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Literature Essay Compilation Thread

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jeanweasley:
I can't say my writings skills holds a candle to the high quality in this board but, here's one I did last year.
In the Park by Gwen Harwood

Originally published as a man, Harwood provokes debate against the inaccurate portrayal of women and motherhood. Hardwood exemplifies the hardships that mothers experience to achieve the best for their children in order to attack preconceived notions against a fulfilling and rewarding motherhood totally free of difficulties. She challenges this view as well as society’s expectation of women to become mothers and to be fulfilled by having children. Harwood also questions changes that occur and whether societal expectations are indeed going to change over time. The only man in the poem, the mother’s former lover models society as it judges someone he has formed a bond with and harshly rejects her to protect his own image. Just like society, the man severs ties with his former flame and continues to live his bachelor life, which represents society’s cruel and unsympathetic ways to the oppressed and vulnerable. Harwood intends for us to understand the reality of motherhood as it is difficult and stressful. Although she herself was a mother, she does not intend to oppose motherhood but to argue that through the accurate portrayal of motherhood and women, society can understand the vital part that women play in society, as well as for women to view that a rewarding motherhood can only be elicited through passing the difficulties that comes with it.

The male narrative voice enables us to see women and motherhood through a stoic observation as the narrator neither condemns the man’s actions nor present a sympathetic account of the woman’s. Instead, the narrator is withdrawn from any emotion and describes events plainly, “she sits in the park [with] clothes out of date” and “tug her skirt”. Through this, we can understand that motherhood, though difficult did not earn the sympathy of many and while known was not acknowledged, which juxtaposes the stereotype of motherhood being a fulfilling and rewarding experience full of bliss and angelic children. Harwood uses the park as a setting to establish a dichotomy between a usual place of happiness and innocence and what mixed emotions the mother is experiencing while in the park. Through her three children, the mother is worn out by taking care of them as the children are engulfing all her energy because of their constant bantering, “Two children whine and bicker.”  The line “Her clothes are out of date” enables us to see a true form of motherhood as she no longer has time for herself and enough money because she is supporting her three children. This description by the narrator is superficial and focuses on external features, without emotionally portraying why the mother is in such a deplorable state. Through this, Harwood expresses her dissatisfaction with the portrayal of women in society, especially men who view women without regard and judge them without really understanding the sacrifices that they have made in order to become mothers. This echoes the hardships that they have had to face in order to fulfil the role that society wants them to fill.
In contrast, the man is living a bachelor life that obviously has time and money that he can spend unlike the mother. His “neat head” shows that he is well looked after and has the resources to do so, unlike the mother whose only focus is of taking care of her children. Harwood demonstrates the gender inequality as men are allowed to be bachelors whilst women are denigrated to become mothers in hope of having a fulfilling experience. However, in reality, neither of these expectations really meets with what society expects. This is because the mother is ruined by her own children because she has no one to share the responsibility with and is by herself with her three children. It can be assumed that because there is no other male figure that the mother’s husband does not share domestic duties with his wife. Due to this, we can say that motherhood is not understood because it is thought of to be an easy thing to do to raise children, however, in reality; it involves effort and great responsibility. Unlike the mother, the bachelor is able to enjoy himself because he has nothing to worry about. He is still single and without children or any responsibility. Harwood argues that through society, some women are ruined in order to fulfil the expectations of motherhood, while others belittle this responsibility because they think it is an easy job to do, while it is actually the opposite.

