Thinking Outside the Box

            Both Plato’s “Allegory of the Cave” and Sartre’s “No Exit” are representations of constriction, whether by an exterior or interior force. Plato’s allegory uses dialogue that tells a story to illustrate his ideas while Sartre uses conversation between the characters of the story in order to set the scene and delineate his theme.

            The “Allegory of the Cave” is all about abstractions, and the way they obscure our sense of reality. Plato uses his prisoners to show the difference between those who are enlightened on what reality really is and those who only sense it through abstractions. Plato uses the cave, the chains, and the shadows as a symbol for society and the way it constricts what people observe to be real. The escaped man serves as an example of what could be, if we were to all free ourselves from the “chains” of societal thought. Once the man was enlightened on what reality really was, Plato sent him back into the cave to tell the other prisoners of what is beyond their reality. Their killing him represented the reaction of those who are so stuck in their beliefs and opinions that they refuse to accept any different kind of reality or thought. The killing of the enlightened man, and, in a sense, a true idea of reality, could be avoided by the exposure of everyone to real reality, not just what they believe to be true.

            Sartre, however, uses his allegory of three people in hell to show that people are restricted by what their own thoughts are. In this case, it’s what their thoughts of hell are. Sartre shows that people create their own hell in how we perceive others are viewing us. The reason Garcin, Inez, and Estelle are all put in the room together is because each of them has a trait that will, in fact, torture the others. They are all worried about how others see them. Estelle, for example, has to justify her existence through the observations of others. Sartre is showing restriction of thought through the “torture” presented to the characters. Each of the characters’ thoughts are impeded by the thoughts of others around them, in a sense, creating a specific hell for each of them. Sartre, however, does present them with the option of leaving the room when the door opens, but again, the characters are restricted by their fears of what the other characters with think and say about them when they leave.

            Both Plato and Sartre express the idea of being restricted. However, Plato tells a story that presents the idea that inhibition comes from our surroundings and it is up to us to fix it. Sartre, on the other hand, displays characters that are responsible for creating their own hell and it is only them who cause the restrictions. In both cases, the characters are presented with solutions and choose to not take them, comforted by the restrictions they are experiencing.

Inversion

Inversion is a literary technique in which authors put words out of order in order to provide emphasis. My first encounter with inversion was watching Star Wars and Lord of the Rings. It's also in many different works of literature. For example:

• "In a hole in the ground there lived a hobbit."(J.R.R. Tolkein, The Hobbit, 1937)
• "What they talked of all evening long, no one remembered next day." (Ray Bradbury, Dandelion Wine, 1957)
• "Not in the legions; Of horrid hell can come a devil more damned; In ills to top Macbeth." (William Shakespeare, Macbeth)

Literature Analysis #3

The Invisible Man by H.G. Wells

1.     1. At the beginning of this novel, a mysterious man, bandaged from head to toe arrives in the town of Iping, England. He goes to the Coach and Horse Inn, owned by Mr. and Mrs. Hall, and rudely demands a room. He refuses to take off his coats and we find that his entire head is bandaged. Mrs. Hall tries to be as hospitable as possible but the stranger keeps to himself, working by himself and demanding to be left alone through the majority of his stay. The longer the bandaged man stays in Iping, the more rumors are started and spread about him. Suspicion builds of the stranger as a series of burglaries are committed around the community. One day, Mr. and Mrs. Hall pass by the bandaged man’s room to find his clothes lying around and the furniture starts moving. Mrs. Hall suspiciously confronts him later about it and he reveals his invisibility. The police tried to arrest him for the burglaries and he takes off his clothes and flees. The Invisible Man comes across a man named Marvel who he forces to be his assistant and return to Iping to take back his work. Marvel tries to turn the Invisible Man into the police and the Invisible Man threatens to kill him. Marvel hides from the Invisible Man in the town of Burdock, where the Invisible Man tries to get him, but gets shot in the process. He takes refuge in the house of Dr. Kemp, and we find that the Invisible Man is actually Griffin, a former classmate of Dr. Kemp’s. Griffin explains to Kemp that he was trying to come up with something to make people and things invisible with money stolen from his father. He made his neighbor’s cat invisible then ended up using the procedure on himself to avoid being caught. He also reveals that he is albino and his plans for a rein of terror. Kemp tells the police because he realizes Griffin’s insanity, but Griffin escapes and informs Kemp that he will be the first one killed. When Griffin goes to kill Kemp, Kemp flees to the town where the townspeople protect him and end up beating Griffin to death. Marvel is left with the invisibility procedure which he is unable to read.

2.     2. The theme of The Invisible Man by H.G. Wells is that without humanity, progressions in science, such as a process to induce invisibility, can ultimately be a danger to society.

3.     3. H.G. Wells’ tone is mysterious at the beginning then becomes more violent and excited as the action progresses.

“He caught a glimpse of a most singular thing, what seemed like a handless arm waving towards him, and a face with huge indeterminate spots on white, very like the face of a pale pansy.”

“Mr. Hall, endeavoring to act on instructions, received a sounding kick in the ribs that disposed of him for a moment…”

“Mr. Marvel, turning, saw a flint jerk up into the air, trace a complicated path, hang for a moment, and then fling at his feet with almost invisible rapidity. “ (Pun intended?)

