Psychology is so cool. And I don't understand why anyone wouldn't be interested in it. It's mind-reading and mind-control at its most realistic level, I think - even if that's a very bastardized vision of that academic field of study.
Freud presents the ideas that dreams can be interpreted rather than just being random and that dreams are suppressed desires for wish-fulfillment. After reading his interpretation of dreams, I can't help but make the assertion that dreams symbols must consider cultural influences in their manifestation. Essentially, does falling teeth or jumping down staircases mean the same thing everywhere in the world? A short Googling of "cultural differences to dream interpretation" yielded this: http://www.dreamresearch.ca/pdf/cultural.pdf
In this report, it brings up other considerations such as dream as future predicting, therapeutic use of dreams, and the personal and social embeddedness within dreams. Unless there is a universal set of unconscious symbols that Freud or others created that I'm unaware of, I think there is still a lot to learn from our dreams. However, reviewing his conclusions to some of his own dreams, I feel some are quite out-stretched and I'm skeptical of how seeing his uncle meant that he didn't get the job - as in at what point do we stop our process of analysis? What if it was supposed to mean he felt guilty for not visiting his uncle? What if not getting the job actually represented his loss of masculinity and self-worth?
Essentially, even thinking about these questions without yielding any answers allows us to have some self-exploration - and that is super important to human growth.
3/7/2014 - 3/21/2014 - Heart of Darkness
Joseph Conrad's frame narrative of Charles Marlow's life on the Congo is rhetorically savvy approach to expressing colonialism and racism during European imperialism. In my Honors 202 class that I am currently taking alongside this 203 class, we talked about how frame narratives removes responsibility from the author and casts it onto a (often times fictional) narrator especially in cases of controversial topics and opinions.
What was most interesting about our exploration in colonial/imperial narratives was definitely the in-class activity regarding the index cards. At first we were divided into colonists and tribes and then from a second set of cards, our fate as slaves was to gather supplies for colonist or die. While I understand the idea of replicating the uncertainty of life at the time, I feel as if this activity really trivializes the experience, trauma, and narratives of the people of the Congo. I am in no way blaming my fellow peers for this outcome; it's just that the class had a very finite amount of time to make a point and for the most part they did. However the commentary after the activity was not as enlightening or sensitive as we would hope.
How was it being a slave / laborer?
"I didn't want to pull a card the next round, because I didn't want a chance to be out of the game." While this can reflect a deeper sentiment of not having any control over one's fate, to reduce a whole culture's livelihood into a card game has to be problematic.
How was it being a colonist?
"...Not too bad!" While it is a light-hearted answer to a very deep rooted issue can further trivialize this history.
While the students answers were benign and genuine, its speaks on the dissonance we have with our actual slave history. This is just a peculiar observation I have an many classes where I am the only non-White person in the room.
2/28/2013 - A Doll's House - - - Feminism is a collection of movements and ideologies aimed at defining, establishing, and defending equal political, economic, and social rights for women.
The Doll's House by Henry Ibsen is a great opportunity for a classroom to talk about feminism. While the story sets place in the 19th century, there are definitely literary confrontations of domestic equality and social roles and norms. Nora, like most of the women of time, were treated as possessions by their husbands - as in, if the wife got hurt or got into any kind of legal trouble, the husband would be in sole responsibility or contact with an official instead of letting the wife speak upon herself. Further examples within the text included the pet names the husband used (while someone could argue that it's endearing) and the fact that she can't loan money without her husband's consent. The fact that the story concludes with Nora leaving both her husband and children is quite radical for the narratives of that century. Criticisms could include that she as a mother should tolerate the lifestyle she chose or as a wife should have tried harder to rekindle or submit to her marriage.
Being on the speech team at this university, I have been exposed the nuanced applications of feminism by my two head coaches. Over these three years I have learned so much about rhetorical sensitivity in gender equality and I always perk my ears up to hear my peers talk about these very relevant issues. While I still have so so so sooo much to learn about feminism in its modern context, I am still hesitant to engage my peers sometimes in fear that I will talk about it incorrectly. Both in class discussions as well as checking in with some of my closer friends' weekly responses, it's quite interesting to see peers articulate that they "aren't feminists but really enjoyed the story or find it very intriguing". While I understand that there might be various critical definitions of feminism, I believe at its core it means that you believe women should have equal rights as men. Therefore anyone, who doesn't identify as a feminist - by that definition - don't believe that women should have equal rights as men. From various conversations as well as articles online, the word feminism has certain connotations that make it unappealing to identify with for young women and men. Many believe that feminism has an aggressive or even prudish tone to the ideology or that feminist believe that women are better than men. As I learn to be inclusive in my education about feminism, and equality, and civil rights - I hope I learn to debunk these myths and misunderstandings with my peers as well.