Moreover, mothers, though they love their children are conflicted because they understand that motherhood is overwhelming and puts pressure on them to take care of their children to the best of their abilities. Mothers cannot help but question motherhood’s hardships because in the process, they have lost their sense of identity. The man’s comment, “Time holds great surprises” reveals that the mother was not always as frazzled. Mothers also cannot turn back time because it is already “too late” for them to undo what they have done and as mothers, it is their responsibility to look after their children. However, they still long to recover themselves because through caring for their children, they have lost their identity, or how to take care of themselves or have any friends of their own to talk to. This is obviously evident when the mother talks to the wind as a substitute for a friend as she “star[es” at  her feet”, an action of regret, and confesses that her children have “eaten [her] alive”. This awkward resolution suggests that although mothers are delighted by children, it is too challenging because of the sacrifices that you have to make, especially when you are the only one taking care of your child. Harwood shows that through the hardships of motherhood, it is quite easy to lose one’s identity and to regret the path that they have taken; however, she reiterates that there will always be love between mother and child which cannot be taken away. The maternal action of “nursing the youngest child” affirms this because the mother is forced to see her position in society and to embrace it.
The man models society as he is too judgemental and distances himself from having real connections with people and or genuine understanding of sufferings that people endure. The “casual nod” that he gives suggests that the man has been living a relaxed and happy life compared to the woman.  His dialogue, “Time holds great surprises” can be seen as a personal insult towards the woman as she is in a state of desperation compared to what she was before. It is also ironic because the surprise that time gives is negative, which shows that through time, things evolve and do change. However, Harwood questions the reality of it as the man, having seen his former lover’s hardships does not offer to help her and instead judges her “unquestionably”, without thinking of the implications of his thought. The “small balloon” is a comical addition which serves as his superficial feature because he is unable to tell the woman that he is uncomfortable but instead suppresses this emotion. He also remains “a while” with the woman without doing anything, which parallels what he might do in the future because he is superficial and an egoist. Like society, he perceives people without truly knowing who they are and even though they have had a previous relationship, he is unable to understand her and without question, judges her role already. Harwood uses this to describe attitude towards women because society is judgemental in how women fulfil the tasks of motherhood.  As the woman is suffering, society rebukes her and ignores her cry for help and instead leaves with a “departing smile” without saying farewell. Because of this, the woman is heaved into desperation and with anyone to help her as society is the critical of those who do not perfect the stereotype of a fulfilling motherhood. Harwood therefore criticises society as they reject the hardships of motherhood as well as suffering mothers. She intends that motherhood is rewarding but there are many sacrifices and difficulties that must be overcome.

“In the Park” questions the typical portrayal of motherhood as Harwood argues that it is challenging. Harwood argues that only after the challenge has been overcome can motherhood be rewarding. Harwood also depicts society as a heartless organisation that rejects the hardships of motherhood as it does not agree with their stereotype. She also argues that some people may never find value in their life because they are superficial and devalue others just because they are in higher position than them. She intends for people to leave equally and to give motherhood the recognition that it deserves because it isn’t an easy task to undertake as it requires responsibility and full effort, which children consume. However, she argues that motherhood will only be rewarding if all challenges have been achieved.

mskux19:
Seems like an eternity since Literature ended.
God I miss writing. Love reading these essays.

Wu:
My practice attempt at an Alternate Viewpoints SAC on the film Mary and Max.
Original review here. I will contribute more to this thread later on throughout the year.