4.   4.  Imagery- “You must picture Mr. Thomas Marvel as a person of copious, flexible visage, a nose of cylindrical protrusion, a liquorish, ample, fluctuating mouth, and a beard of bristling eccentricity.”

“Marvel’s face was astonishment.”

“Hall made gestures of silence and invitation.”

Diction (notable amount of puns)- “He scrutinized the apparently empty space keenly.”

“The feeling was a curious pressure, the grip of a heavy, firm hand, and it bore his chin irresistibly to the table.”

“’What the dooce?’ exclaimed Henfrey, sotto voce.”

Syntax- “They appear to have jumped to the impossible conclusion that this was the Invisible Man suddenly becoming visible, and set off at once along the lane in pursuit.”

“Possibly the Invisible Man’s original intention was simply to cover Marvel’s retreat with the clothes and books. But his temper, at no time very good, seems to have gone completely at some chance blow, and forthwith he set to smiting and overthrowing, for the mere satisfaction of hurting.”

“The unhappy-looking figure in the obsolete silk hat passed up the street of the little village with his burdens, and vanished into the gathering darkness beyond the lights of the windows.”

Setting- “When the dusk was gathering and Iping was just beginning to peep timorously forth again upon the shattered wreckage of its Bank Holiday, a short, thick-set man in a shabby silk hat was marching painfully through the twilight behind the beechwoods on the road to Bramblehurst.”

“It was a pleasant little room, with three windows- north, west, and south- and bookshelves covered with books and scientific publications…”

“Outside the night was very quiet and still, and the new moon was setting over the down.”

Structure- “The eighth chapter is exceedingly brief, and relates that Gibbons, the amateur naturalist of the district, while lying out on the spacious open downs without a soul within a couple miles of him, as he thought, and almost dozing, heard close to him the sound of a man coughing, sneezing, and then swearing savagely to himself; and looking, beheld nothing.”

“Now in order to clearly understand what had happened in the inn, it is necessary to go back to the moment when Mr. Marvel first came into view of Mr. Huxter’s window.”

“It is unavoidable that at this point the narrative should break off again, for a certain very painful reason that will presently be apparent.”

My Big Question

What constitutes a trend? Where do trends come from? What makes them popular and why are people so drawn to them?

Performative Utterances and "Self-Overhearing"

            Whether it’s used in writing, or appears in your own life, performative utterances have a huge impact on the character or person experiencing them, as well as surrounding people and character, and following events. In William Shakespeare’s Hamlet, young Hamlet finds himself out through his utterances, affecting the way he acts. I also have had revelations, and changed my thought process, as a result of “self-overhearing”, causing me to change my expectations and, as a result, my actions. Performative utterances affect those around the person or character making them, changing the way they act and following events. Performative utterances and “self-overhearing” both create a sense of memory, expectations, and real-world results.

            Throughout William Shakespeare’s play Hamlet, young Prince Hamlet was conflicted, which had an affect on the plot and other characters. His apparent inability to make up his mind was actually his inability to put his thoughts into actions. His inactions and utterances drove Ophelia to madness and allowed others to believe he lacked sanity. However, Hamlet knew his duty was to kill Claudius for murdering his father, but struggled in following through with it. “Now might I do it pat, now he is praying;
And now I'll do't. And so he goes to heaven;
And so am I revenged. That would be scann'd:
A villain kills my father; and for that,
I, his sole son, do this same villain send
To heaven.” It wasn’t until he talked to himself about it, and saw Laertes’ passion for vengeance that Hamlet himself realized why he had been so inactive in pursuing his duty. In hearing himself talk about his inactivity, Hamlet realized the impact it had, and forced him to change his way of thinking and therefore his way of doing. “I do not know
Why yet I live to say 'This thing's to do;'
Sith I have cause and will and strength and means
To do't.” Hamlet realized, as he overheard himself talking, that he was more than capable of his duty. This change in thought turned Hamlet into an unflappable force, full of vengeance that would stop at nothing to fulfill his duty. Hamlet’s performative utterances forced him into action because they made him realize his dormancy.

            “Self-overhearing” has had a huge impact on my life, as it did on Hamlet. In any discussion I participate in, or even when talking to myself, I pay attention to what I say and reflect on it afterward. When involved in a heated debate, I sometimes get too competitive and defensive. I say what I want, in the wrong way. When I overhear my tone and the wrong words, I stop and think about how to better form my argument. Sometimes, when I am trying to figure things out for myself verbally, I have a revelation. For example, I was really struggling with my roping and my confidence level while riding. On the way home from the ranch one day, I reviewed everything that had happened in my head, wondering why I reacted the way I did. While I discussed it with the steering wheel, I realized the simple mistakes I had made. I realized that I was a good rider and that I had no reason to be down on myself. I swore to myself I would focus on my skill more than my fears, and the next day was a success. Like Hamlet, when I “self-overhear”, I change the way I think and therefore change my actions change as well.