2/21/2014 - Death - who cares?
The Death of Ivan Ilych had a peculiar style of narrative that really drew me in. Beginning from the perspective of Peter confronts the theme of death head on (as well as in the title) as the the author did not want to tip toe around the subject at all. Peter fears for his own death while finding peace in the fact that it was someone else who died that day instead of him - which is both self-centered and morbid, but also understandable as we are fearful humans. On the other hand, other people don't really seem to be with concerned with Ivan's death at all - if he were just another lower rung on the corporate ladder, they only feel obligated to attend his funeral to maintain their public image. From what I gathered from the text, there are two different approaches to the subject of death: to ignore and deny it or to accept and not care about it.
This idea of a final ending is very intriguing. As someone who was raised Catholic but is currently exploring other spiritual ideas, I have deeply considered both a linear lifespan as a well as a cyclical and never-ending one. Some of my peers have often like to point out that a linear and finite life is a very "western" ideology (whatever that means) while ideas like reincarnation are very non-western. While those students are trying to be considerate of other narratives, creating this simplified binary isn't always the most sensitive way to talk about literature. Otherwise, I enjoy the different interpretations and approaches to understanding how people deal with deal in literature.
2/7/2014 - 2/14/2014 - Romantic Art
This period is definitely one my favorites as it began the movement of emotionally expressive art. Before then, while I admire the technicality and skill needed for Greco-Roman sculpture and art, I felt that a lot of those works were just symbols of power and beacons of worship rather than a humanize artist's statement. These art pieces of muscular soldiers and rulers indistinguishable to other idealized god and goddess forms resonated too more on the propaganda side than artistic expression - similar to depictions of charismatic Chairman Mao and even contemporary Barack Obama (the grey hair and wrinkles aren't as documented).
However, Romantic Art is where it's at. I feel that not only does it confront more solemn emotions, the exaggeration of the beautiful landscapes then inspire action more than the cold victorious stances of toga-clad men (in my opinion). Before I condemn Greek and Roman art anymore - because I actually really them for different reasons - let me shift my focus to only Romantic Art. First, the emphasis on nature evokes the pioneer spirit in me every time I see a gradient orange sunset like in Henry Wallis' The Death of Chatteron 1856 or the challenging and unrelentingly curves in the waves of Casper David Friedrich's Wanderer Above the Sea Fog. As a peer pointed out in class, taking the emphasis away from humans and humanly constructed ideas of power and wealth and putting that spotlight back on nature perhaps reminds the audience or viewers of romantic art that regardless of our pain and strife and feelings, Mother nature is still able to remain beautiful and move on.
I think similarly, modern art is too product base as if the artist is always trying to sell me something, becoming a novelty. BUT I completely recognize my "tree-hugger" tendencies and the market of nature landscapes may be over-saturated and cliche to my peers.
1/31/2014 - The Romantic Hero
How the "romantic hero" has been articulated to me would fit quite a few of contemporary figures in the media. Often times, artists fit fit this role when considering how angst-y and misunderstood they seem to be. That emotional expression followed by huge fan bases makes the argument of them being "heroes" or someone of redeeming, life-saving, or justice-seeking qualities much more compelling. While (post-arrest) Justin Beiber might be a tongue-in-cheek example of a romantic hero, I want to briefly argue that Kanye West is an actually romantic hero.
