Monday, April 27, 2009
last 2 pages of "On Beauty"
I found this to be a different and interesting ending to the book - as Howard is giving a presentation, he completely freezes up. When he comes to the last slide, Rembrandt's love, he seems to be very much reminded of his own love, finding her in the audience. The natural beauty of both women is emphasized in these pages - as Howard seems hopeful and perhaps reflective. He is indeed still in love, and through a few exchanges glances, it seems like everything could work out (despite how he has ruined everything). Maybe Smith is trying to say that true love is forgiving, even in the most extreme circumstances. On the other hand, maybe she is portraying the ultimate failure of Howard, realizing how much he is still in love with beautiful Kiki, but still knowing that things can never be the same.
Monday, April 13, 2009
4/13/2009
People as love objects: In this world, many people objectify others (esp. love interests) based on factors other than who they are: social status, money, fame, etc. Beauty should not be about any of this - Laura says that it is about colors, lines, contours, visual concept. In "On Beauty", this is at war with objectified cultural beauty standards. In my opinion, beauty is something more, involving who a person is, more so than cultural expectations or Laura's lines, shapes, etc. Granted, I agree that a portion does involve the latter, but I think that someone's personality and how true they are to themselves creates a strong, vivid, undeniable beauty.
Wednesday, April 8, 2009
4/8 notes
Zadie Smith, On Beauty: Literature can be political, but still be great writing. Smith says that if a novel tells you a specific way to be moral, it is bad. A novel, however, can be truthful and honest, which is difficult because of self-deception (novel difficulties mirror life). This novel is about multi-culturalism and the culture wars (war between people on the left and on the right - in the academy, overseeing the money). In this war, the left throws out standards of greatness: outdated, irrelevant, and racist/sexist. Book branding: some books with sell because of who the author is, not "who" the author is. The good moral book is a case, an analogy of morals, that teaches you not to believe in the set standards of greatness. This book fits, encouraging one to explore any character from both worlds: no one is completely wrong or evil.
Friday, April 3, 2009
thoughts from art and lies
We had a very interesting talk in class on Wednesday regarding the concept of self. Who are we, really? What defines us? This reminded me a lot of talks we would have in one of my edl courses. It seems like most people now are defined by societal expectations. In fact, I believe we all judge people before we ever really get to know them just based on our expectations of what we think they should be. I think that this concept of cultural expectations is very much related to the concept of "success" in our modern world. Another big topic in this edl class was the questioning and eventual dismissal of the "bootstrap" theory - that with hard work and perseverance, anyone can be successful in what ever they want to do. This is a whole separate conversation...that some of us are born with luxuries and resources that others are not, and because of this, it is nearly impossible for some to succeed in the traditional sense. I went to a talk on Thursday by Peter Block, who discussed extensively the concept of self. Who are we really? What defines us? Since the talk was mainly for people involved with education, he suggested we work as transformative leaders to change the whole concept of education. He said that we need to stop worrying about who we are in the eyes of others, and focus more on being what we actually want to be. He suggests that success has nothing to do with financial status, social status, or material accomplishments, but that to be successful is to be true to yourself and do what you want to do, completely disregarding any expectations of others. He suggested that the current state of the educational system mirrors that of society: paternalism. Everything is about being in charge: power is desirable. School reinforces this concept: someone is in charge, and what they say is the good word, not to be questioned or contradicted. He viewed "teaching" and "education" as separate entities: teaching is the stereotypical teacher lecturing to a class, representing the unquestionable truth, the way things are. Peter believed that this system promoted no learning, and simply further ingrained in students head the construct of the “system” in society. Someone is in charge, you will obey. You want to be in charge. He wanted us, as educators, to move more towards “education”: cooperative learning taking place through input of many, and attention to actual cares and interests of students. In real education, one should question everything: find out why things are the way there are, and if you don’t like it, do something about it. He discussed the teacher as a new, transformative leader: not one who wants recognition or traditional successes of money, fame, power, etc, but one who pushes for the better good. He believes this requires a transformation of self: you need to reflect on what really makes you who you are, not what society defines you as. Finally, he suggested that the best way to facilitate actual education was through small groups. In the small group setting, no one is safe. You are forced to show your hand, forced to be opinionated. I think that this could work well for our class if we were a bit more comfortable with each other. The problem for me is that I feel fairly incompetent in analyzing literature at a high level compared to others in the class. This especially applied to me during times when we did poetry analysis - I needed to go word by word looking up things in context to even have an idea of what was going on, let alone knowing the deeper meaning.
