although she had caused it. This directly refers to the consequences of the missing handkerchief for Desdemona. In Act 3 Scene 4 Line 19-20, Desdemona questions, "Where should I lose that handkerchief, Emilia?" and Emilia merely answers, "I know not, madam." This significant lie, which is evident to the audience, is crucial when determining whether Emilia is the real hero of Othello, as it demines her character as an honest person. Furthermore, Emilia was present in the room when Othello had angrily asked to see the handkerchief and Desdemona had been shocked at his rash and jealous behaviour. Even then, she did not reveal what she had done or tried to restore Desdemona's marriage through acquring the handkerchief again to return it. Although, Emilia did not intend to cause trouble, she allowed for more mayhem through being irresponsible of her past irrational behaviour.
Ultimately, Emila cannot be the real hero of Othello when her actions throughout the whole play is explored. She ignited a fire initially, knowing that it is potentially dangerous and she did not quench it when she was given proof that it had become damaging.
Sunday, October 17, 2010
Reputation in Othello
Based on what we have read so far, discuss the importance/significance of reputation in relation to the following characters:
DesdemonaCassioIago
Aim for the development of solid, analytical paragraphs. Ensure that your main points are substantiated by relevant, pertinent evidence and that you take the time to synthesise the evidence.
The significance of reputation in relation to Desdemona is that it is what she defies but it is what defines her character. When Desdemona secretly marries Othello, the moor, she deceives her father as well as the social expectations which are imposed on her. Her father, Brabantio has a reputation as a respected senator, and as his young daughter, Desdemona had been expected to carry the same reputation. By betraying her father, she is stripped of this reputation and is almost disowned. Also, Desdemona’s reputation as a cultured young girl is self-destroyed as falling in love with the moor was viewed as socially unacceptable and impossible unless he had used charms on her. When she declares her love for the moor, she is stripped of her original reputation of an innocent and trustworthy young girl. However, although Desdemona disposes this reputation, every action taken after by her is judged and perceived based on her reputation. For example, through the previous experience, Desdemona gains a characteristic trait of a liar, and this reputation encircles her whole character as other characters judge her based on this reputation.
Cassio has a distinctive and high reputation which he is very fond of. As a ‘florentine’, he is seen as a cultured, educated and therefore, a respected figure. The significance of reputation in relation to Cassio is that it is what his character is based upon. After damaging his reputation, Cassio is devastated and claims, “I have lost the immortal part of myself and what is left is bestial.” Thus his character is wrapped by reputation and its high importance in his life determines it as his biggest strength and weakness.
Iago’s reputation in the play differs significantly to what is read by the reader. If to discuss only the reputation that is envisaged with him by other characters in the play, the significance of it is that Iago heavily relies on it. All of Iago’s plans throughout the play, depend on the other characters to trust him through his honest reputation. Constantly, other characters refer to him as ‘Honest Iago’ and he uses this false reputation to his advantage. The reader is aware that it is false as Shakespeare invites readers to glimpse at the truth behind the Iago’s plotting.
DesdemonaCassioIago
Aim for the development of solid, analytical paragraphs. Ensure that your main points are substantiated by relevant, pertinent evidence and that you take the time to synthesise the evidence.
The significance of reputation in relation to Desdemona is that it is what she defies but it is what defines her character. When Desdemona secretly marries Othello, the moor, she deceives her father as well as the social expectations which are imposed on her. Her father, Brabantio has a reputation as a respected senator, and as his young daughter, Desdemona had been expected to carry the same reputation. By betraying her father, she is stripped of this reputation and is almost disowned. Also, Desdemona’s reputation as a cultured young girl is self-destroyed as falling in love with the moor was viewed as socially unacceptable and impossible unless he had used charms on her. When she declares her love for the moor, she is stripped of her original reputation of an innocent and trustworthy young girl. However, although Desdemona disposes this reputation, every action taken after by her is judged and perceived based on her reputation. For example, through the previous experience, Desdemona gains a characteristic trait of a liar, and this reputation encircles her whole character as other characters judge her based on this reputation.
Cassio has a distinctive and high reputation which he is very fond of. As a ‘florentine’, he is seen as a cultured, educated and therefore, a respected figure. The significance of reputation in relation to Cassio is that it is what his character is based upon. After damaging his reputation, Cassio is devastated and claims, “I have lost the immortal part of myself and what is left is bestial.” Thus his character is wrapped by reputation and its high importance in his life determines it as his biggest strength and weakness.
Iago’s reputation in the play differs significantly to what is read by the reader. If to discuss only the reputation that is envisaged with him by other characters in the play, the significance of it is that Iago heavily relies on it. All of Iago’s plans throughout the play, depend on the other characters to trust him through his honest reputation. Constantly, other characters refer to him as ‘Honest Iago’ and he uses this false reputation to his advantage. The reader is aware that it is false as Shakespeare invites readers to glimpse at the truth behind the Iago’s plotting.
Friday, October 8, 2010
Othello: Act 1 Scene 1
Is Iago justified in reporting Desdemona's marriage to Othello to her father? Consider his motives, Brabantio's response and the cultural assumptions about race in the play. Write a paragraph response, clearly identifying your thesis in the topic sentence.
Iago is justified in reporting Desdemona’s marriage to Othello to her father when regarding only the cultural context. However, when his motives in provoking a response filled with jealousy by Branbtio are considered, he cannot be completely justified. The cultural assumptions with encircle the newly formed relationship, are that marriage with a black man is unacceptable and to do so especially in secret, is a form of betrayal towards her family and her race. In those times, it was socially expected for the father to be in control of his young daughter, and through marrying the moor without permission, Desdemona had committed ‘treason against the blood’. Also, a significant discriminatory attitude towards Black people had existed and it was considered culturally undesirable and shocking for a cultured young lady to fall in love with a foreigner. Thus, Iago had sufficient reason to report this secret marriage to Desdemona’s father. Nevertheless, the insights gained in to Iago’s motives suggest that he is not justified. He uses this piece of information to cause chaos and exploit the situation through the response brought by it. He seems to take advantage of Brabantio’s love for Desdemona, so that chaos can be caused without him being blamed for it, and the way in which he confesses his false innocence to Othello afterwards, illustrate his deceitful ways. Iago, then, cannot be justified in reporting the couple’s marriage to her father, as it was purely for his gain, out of his hatred, to cause trouble for Othello.
Iago is justified in reporting Desdemona’s marriage to Othello to her father when regarding only the cultural context. However, when his motives in provoking a response filled with jealousy by Branbtio are considered, he cannot be completely justified. The cultural assumptions with encircle the newly formed relationship, are that marriage with a black man is unacceptable and to do so especially in secret, is a form of betrayal towards her family and her race. In those times, it was socially expected for the father to be in control of his young daughter, and through marrying the moor without permission, Desdemona had committed ‘treason against the blood’. Also, a significant discriminatory attitude towards Black people had existed and it was considered culturally undesirable and shocking for a cultured young lady to fall in love with a foreigner. Thus, Iago had sufficient reason to report this secret marriage to Desdemona’s father. Nevertheless, the insights gained in to Iago’s motives suggest that he is not justified. He uses this piece of information to cause chaos and exploit the situation through the response brought by it. He seems to take advantage of Brabantio’s love for Desdemona, so that chaos can be caused without him being blamed for it, and the way in which he confesses his false innocence to Othello afterwards, illustrate his deceitful ways. Iago, then, cannot be justified in reporting the couple’s marriage to her father, as it was purely for his gain, out of his hatred, to cause trouble for Othello.
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