Within his first three albums, he is proclaimed as a the "non-thug who made it" as in his rose to fame in Hip Hop culture when in was still dominated gangster rap of the late 90s leaking into the early 2000s. While the classic hero does not have underdog origins, we often time forgets that Kanye wasn't always as cocky and self-righteous as we him today. This type of expressive arrogance (justified or not) is seen in the hero of Beowulf who claimed he was the best warrior around and could defeat any monster (similarly to how Kanye acts during the Grammy's). However, what makes Kanye "romantic" really comes later in his career after the death of his mother, the break up with his fiance, as well as his interruption of Taylor Swift at the 2009 Grammys. Kanye then flees to Hawaii where he takes a hiatus from rap musc to produces "808 & Heartbreak", an R&B album that has been recognized as one of the most sonically influential albums for modern day R&B artisists while being criticized by other strictly rap producers as Kanye's Icarian fall from the Hip Hop heavens. However, Kanye comes back yet again with the best album of his career "My Beautiful Dark Twisted Fantasy" that has been rated 10/10 by Pitchfork Magazine, a 5/5 on Rolling Stone, followed by many grammar nominations and awards. In this album, he addresses his inability to having meaningful relationships, his disconnect from media, and his desire to overcome elitist constructions of aesthetic design. Combining this musical authority with controversial acts of calling George Bush and Taylor Swift out, a demographic definitely viewed Kanye as some one who "stood up" to the powers that be. Then coming full circle, we recently saw Kanye release his 2013 album "Yeezus" finally taking his self-indulgence to a heroic height. Thus check marking isolation, contemplation, misanthropy, societal rejection,self-criticism, and growth to fit the schema of a modern day romantic hero.
*However, my roomate Andrew Neylon reminds me that we should be careful applying literary devices to real people.
1/24/2014 - Faust and inner conflict
These passages from Faust reminded me of some of the themes in Hamlet. While their inner conflicts may be from different opposing forces, the way they express and explore each idea in the solitude of their own confined spaces reveal some nuances of human nature. While Hamlet contemplates life and death in his moments of self-consciousness, Faust feels the pull between knowledge and experience – at least in a very shallow articulation of how he feels. When he speaks to the sun and the moon, we expresses how we watches them rise and set all the while he is in his room studying. He explains how he could “expel the smoke of learning / and be drenched to wholeness in your dew” in basically professing his jealousy of the celestial entities that get to roam the earth and watch over all of its interaction. While he does show respect and know the importance of his work, he can’t help but to think that the freedom of the “outside” would be much more beneficial to his understanding of the world – and if not understanding, than perhaps enjoying.
Ultimately, this curiosity and desire for liberation boils as he agrees with the devil (or at least his servant Mephistopheles) that if he is completely satisfied by their journal of pleasurable moments, then he will serve the devil in the afterlife. The trick in Faust’s mind is that he believes he will never be satisfied thus he will be able to enjoy this great vision of the free world without the repercussions of eternal slavery.
While I understand that the passage is supposed to comment on human desires to experience and live outside of narrative and stories, I was not able to pick up from the reading why he was so bound to his work. Perhaps, my contemporary mindset allows me to think that “if you want to badly enough, you can quit your job and explore the world” but maybe in reality or in his reality – there are some adult responsibilities to consider.
1/17/2014 - Questions from 'The Grand Inquisitor'
While Ivan’s tale of the Grand Inquisitor reveals the duality between freedom and choice, it also raises questions concerning the implications of human morality, progress, and purpose.
To flesh out these categories, let’s first reestablish the Inquisitor’s points if Christ had given into the temptations. If Christ had turned “stone to bread” or basically provide an endless supply of palpable resources, then humanity would be free from hunger or physical suffering. If Christ had cast himself from the Temple (as a test of God) to be saved by Angels, then humanity would believe his omnipotence, miracle work, and divine intervention. If Christ had chosen to rule over all kingdoms, then humanity will have a singular leader and supposedly singular goal. However, once we have the resources – what will become of humanity in terms of growth and purpose? Do we begin to stop innovating and inventing because “bread” will always in be supplies. Do we then call the greater God at will for angels and help? Do we then resent God when she/he doesn’t come to our call/test? If a Christ were to rule all the lands, what happens to self-interest?
Extending further and saying that there definitely is some sustainability in this present lifestyle of no work if it was motivated hunger, no art if it was motivated by struggle, no worship if it was with resentment. From here, what does our life of leisure insist of? What is our purpose as humans? How do we become better if nothing motivates us since our resources and divinity is boundless? This dependent relationship with Christ may create gluttony, resentment, and apathy among the engaged followers so -- can Earth still be Heaven with the incorporation of giving into these temptations. Perhaps, Christ’s kiss onto the Inquisitor is his way of giving the Inquisitor the freedom to disagree with Christ.