Monday, March 30, 2009
3/30 notes
Art and Lies notes: The short story comes into existence around 1800. In the current state of literature in education, the canon has been blown apart, and there is a huge rise in "cultural studies". People became aware of the politics of literature - teachers can exclude based on their personal preference or bias. Isn't this the basis of any study in history? The saying "history is written by the victors" is somewhat true, but a more accurate account would be "history is written by the academics in the field". Cultural studies people may have taken this too far - often suggesting there is no great art.
What makes art great? Ralph Waldo Emerson believes that when someone reads and adores authors, they get the return of their own alienated majesty: a projection; we're afraid to see how great or how bad we are. Attention is a limited commodity: this is the way we evaluate art.
A goal of class: when you don't initially like or understand something, maybe first blame yourself: "maybe I need to learn more..."
What makes art great? Ralph Waldo Emerson believes that when someone reads and adores authors, they get the return of their own alienated majesty: a projection; we're afraid to see how great or how bad we are. Attention is a limited commodity: this is the way we evaluate art.
A goal of class: when you don't initially like or understand something, maybe first blame yourself: "maybe I need to learn more..."
Friday, March 27, 2009
3/27 notes
Child and Flowers: This is an Ekphrastic poem: based on something visual, visualizing through the text. The poem seems to recommend living in the moment, instead of basing everything off of previous and future experiences. It says that the flowers could wilt and die soon, so enjoy them while you can, appreciate the aesthetic (not just flowers). I question whether or not this is truly possible - in many ways, who we are is based entirely off of our past experiences, good or bad. I don;t believe that we can fully live in the moment, because we view everything (unintentionally) through a lens of experiences.
Problems and benefits of visualizing text:
Visualizing text can be very time consuming, costly, often contains human error, and there could be differences coming through new formats of the text. In the positive, the text becomes not just text: visual cues are also important. Reading is not that much different from looking at images - text is a visual experience in itself.
Problems and benefits of visualizing text:
Visualizing text can be very time consuming, costly, often contains human error, and there could be differences coming through new formats of the text. In the positive, the text becomes not just text: visual cues are also important. Reading is not that much different from looking at images - text is a visual experience in itself.
Friday, March 20, 2009
3/20 notes
Never flinch,
But still, unscrupulously epic, catch
Upon a burning lava of a song,
The full-veined, heaving, double-breasted Age:
That, when the next shall come, the men of that
May touch the impress with reverent hand, and say
'Behold,–behold the paps we all have sucked!
That bosom seems to beat still, or at least
It sets ours beating. This is living art,
Which thus presents, and thus records true life.'
This is instructions to future poets: to never flinch, and write about "living art". The burning lava of a song is poetry itself, not the old still-beating bosom.
Define epic art: art that relates to a hero character, telling the story of their deeds
Define modern life: life in the present, not some dry historical time period, things that are relevant to the now
But still, unscrupulously epic, catch
Upon a burning lava of a song,
The full-veined, heaving, double-breasted Age:
That, when the next shall come, the men of that
May touch the impress with reverent hand, and say
'Behold,–behold the paps we all have sucked!
That bosom seems to beat still, or at least
It sets ours beating. This is living art,
Which thus presents, and thus records true life.'
This is instructions to future poets: to never flinch, and write about "living art". The burning lava of a song is poetry itself, not the old still-beating bosom.
Define epic art: art that relates to a hero character, telling the story of their deeds
Define modern life: life in the present, not some dry historical time period, things that are relevant to the now
Wednesday, March 18, 2009
3/18 notes
Thoughts on women from book one:
"I read a score of books on womanhood
To prove, if women do not think at all,
They may teach thinking, (to a maiden aunt
Or else the author)–books demonstrating
Their right of comprehending husband's talk
When not too deep, and even of answering
With pretty 'may it please you,' or 'so it is,'–
Their rapid insight and fine aptitude,
Particular worth and general missionariness,
As long as they keep quiet by the fire
And never say 'no' when the world says 'ay,'
For that is fatal,–their angelic reach
Of virtue, chiefly used to sit and darn,
And fatten household sinners–their, in brief,
Potential faculty in everything
Of abdicating power in it: she owned
She liked a woman to be womanly,
And English women, she thanked God and sighed,
(Some people always sigh in thanking God)
Were models to the universe."