Jim Schembri’s film review (TheAge.com.au, April 13, 2009) of Adam Elliot’s 2009 animated film, Mary and Max, is limited in its analysis as he tries to balance between asserting a complex reading of the narrative and not spoiling the movie for his audience. Withholding his full interpretation, Schembri’s reading of the narrative is shallow and contends that Mary and Max is an encouraging film despite the “weighty themes prevalent” – a valid viewpoint as Elliot concludes his film in a hopeful manner. The review does not acknowledge the complexities of the narrative, as evident with the omission of the issue of mental health – instead, Schembri focuses on promoting the film’s entertainment value rather than its commentary on society.
Schembri contradicts himself; he perceives Mary and Max as an “adult film”, referring to Mary’s appearance as similar to a “Peanuts character” – a cartoon series – but does not adhere to conventions of animation yet he alludes to the film’s key scene as being a “Disney moment”. The said scene shares no resemblance with optimistic, morally uplifting endings which Disney cartoons are known for; protagonists Mary and Max finally meet, only for Mary to discover that Max had already died peacefully that morning. The bittersweet ending of the film subverts the view that animations and cartoons always conclude with happy endings for all the sympathetic characters. Schembri addresses the stigma attached to the genre of animation – that they are family friendly and cheerful – as Mary and Max shares the same medium as cartoons. Elliot constructs his film in an intricate manner; common tropes, assumptions and expectations of the genre are avoided in order to elicit empathy in the audience. Instead of using high key lighting and bright tones, Elliot opts for a greyscale, black and white New York to portray Max’s environment as one of neglect and a bleak, brown sepia tone for the setting of Australia to represent the stagnation of suburbia in Melbourne where Mary lives. The use of these dreary colours explicates the dissonance between Mary and Max with their environment which is potent to Elliot’s exploration of the theme of the outsider and isolation. Even the formulaic idea of death within cartoons is portrayed in an unconventional manner; Elliot does not comply with the conventionalities of slapstick comedy – that characters are immortal. Max’s air conditioner, representative of fate, falls from his apartment and drops on top of a mime artist, killing him instantly. The absence of sound within the scene reflects the solemnity of death which deviates from the unrealistic expectations that audiences have of immortality in cartoons to their exposure to animations with these stereotypes.
The narrative is indeed engaging and “immerses us”, the audience, as Schembri remarks. Empathy is felt for the characters, especially due to the film’s contracting of time so that the twenty years of communication and growth between the protagonists are experienced by the audience within the duration of ninety minutes. Realistically portrayed, these “blob(s) of plasticine” have the potential to induce a “misty-eyed”, “weak-kneed” audience that connects emotionally with Elliot’s characters.
Schembri purports that Elliot’s film is positive for all the “uphill struggle” the characters endure. He demonstrates a thorough understanding of the film as one with a “sense of celebration”. Fluctuating between black humour and “darker emotions”, the symbolism of Mary’s baby in the final act of the narrative ultimately expresses life and living. The piano soundtrack which plays before key scenes where Mary matures becomes a reoccurring motif within the film, representative of optimism and joy which the audience is positioned to feel.
Although the reviewer identifies and lists the pertinent themes within the film such as “loneliness, child neglect, cruelty […]”, he does not elaborate or provide further discussion about these ideas. Schembri lacks astuteness within his examination as he omits the crucial topic of Aspergers Syndrome which is a necessary plot point in propelling the progression of the narrative forward. The review is describing the narrative rather than analysing its complexities in order to conceal any spoilers which could ruin the film’s contents. Summarising the plot, Schembri simply details that Mary and Max “maintains a correspondence over many years” through exchanging letters without observations on the text’s epistolary style and the empathy induced through this way of presenting the characters and their interactions.
While acknowledging Mary and Max’s complex exploration into themes unsuitable for “very young or sensitive children”, Schembri’s review is deficient meaningful assessments of the text. He identifies and advocates an affirmative reading of the film, that it “refuses to surrender to despondency or bitterness”, but refrains from giving further observations. The comparison of Mary and Max to Disney, renowned for their animations with happy endings, demonstrates Schembri’s ignorancy to Elliot’s explicit subversions of the medium of - dealing with suicide, bullying, death and friendship, the film is far from a Disney cliché.
810 words.

Edit: Removed strikeout. I think you put a square bracket around an "s" in one of your quotes.  :P

Lolly:
In response to some requests from folks that I post up example work:

Passage one portrays the impression of a universal consciousness within Mrs Dalloway, with the description of “sobriety and stillness…upon …utter disorder” imparting the unity of society and its ability to mould human expression. This is further framed in Peter’s admiration in Passage Two of "the efficiency, the organisation, the communal spirit of London”, conveying to the audience a colossal image of interconnected humanity. Here, civilisation is seen by Woolf as a vast entity, with the monstrous power to bend the individual to expectations of social decorum. Indeed, this conformity is further emphasised within Passage Three, with Professor Brierly’s “ value of moderation” epitomising Woolf’s critique of upper class refinement. Thus, Woolf conveys the repression of the most organic state of humanity in its acquiescence to the rigid requirements of a British post war society.

Furthermore, Woolf explores her critique of British austerity within Passage Three, with the portrayal of Professor Brierly’s “wintry charm without cordiality” conveying the distance created through a fabric of social artifice.  With the parenthesis “( unable…to compass both tie and waistcoat)” coupled with the diminuitive adjective “ little Jim Hutton”, Woolf implicitly condemns the prejudice of the upper class, revealing the ability for superficial impressions to obscure the integrity of the human character. This disparity is further revealed with the ironic comment “degrees, honours lectureships between him and the scribblers” inferring Woolf’s critique of a superiority that is defined by social standing and distinction.  Thus Woolf condemns the upper class, operating under qualifications and social monikers,  while the depth of true humanity is hidden beneath a complex of superiority and deceit.