1/10/2014 - Frederick Douglass and Freedom
Frederick Douglass’ narrative reveals different means by which freedom is obtained. While we can assume that in the most generic rising-against-oppression type narratives requires first a strong desire to be “free” and secondly an action to initiate such as a confrontation, refusal or resistance, destroying the oppressor, or an escape plan. However, through Douglass’ narrative, we see that it’s not always as simple or overnight. For Douglass, he saw the value (and burden) of education at a young age when taught by his master’s wife, then sneaking lessons from the white children, and then even independent study as he grew into a man. Even though his intelligence might have paved the way of his escape plan or learning to articulate logical and ethical arguments against slavery, one of his defining moments of freedom - challenging his former master to a fist fight in resistance to further whipping – called upon his “brute” strength rather than his cunning. This liberated both his mind and his body because even if he was intellectually free to understand the greater world outside of the plantation, he could have still been bound by his master’s whips, chains, and intimidation. Reciprocally, even if Douglass had escaped but was uneducated, he might not be able to maintain his freedom nor appreciate it if all he had known was the master-slave relationship a la Stockholm syndrome. Additionally, Douglass’ mothers nightly escapes to see her son demonstrated how oppression and freedom can both be temporal. Similarly to slaves who are returned to their masters, Douglass’ mother still sought after the opportunities to be free, to see her loved ones, regardless of the risks involved. During desperate circumstances, those consequences and punishments can seem so minor compared the impermanent reward of freedom.
Finally, linking to another text – Margaret Atwood’s “The Handmaid’s Tale” of a dystopian society discussed the idea of two different kinds of emancipation: “freedom from and freedom to”. This argument is often applied to the modern interpretations of Muslim women and Hijabs where did not have the “freedom to” show their faces, they had “freedom from” the attention of men. In applying this duality of freedom to Douglass’ narrative, I can argue that his intelligence gave him “freedom to” escape and live a better life whereas his physique gave him “freedom from” his master and being captured/returned.
3/28/2014 - Freudian Dreams
Psychology is so cool. And I don't understand why anyone wouldn't be interested in it. It's mind-reading and mind-control at its most realistic level, I think - even if that's a very bastardized vision of that academic field of study.
Freud presents the ideas that dreams can be interpreted rather than just being random and that dreams are suppressed desires for wish-fulfillment. After reading his interpretation of dreams, I can't help but make the assertion that dreams symbols must consider cultural influences in their manifestation. Essentially, does falling teeth or jumping down staircases mean the same thing everywhere in the world? A short Googling of "cultural differences to dream interpretation" yielded this: http://www.dreamresearch.ca/pdf/cultural.pdf
In this report, it brings up other considerations such as dream as future predicting, therapeutic use of dreams, and the personal and social embeddedness within dreams. Unless there is a universal set of unconscious symbols that Freud or others created that I'm unaware of, I think there is still a lot to learn from our dreams. However, reviewing his conclusions to some of his own dreams, I feel some are quite out-stretched and I'm skeptical of how seeing his uncle meant that he didn't get the job - as in at what point do we stop our process of analysis? What if it was supposed to mean he felt guilty for not visiting his uncle? What if not getting the job actually represented his loss of masculinity and self-worth?
Essentially, even thinking about these questions without yielding any answers allows us to have some self-exploration - and that is super important to human growth.
3/7/2014 - 3/21/2014 - Heart of Darkness
Joseph Conrad's frame narrative of Charles Marlow's life on the Congo is rhetorically savvy approach to expressing colonialism and racism during European imperialism. In my Honors 202 class that I am currently taking alongside this 203 class, we talked about how frame narratives removes responsibility from the author and casts it onto a (often times fictional) narrator especially in cases of controversial topics and opinions.
What was most interesting about our exploration in colonial/imperial narratives was definitely the in-class activity regarding the index cards. At first we were divided into colonists and tribes and then from a second set of cards, our fate as slaves was to gather supplies for colonist or die. While I understand the idea of replicating the uncertainty of life at the time, I feel as if this activity really trivializes the experience, trauma, and narratives of the people of the Congo. I am in no way blaming my fellow peers for this outcome; it's just that the class had a very finite amount of time to make a point and for the most part they did. However the commentary after the activity was not as enlightening or sensitive as we would hope.