            In Hamlet, and in real life, “self-overhearing” results in a change of thought and a change in action. Hamlet, after many performative utterances, realizes what he must do and that he is able to do it. Although it didn’t turn out well for anyone, Hamlet’s revelations forced him to fulfill his duty. In real life, my thoughts also influence my actions. When I talk something out with myself or someone else, I realize what I need to do, and I do it.

Hamlet vs. Epic Heroes

     Hamlet is not a hero like those in epic poems. He differs in many ways from the epic heroes, but when it comes to use of language, Hamlet couldn’t be any different from them. In the epics, the antagonists don’t use their words as much as they use their actions to show what it is they are thinking or feeling. In Hamlet, however, all Hamlet has is his words to show the audience, or readers, everything. Hamlet’s use of language is a much more prominent factor of the story than the language of the heroes in the classic Epics.
     In epic poems such as Beowulf, and The Odyssey, the heroes are less talk, and more action. “Wise sir, do not grieve. It is always better to avenge dear ones than to indulge in mourning.” Beowulf believes in acting on emotion, rather than talking it out and dwelling on it. This was after Grendel’s mother killed Hrothgar’s advisor, and Beowulf was addressing Hrothgar, telling him that his what he does has more power than just what he feels. “I know well how to handle the polished bow, and would be first to strike any man with an arrow aimed at a company of hostile men, even though many companions were standing close beside me, and all shooting with bows at the enemies.” In The Odyssey, Odysseus doesn’t talk about his feelings or ponder his thoughts out loud. He says what he means and talks more about doing than thinking. The heroes of the epics don’t use language to portray their feelings, but in order to tell what they are going to do.
     Hamlet uses language in order to express everything, but isn’t one for immediate action as a result of those thoughts, unlike the epic heroes. “O, that this too too solid flesh would melt
Thaw and resolve itself into a dew!
Or that the Everlasting had not fix'd
His canon 'gainst self-slaughter! O God! God!” Hamlet is all talk and no action. He talks about his desire to kill himself and his thoughts on his inner controversy. His language serves to tell the audience what is going on inside his head, as opposed to what he is actually going to do. “Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action.” Hamlet doesn’t only use language to tell the audience what he’s feeling, but also to tell the audience how his thought process works. In this part of his soliloquy in Act three, Hamlet is explaining how his internal conflicts cause him to be indecisive and jumbled. “I am but mad north-north-west: when the wind is
southerly I know a hawk from a handsaw.” Hamlet uses language to explain his thoughts and his actions. He tells Rosencrantz and Guildenstern that, although he’s been acting mad, he really is completely sane and knows what he’s doing. In doing so, he is also enlightening the audience on how his mind works and reveals to the audience that he’s been sane all along.
     The use of language by the epic heroes and by Hamlet could not be any different. In Beowulf and The Oddysey, the heroes use language to provoke action from other characters as well as themselves. In Hamlet, Hamlet uses language to provide insight into his mind. Through his language, the audience further understands him as a character, whereas in the epics, the heroes’ use of language assists the reader in understanding the plot.

Web 2.0

Web 2.0 is a term I had not heard until this year is Dr. Preston's AP English Lit Comp class. I had never understood blogging, or how to really use the internet productively, other than for research. I didn't know how extensive the internet really is, or how complex and involved it has come to be. It is important that students, and everyone for that matter, understand how the internet works. "Program or be programmed." If you don't understand the way it works, you may not be taking full advantage of the opportunities it presents, or worse, you might be taken advantage of.

It's important that Dr. Preston is teaching us how to efficiently use the internet as a tool. Although it is constantly progressing and changing, the internet will forever be a part of our culture.

Notes on the Roy Christopher Chat

An Introduction to Roy Christopher:

• Christopher started making photo-copied magazines about motocross in the 1980's, then moved on to web design in the 1990's. "The internet is not something you can halfway do." -Roy Christopher.
• Christopher is writer. He turned his motocross website, www.frontwheeldrive.com, into a self-published book. Christopher explained the reason he published the book himself was that "interview books" don't sell well. 
• There was a late, but strong, response to the book which has now been out five years. He is currently working on another book and his PhD.
• Christopher does not even own a smart phone. 

Ideas and Thoughts:

• There is a mixing of cultures online; hip-hop is kind of like the blueprint for the twenty-first century.
• When we feel like we've lost something, we have to go pack to analog. We have to go back to our roots.
• We are not going to come up with content that surpasses the medium itself.
• "Program or be Programmed"- The more you know about how things work, the closer you are to digital maturity.
• Christopher believes there is still a divergence between mobile and home media. He also believes there are still parts of analog that have not been captured by digital media.
• Multi-tasking causes the quality of one's work to "plummet".
• The web is constantly evolving.

A Generational Gap

• A huge problem in today's society is that the older generations do not trust the younger generations. This is a problem in most media, but is extremely prevalent when it comes to technology.
• "People are smarter than we think they are."- Roy Christopher. The older generation doesn't give the younger generation enough credit for what they do know. Instead, they worry about the younger generation not knowing enough, just because the older generation doesn't know enough. "That's just people being old."- Roy Christopher.
• "I think most adults are either baffled or jealous." Ted Newcomb