Similarly, Passage one portrays humanity’s fragile state submerged under an unyielding social structure. Through the hallucinations of Septimus “the world wavered and quivered and was about to burst into flames” the audiences observes a man on the verge of inward collapse and, moreover, the instability of the class system in the process of decay. With the figurative language “the world has raised its whip; where will it descend?” the audience understands the oppressiveness of a society lacking in empathy; indeed, Septimus’ “terror” at beholding conformity, “the gradual drawing together of everything to one centre”,  presents him as  an isolate and a subordinated victim of society. Woolf places him against the backdrop of her narrative tableau, “old ladies on the tops of omnibuses” and the colour and activity of “ here a green, here a red parasol”,  while in contrast sketching his caricature plainly,  “wearing brown shoes and a shabby overcoat”, reinforcing his relative insignificance in the midst of a vast, indifferent world. Thus, Woolf imparts to the audience the perpetual struggle against the conformity demanded by a social system, portraying the tragedy of the despairing human condition.

Woolf critiques the double standards of society in Passage Two, with Peter’s stream of consciousness lauding “the triumphs of civilisation”. Here Woolf reveals how human suffering is taken care of “humanely”, ironically contrasting the inhumanity presented to the audience in both passages one and three.  Peter’s aversion to “morbid” thoughts and his appraisal “fatal to art, fatal to friendship” imparts the artifice inherent in endorsing society’s “efficiency” and the idealism of ignoring the darker side of the class system. The audience can appreciate the subtle irony laced in Peter’s thoughts, juxtaposed against passage one’s depiction of  Septimus’ delusion in Passage one “ It is I who am blocking the way”. Hence, Woolf’s scathing judgement  is made known, as she portrays society as mechanical organism capable of manipulating human vulnerability.

In contrast to this cold and inhuman “efficiency”, Woolf portrays the flux of human emotions, rendering them incompatible with the austerity of English establishment. With the contrasting conjunctions “And yet”, Peter juxtaposes the interconnectedness of civilisation in Passage Two to “the privilege of loneliness”, his comment “ one might weep if no one saw” connoting the incapacity for the class system to comprehend the potency of true expression. Here Woolf portrays the realms of the soul as the essence of true humanity, the imagery of “the drip, drip of one impression after another” disclosing the significance of the inner world. The metaphor “down into that cellar where they stood” further encapsulates the “ beauty” of solitude’s inviolable secrecy, echoing Clarissa’s wonder at beholding “flowers of darkness”.  Yet Woolf reveals the incompatibility of this emotional depth, with the repetition of Peter’s comment“ this susceptibility…has been his undoing in Anglo – Indian society” drawing pathos from the audience as they realise the ruminations of the soul can never be fully communicated to the world outside. This incongruence is further reflected by Passage one’s description of the motor engine’s “irregular pulse” and Peter’s inability to keep in step with the boy soldiers – these connotations reflecting how social expectations remain out of rhythm with the very quintessence of human feeling. 

Hence Woolf ultimately conveys the insufficiency of society as a vehicle for human expression, subtly revealing how true identity exists above and beyond these limitations. Peter’s transcendence is marked with euphoria,“ It was as if he were sucked up to some very high roof by that rush of emotion “, ultimately revealing how the human psyche rises above conformity through the ethereal and interminable scope of human perception.

Wu:
Re: 2013 Exam Thread
Passage analysis in April

The Bacchae - passage analysis (from 2011 exam) completed in June
The Chorus sings praise to living a life in moderation and remaining within one’s own limits; the lexemes “fill” and “fringe” have connotations with fulfilment without surplus which is indicative of a brimming human experience - neither excessive nor constrained. Euripides constructs his characters as displaying either extremity; Dionysus and his Bacchic rituals liberate the mind completely of the social conventions which civilisation has instilled whereas Pentheus is a figure of self-repressed lawfulness while also being ruthless in his militaristic leadership. Ultimately, the destruction of Thebes and its citizens “all in one ruin” is the result of the inability to find a balance between the spectrum which these two conflicting forces present.