How was it being a slave / laborer?
"I didn't want to pull a card the next round, because I didn't want a chance to be out of the game." While this can reflect a deeper sentiment of not having any control over one's fate, to reduce a whole culture's livelihood into a card game has to be problematic.
How was it being a colonist?
"...Not too bad!" While it is a light-hearted answer to a very deep rooted issue can further trivialize this history.
While the students answers were benign and genuine, its speaks on the dissonance we have with our actual slave history. This is just a peculiar observation I have an many classes where I am the only non-White person in the room.
2/28/2013 - A Doll's House - - - Feminism is a collection of movements and ideologies aimed at defining, establishing, and defending equal political, economic, and social rights for women.
The Doll's House by Henry Ibsen is a great opportunity for a classroom to talk about feminism. While the story sets place in the 19th century, there are definitely literary confrontations of domestic equality and social roles and norms. Nora, like most of the women of time, were treated as possessions by their husbands - as in, if the wife got hurt or got into any kind of legal trouble, the husband would be in sole responsibility or contact with an official instead of letting the wife speak upon herself. Further examples within the text included the pet names the husband used (while someone could argue that it's endearing) and the fact that she can't loan money without her husband's consent. The fact that the story concludes with Nora leaving both her husband and children is quite radical for the narratives of that century. Criticisms could include that she as a mother should tolerate the lifestyle she chose or as a wife should have tried harder to rekindle or submit to her marriage.
Being on the speech team at this university, I have been exposed the nuanced applications of feminism by my two head coaches. Over these three years I have learned so much about rhetorical sensitivity in gender equality and I always perk my ears up to hear my peers talk about these very relevant issues. While I still have so so so sooo much to learn about feminism in its modern context, I am still hesitant to engage my peers sometimes in fear that I will talk about it incorrectly. Both in class discussions as well as checking in with some of my closer friends' weekly responses, it's quite interesting to see peers articulate that they "aren't feminists but really enjoyed the story or find it very intriguing". While I understand that there might be various critical definitions of feminism, I believe at its core it means that you believe women should have equal rights as men. Therefore anyone, who doesn't identify as a feminist - by that definition - don't believe that women should have equal rights as men. From various conversations as well as articles online, the word feminism has certain connotations that make it unappealing to identify with for young women and men. Many believe that feminism has an aggressive or even prudish tone to the ideology or that feminist believe that women are better than men. As I learn to be inclusive in my education about feminism, and equality, and civil rights - I hope I learn to debunk these myths and misunderstandings with my peers as well.
2/21/2014 - Death - who cares?
The Death of Ivan Ilych had a peculiar style of narrative that really drew me in. Beginning from the perspective of Peter confronts the theme of death head on (as well as in the title) as the the author did not want to tip toe around the subject at all. Peter fears for his own death while finding peace in the fact that it was someone else who died that day instead of him - which is both self-centered and morbid, but also understandable as we are fearful humans. On the other hand, other people don't really seem to be with concerned with Ivan's death at all - if he were just another lower rung on the corporate ladder, they only feel obligated to attend his funeral to maintain their public image. From what I gathered from the text, there are two different approaches to the subject of death: to ignore and deny it or to accept and not care about it.
This idea of a final ending is very intriguing. As someone who was raised Catholic but is currently exploring other spiritual ideas, I have deeply considered both a linear lifespan as a well as a cyclical and never-ending one. Some of my peers have often like to point out that a linear and finite life is a very "western" ideology (whatever that means) while ideas like reincarnation are very non-western. While those students are trying to be considerate of other narratives, creating this simplified binary isn't always the most sensitive way to talk about literature. Otherwise, I enjoy the different interpretations and approaches to understanding how people deal with deal in literature.
2/7/2014 - 2/14/2014 - Romantic Art
This period is definitely one my favorites as it began the movement of emotionally expressive art. Before then, while I admire the technicality and skill needed for Greco-Roman sculpture and art, I felt that a lot of those works were just symbols of power and beacons of worship rather than a humanize artist's statement. These art pieces of muscular soldiers and rulers indistinguishable to other idealized god and goddess forms resonated too more on the propaganda side than artistic expression - similar to depictions of charismatic Chairman Mao and even contemporary Barack Obama (the grey hair and wrinkles aren't as documented).