"I read a score of books on womanhood
To prove, if women do not think at all,
They may teach thinking, (to a maiden aunt
Or else the author)–books demonstrating
Their right of comprehending husband's talk
When not too deep, and even of answering
With pretty 'may it please you,' or 'so it is,'–
Their rapid insight and fine aptitude,
Particular worth and general missionariness,
As long as they keep quiet by the fire
And never say 'no' when the world says 'ay,'
For that is fatal,–their angelic reach
Of virtue, chiefly used to sit and darn,
And fatten household sinners–their, in brief,
Potential faculty in everything
Of abdicating power in it: she owned
She liked a woman to be womanly,
And English women, she thanked God and sighed,
(Some people always sigh in thanking God)
Were models to the universe."
Monday, March 16, 2009
3/16 notes
Rhythm of language: English has more of a Germanic rhythm of accented/unaccented, compared to French, where all syllables are equal.
Elizabeth Barrett Browning was born in 1806. Her mother died when she was about 20. She published her first book of poetry when age 22, and became so famous eventually that in 1850 (Wordsworth's death), she was considered a candidate for poet laureate. Browning's father kept her close, invalid, children could not date others, etc...she soon developed an addiction to morphine. Isn't it strange that certain things parents do (I feel that single parents may try to overcompensate) to help their children end up partially ruining them? In 1845, she met (by letter) Robert Browning. They eloped soon after, moved to Italy, and lived the ex patriot life; wild. They were in love until she died. During that time, she wrote some of the most famous love poetry.
Browning views human mind not as tabula rosa, but as palimpsest - paper written on, rewritten, etc. This concept compare human beings to more of a hide, not piece of paper.
Aurora Leigh: Her father is a man of property and money in England. His sister (aunt) is an important character: the defacto lady of the house. She has this status removed when father, as older man, marries. While in Italy, he sees a parade, and sees a young girl in a Catholic confirmation dress. He falls immediately in love with her and marries. They are in love, have a child, then she dies 4 years later. He is a man who is made uncommon, but never takes the next step towards becoming a free spirit, because his wife dies. He loves his daughter - teaches her knowledge of Greek and Latin, and a love of learning. She grows up feeling incomplete and out of touch with the rules of the "new order", and hungers for that "mother want" (deep unconditional love).
According to Laura, the three most important epic poems in brit lit are: Milton - Paradise Lost, Wordsworth - The Prelude, and Aurora Lee.
Elizabeth Barrett Browning was born in 1806. Her mother died when she was about 20. She published her first book of poetry when age 22, and became so famous eventually that in 1850 (Wordsworth's death), she was considered a candidate for poet laureate. Browning's father kept her close, invalid, children could not date others, etc...she soon developed an addiction to morphine. Isn't it strange that certain things parents do (I feel that single parents may try to overcompensate) to help their children end up partially ruining them? In 1845, she met (by letter) Robert Browning. They eloped soon after, moved to Italy, and lived the ex patriot life; wild. They were in love until she died. During that time, she wrote some of the most famous love poetry.
Browning views human mind not as tabula rosa, but as palimpsest - paper written on, rewritten, etc. This concept compare human beings to more of a hide, not piece of paper.
Aurora Leigh: Her father is a man of property and money in England. His sister (aunt) is an important character: the defacto lady of the house. She has this status removed when father, as older man, marries. While in Italy, he sees a parade, and sees a young girl in a Catholic confirmation dress. He falls immediately in love with her and marries. They are in love, have a child, then she dies 4 years later. He is a man who is made uncommon, but never takes the next step towards becoming a free spirit, because his wife dies. He loves his daughter - teaches her knowledge of Greek and Latin, and a love of learning. She grows up feeling incomplete and out of touch with the rules of the "new order", and hungers for that "mother want" (deep unconditional love).