Although Pentheus attempts to conform to the expectation that a king must conduct himself in an austere and controlled manner, he governs his palace in an overzealous manner to a point where his citizens “feared” him. His hamartia is his inner struggle to suppress his own selfish desires; Dionysus uses this weakness to humiliate him as punishment for impiety. Sexual curiosity notwithstanding his own self control, Pentheus submits to Dionysus.  Instead of refusing to wear a dress, Pentheus’ tone is compromising and compliant when asking “what kind” he should don; here, Euripides characterises Pentheus as losing grip of his willpower. Emasculated from his usual highly autocratic and brutish temperament, the audience is positioned to ridicule Pentheus and condemn the redundant degree of energy he puts in when repressing his own wishes and his attempt at voyeurism . Pentheus’ bheaviour is also made more degrading as he is overstepping the boundary between genders – a value which he had contempt towards as evident when he scorned Dionysus’ appearance as an “effeminate stranger”, thus, criticising the imposition of limitations.   

Dionysus, an omnipotent being, has the power to deliver retribution but the unreasonable intensity of the violence he unleashed is ultimately disapproved of. His pride was hurt as he was not recognised as a divinity by his people yet he showed no restraint or remorse in his pursuit of justice. Having Pentheus cross-dress in order to “spy on” the maenads, “It was Dionysus who inspired me with that thought,” dramatic irony is prevalent in the fact that it is Dionysus disguised as the Lydian Stranger who says so of himself. This allows the audience to damn the god  and the sadistic pleasure he revels in as he further disgraces his enemy. Cadmus’ remark that “Dionysus has dealt justly but pursued justice / Too far” embodies Euripides’ opposition of excessiveness. “Dealt justly” implies that it is acknowledged the deity is permitted to punish blasphemous mortals while “pursued justice / Too far” indicates that the sparagmos of Pentheus, and in turn the annihilation of the entire hierarchal structure, is inappropriate for the violation committed. The god’s “delirious” worship is also superfluous  in quality. The alliteration of “bright-berried bryony” and the overflowing fertile imagery of “burst into flower” sung by the Chorus mimics the mentality of maenads under the “maddening trance of Dionysus”. Though the frenzy which the Dionysian Rituals engage upon liberates the Theban women from “their spinning and their weaving” and oppressive roles in society, their ecstasis cause them to perform immoral acts such as kidnapping and murder. Their profligate behaviour is explicitly decried when they suggest the act of cannibalism which is considered as one of the three most heinous crimes by Athenians. Agaue evidently feels “guilty” and remorseful for murdering her son in her “possessed” state but still does not appear to holistically regret being irreverent, as evident when her immediate reply to Cadmus pointing out that her misdeed was because she “refused to call [Dionysus] god” is to immediately ask about Pentheus: “Father, where is the beloved body of my son?”

The “fennel-wands” alludes to the symbol of the thyrsus, a warning to handle the god’s staff with caution as the Chorus chimes, “There’s a brute wildness in the fennel-wands - / Reverence it well”. This suggests that mortals should understand their inferiority in relationship to the gods—that insolently dismissing divinity is not advised. Indeed, “blest is the happy man / Who knows the mysteries the gods ordain” sanctions a humble lifestyle for humans, the word “ordain” implies of the absolute authority which deities hold over mankind. The destruction of Pentheus’ hubristic attitude towards the gods is foreshadowed in the allusion to Actaeon who “was devoured by hounds”. Actaeon’s impudent boast that he was a better hunter than the Goddess of the hunt herself, Artemis, consequently results in his death. His excessive pride and fated downfall serves as a parallel to Pentheus’ destiny upon challenging the gods.

Prior to the exodus, the finality of Cadmus’ advice, “If any man derides the unseen world, let him / Ponder the death of Pentheus, and believe in gods” positions the reader to condemn the folly which Pentheus commits – the immoderation of impiousness. Dionysus’ existence is of a dual nature; male and female, god and mortal, Greek and foreigner, hunter and prey-- the coexistence of these antithetical traits establishes him as a transient and indefinable being that symbolises the expansiveness of life.

848 words.

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