However, Romantic Art is where it's at. I feel that not only does it confront more solemn emotions, the exaggeration of the beautiful landscapes then inspire action more than the cold victorious stances of toga-clad men (in my opinion). Before I condemn Greek and Roman art anymore - because I actually really them for different reasons - let me shift my focus to only Romantic Art. First, the emphasis on nature evokes the pioneer spirit in me every time I see a gradient orange sunset like in Henry Wallis' The Death of Chatteron 1856 or the challenging and unrelentingly curves in the waves of Casper David Friedrich's Wanderer Above the Sea Fog. As a peer pointed out in class, taking the emphasis away from humans and humanly constructed ideas of power and wealth and putting that spotlight back on nature perhaps reminds the audience or viewers of romantic art that regardless of our pain and strife and feelings, Mother nature is still able to remain beautiful and move on.
I think similarly, modern art is too product base as if the artist is always trying to sell me something, becoming a novelty. BUT I completely recognize my "tree-hugger" tendencies and the market of nature landscapes may be over-saturated and cliche to my peers.
1/31/2014 - The Romantic Hero
How the "romantic hero" has been articulated to me would fit quite a few of contemporary figures in the media. Often times, artists fit fit this role when considering how angst-y and misunderstood they seem to be. That emotional expression followed by huge fan bases makes the argument of them being "heroes" or someone of redeeming, life-saving, or justice-seeking qualities much more compelling. While (post-arrest) Justin Beiber might be a tongue-in-cheek example of a romantic hero, I want to briefly argue that Kanye West is an actually romantic hero.
Within his first three albums, he is proclaimed as a the "non-thug who made it" as in his rose to fame in Hip Hop culture when in was still dominated gangster rap of the late 90s leaking into the early 2000s. While the classic hero does not have underdog origins, we often time forgets that Kanye wasn't always as cocky and self-righteous as we him today. This type of expressive arrogance (justified or not) is seen in the hero of Beowulf who claimed he was the best warrior around and could defeat any monster (similarly to how Kanye acts during the Grammy's). However, what makes Kanye "romantic" really comes later in his career after the death of his mother, the break up with his fiance, as well as his interruption of Taylor Swift at the 2009 Grammys. Kanye then flees to Hawaii where he takes a hiatus from rap musc to produces "808 & Heartbreak", an R&B album that has been recognized as one of the most sonically influential albums for modern day R&B artisists while being criticized by other strictly rap producers as Kanye's Icarian fall from the Hip Hop heavens. However, Kanye comes back yet again with the best album of his career "My Beautiful Dark Twisted Fantasy" that has been rated 10/10 by Pitchfork Magazine, a 5/5 on Rolling Stone, followed by many grammar nominations and awards. In this album, he addresses his inability to having meaningful relationships, his disconnect from media, and his desire to overcome elitist constructions of aesthetic design. Combining this musical authority with controversial acts of calling George Bush and Taylor Swift out, a demographic definitely viewed Kanye as some one who "stood up" to the powers that be. Then coming full circle, we recently saw Kanye release his 2013 album "Yeezus" finally taking his self-indulgence to a heroic height. Thus check marking isolation, contemplation, misanthropy, societal rejection,self-criticism, and growth to fit the schema of a modern day romantic hero.
*However, my roomate Andrew Neylon reminds me that we should be careful applying literary devices to real people.
1/24/2014 - Faust and inner conflict
These passages from Faust reminded me of some of the themes in Hamlet. While their inner conflicts may be from different opposing forces, the way they express and explore each idea in the solitude of their own confined spaces reveal some nuances of human nature. While Hamlet contemplates life and death in his moments of self-consciousness, Faust feels the pull between knowledge and experience – at least in a very shallow articulation of how he feels. When he speaks to the sun and the moon, we expresses how we watches them rise and set all the while he is in his room studying. He explains how he could “expel the smoke of learning / and be drenched to wholeness in your dew” in basically professing his jealousy of the celestial entities that get to roam the earth and watch over all of its interaction. While he does show respect and know the importance of his work, he can’t help but to think that the freedom of the “outside” would be much more beneficial to his understanding of the world – and if not understanding, than perhaps enjoying.
