English Advanced: AOS Essay

[Julmus00]

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Thank you in advance!
Discoveries confront and provoke the individual leading to change in self’
Discuss the statement, focusing on how composers of texts represent this concept of discovery.

Often the confronting nature of discoveries can profoundly prompt change in individuals, leading to a transformation in self. This transformation can ultimately lead to dramatic shifts in attitudes and values. This notion of discovery is skilfully presented in Ivan O’Mahoney’s  didactic docudrama “Go Back To Where You Come From” which extensively explores the tumultuous journey of six Australians who metaphorically ‘walk in the shoes of a refugee’ and as a result reshape their extremely harsh views towards refugees to a significantly more empathetic approach.  These same ideals are further encapsulated in Kate Chopin’s poignant ‘Story Of An Hour’ where the confronting revelation of her newfound independence culminates in the reinvigoration of her persona, as her previous despondent views on life are transformed to encompass a newfound appreciation of life.

The participants in Ivan O’Mahoney’s hybrid docudrama “Go Back To Where You Came From” endure both a physically and emotionally demanding journey in which they make confronting yet meaningful discoveries that have the ability to be ‘provoke the individual leading to a ‘change in self.’ Particularly, they experience revelations that inherently transform their perspective to be more empathetic towards the plight of the refugees and the hardships they face. The juxtaposition between the participant’s harsh initial comments and their unfeigned testimonials following the experience serve to highlight the potent conversion that has occurred as a result of their discoveries. This can be acknowledged when Raye is first introduced to the audience in an interview style. High modality is evident within the dialogue, where, in reference to the refugees in the boat crashing off Christmas Island, she expresses “serves you bastards right” and in her animosity towards the detention centre next door, she claims she could have “gone over there and shot the lot of them.” Similarly, these stringently xenophobic views are further perpetuated through Racquel’s first testimonial to the camera, where she says ‘I guess I am a bit racist, I just don’t like black people.” This prejudice, malice and blatant racial vilification towards the refugees by the participants hence invites responders to perceive their perspectives as wholly unjustified and uneducated, therefore ideal for conversion through participation in the social experiment. In essence, their confronting revelations about the hardships that refugees face manifest into newfound compassionate views, where they gain a greater understanding of the global inequities that exist. This is expressed through the employment of several medium shots of Raye, playing and comforting the Chin refugee children living ‘in transit’ which ultimately serve to convey a definite change in Raye, where as a result of becoming more informed about the sheer level of deprivation and deplorable human rights abuse the Chins are being exposed to, she is therefore more empathetic in her approach to them. This is further displayed through Raye’s heartfelt testimonial within a mid shot towards the end of the series, where she expresses “When I first came into this I was very tunnel minded… but I started to see more and get a broader picture of what is happening to these people.” Through dialogue, she also concludes “I would do anything for my children, and if that meant getting on a boat” where her vulnerability is juxtaposed against slow, expressive music that foreshadows her redemptive process. This powerfully demonstrates her re-assessment of values and attitudes, which has culminated in a ‘change in self’ as she is now a more open minded individual with a deeper awareness of the trials and horrific ordeals refugees are continually confronted with. Additionally, Racquel also experiences this shift, as evident through her more relaxed and open body language when interacting with the children at the compound of Dao Mashuti, giving genuine hugs as she says goodbye to the girls at the refugee camp. This works in synergy with dialogue from Racquel who acknowledges “I’m not going to say no to refugees…I’ve seen what they go through.” These changes in gesture and attitude show a major re-evaluation of refugees, and ultimately show how her interactions with the Missouti’s and their family and her journey to the African refugee camp has manifested into greater awareness of the global inequities that exist, thus she is more empathetic towards the people affected as she understands their plight. In summation, the impact of provocative discoveries on the participants yields a transformation of self, where their previous audacious views on refugees were remoulded to encompass greater compassion and profound understanding.

Similarly, Kate Chopin’s “The Story Of An Hour” explores the provocative discovery of Louise Mallard, where her revelation of freedom upon her husband’s death manifests into a ‘change in self’ as she is anticipates her newfound independence in light of her previous oppression. This change in self is synonymous with a shift in attitude, where she has a more potent appreciation for life as has become more independent, and can now truly enjoy life’s liberties without the restrictions imposed by the patriarchy. This is insightfully portrayed through the epizeukis of ‘free’ in “She said it over and over under her breath ‘free, free, free’” and diacope in “Free! Body and soul free!” which elucidates the overwhelming sensation of exultation overcoming Louise, where as she has finally escaped the oppressive constraints of marriage, she considers her life as being absolutely hers and her new independence at the core of her being. As well aa this, the epistrophe of “might be long’ in “She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long” skilfully conveys a complete metamorphosis in attitude within Louise. This is as previously, she viewed her life with trepidation, envisioning years of dull, unchanging dependence and repression, but following her husband’s death, she is free and independent, and consequently now has reason to anticipate the future with newfound elation. Evidently, the “open window” is intended as an extended metaphor which represents the freedom and opportunities that await her after her husband has died. This is further affirmed through the employment of pathetic fallacy, where the trees are “all acquiver with the spring of new life”  the “sparrows were twittering in the eaves” and there were “patches of blue sky.” This profoundly highlights the extent of her self-discovery, as she has consequently shifted from a person completely subjugated by the patriarchy to someone who exhibits a new and transformed vigour for life. Thus, the confronting nature of her husband’s death provoked her to experience revelations of her newfound, unbridled freedom, leading to a subsequent ‘change in self’ as she has morphed into an independent being with a refined appreciation for life.

Therefore, both Ivan O’Mahoney’s unconventional docudrama “Go Back To Where You Came From’ and Kate Chopin’s short story “The Story of An Hour” both explore the notion that provocative discoveries can lead to the re assessment of previous views and attitudes, subsequently culminating in a “change in self.” Specifically, the participants on “Go Back” were exposed to the harsh reality of the refugee crisis and hence their perception on the issue was transformed to reflect a more compassionate mindset. In a similar fashion, protagonist Louise Mallard in ‘Story Of An Hour’ endures a revealing self-discovery about her newfound freedom and henceforth transforms her viewpoint on life that it is worth living.