Ultimately, this curiosity and desire for liberation boils as he agrees with the devil (or at least his servant Mephistopheles) that if he is completely satisfied by their journal of pleasurable moments, then he will serve the devil in the afterlife. The trick in Faust’s mind is that he believes he will never be satisfied thus he will be able to enjoy this great vision of the free world without the repercussions of eternal slavery.
While I understand that the passage is supposed to comment on human desires to experience and live outside of narrative and stories, I was not able to pick up from the reading why he was so bound to his work. Perhaps, my contemporary mindset allows me to think that “if you want to badly enough, you can quit your job and explore the world” but maybe in reality or in his reality – there are some adult responsibilities to consider.
1/17/2014 - Questions from 'The Grand Inquisitor'
While Ivan’s tale of the Grand Inquisitor reveals the duality between freedom and choice,
it also raises questions concerning the implications of human morality, progress, and purpose.
To flesh out these categories, let’s first reestablish the Inquisitor’s points if Christ had given into the temptations.
If Christ had turned “stone to bread” or basically provide an endless supply of palpable resources, then humanity would be free from hunger or physical suffering.
If Christ had cast himself from the Temple (as a test of God) to be saved by Angels, then humanity would believe his omnipotence, miracle work, and divine intervention.
If Christ had chosen to rule over all kingdoms, then humanity will have a singular leader and supposedly singular goal.
However, once we have the resources – what will become of humanity in terms of growth and purpose?
Do we begin to stop innovating and inventing because “bread” will always in be supplies.
Do we then call the greater God at will for angels and help?
Do we then resent God when she/he doesn’t come to our call/test?
If a Christ were to rule all the lands, what happens to self-interest?
Extending further and saying that there definitely is some sustainability in this present lifestyle of
no work if it was motivated hunger,
no art if it was motivated by struggle,
no worship if it was with resentment.
From here, what does our life of leisure insist of?
What is our purpose as humans?
How do we become better if nothing motivates us since our resources and divinity is boundless?
This dependent relationship with Christ may create gluttony, resentment, and apathy among the engaged followers
so -- can Earth still be Heaven with the incorporation of giving into these temptations.
Perhaps, Christ’s kiss onto the Inquisitor is his way of giving the Inquisitor the freedom to disagree with Christ.
1/10/2014 - Frederick Douglass and Freedom
Frederick Douglass’ narrative reveals different means by which freedom is obtained. While we can assume that in the most generic rising-against-oppression type narratives requires first a strong desire to be “free” and secondly an action to initiate such as a confrontation, refusal or resistance, destroying the oppressor, or an escape plan. However, through Douglass’ narrative, we see that it’s not always as simple or overnight. For Douglass, he saw the value (and burden) of education at a young age when taught by his master’s wife, then sneaking lessons from the white children, and then even independent study as he grew into a man. Even though his intelligence might have paved the way of his escape plan or learning to articulate logical and ethical arguments against slavery, one of his defining moments of freedom - challenging his former master to a fist fight in resistance to further whipping – called upon his “brute” strength rather than his cunning. This liberated both his mind and his body because even if he was intellectually free to understand the greater world outside of the plantation, he could have still been bound by his master’s whips, chains, and intimidation. Reciprocally, even if Douglass had escaped but was uneducated, he might not be able to maintain his freedom nor appreciate it if all he had known was the master-slave relationship a la Stockholm syndrome.
Additionally, Douglass’ mothers nightly escapes to see her son demonstrated how oppression and freedom can both be temporal. Similarly to slaves who are returned to their masters, Douglass’ mother still sought after the opportunities to be free, to see her loved ones, regardless of the risks involved. During desperate circumstances, those consequences and punishments can seem so minor compared the impermanent reward of freedom.
Finally, linking to another text – Margaret Atwood’s “The Handmaid’s Tale” of a dystopian society discussed the idea of two different kinds of emancipation: “freedom from and freedom to”. This argument is often applied to the modern interpretations of Muslim women and Hijabs where did not have the “freedom to” show their faces, they had “freedom from” the attention of men. In applying this duality of freedom to Douglass’ narrative, I can argue that his intelligence gave him “freedom to” escape and live a better life whereas his physique gave him “freedom from” his master and being captured/returned.