According to Laura, the three most important epic poems in brit lit are: Milton - Paradise Lost, Wordsworth - The Prelude, and Aurora Lee.
Wednesday, March 4, 2009
3/4 notes
Latimer in relation to Bertha: Latimer wants her so badly because he has a projected image of her from his thoughts on what she is. She is the one person who he can't read - she is an enigma. She leads on this possibility of deeper levels of thought through being cold and demanding, preying upon Latimer's weak self and constant need for encouragement. He wants to win through with sarcasm to attempt to earn her inclusive love. He feels that he is destined to feel the most pain of anyone...relating to Victor Frankenstein. I feel like this kind of "love" through unrealistic projections victimizes people fairly often. When one gets the idea in their head of the potential companionship of someone, they can become completely engulfed, and let their mind and hopes for perfection overcome reality.
Comparison:
Both men feel that they are something exceptional, destined for something amazing. At times, both feel that they are doomed to a life of pain. Latimer has a fatal attraction to Bertha, controlling his whole life and drive. Victor has a related drive: first to create his monster, then to try to destroy it, thinking that will redeem himself, or at least prevent further evil.
Comparison:
Both men feel that they are something exceptional, destined for something amazing. At times, both feel that they are doomed to a life of pain. Latimer has a fatal attraction to Bertha, controlling his whole life and drive. Victor has a related drive: first to create his monster, then to try to destroy it, thinking that will redeem himself, or at least prevent further evil.
stream of consciousness...
Woman on the right: I can't wait until my next movie comes out, oh my goodness, I have inspired millions of children to actually READ, hopefully they don't only see the movies, what the heck am I going to do with all of this money now? perhaps I'll donate some to charity...perhaps to help underprivileged children in school...fortunately for me, I already have my next series planned, so the money can continue to roll while I inspire children across the world!
Friday, February 27, 2009
2/27
Frankenstein and the monster being the same person:
examples of wretch:How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? (ch5)
The picture appeared a vast and dim scene of evil, and I foresaw obscurely that I was destined to become the most wretched of human beings. (ch6)
A flash of lightning illuminated the object, and discovered its shape plainly to me; its gigantic stature, and the deformity of its aspect, more hideous than belongs to humanity, instantly informed me that it was the wretch, the filthy dæmon, to whom I had given life.(ch6)
Dear lady, I had none to support me; all looked on me as a wretch doomed to ignominy and perdition (ch7)
"I truly thank him. In these last moments I feel the sincerest gratitude towards those who think of me with kindness. How sweet is the affection of others to such a wretch as I am! (ch7)
But even if I were condemned to suffer on the scaffold for the same crimes, I would not change places with such a wretch."(ch9)
I perceived, as the shape came nearer, (sight tremendous and abhorred!) that it was the wretch whom I had created.(ch10)
I was a poor, helpless, miserable wretch; I knew, and could distinguish, nothing; but feeling pain invade me on all sides, I sat down and wept.(ch11)
It was a lovely sight, even to me, poor wretch! who had never beheld aught beautiful before. (ch11)
The mild exhortations of the old man, and the lively conversation of the loved Felix, were not for me. Miserable, unhappy wretch!(ch13)
"He struggled violently. 'Let me go,' he cried; ' monster! ugly wretch! you wish to eat me, and tear me to pieces -- You are an ogre -- Let me go, or I will tell my papa.'(ch16)
I, a miserable wretch, haunted by a curse that shut up every avenue to enjoyment.(ch18)
The wretch saw me destroy the creature on whose future existence he depended for happiness, and, with a howl of devilish despair and revenge, withdrew.(ch20)
Presently I heard the sound of footsteps along the passage; the door opened, and the wretch whom I dreaded appeared.(ch20)
human beings, their feelings and passions, would indeed be degraded if such a wretch as I felt pride.(ch22)
I avoided explanation, and maintained a continual silence concerning the wretch I had created.(ch22)
"I am satisfied: miserable wretch! you have determined to live, and I am satisfied."(ch23)
and of the wretched Victor, and thrust your sword into his heart. (ch24)
"I thank you, Walton," he said, "for your kind intentions towards so miserable a wretch; but when you speak of new ties, and fresh affections, think you that any can replace those who are gone?
"Wretch!" I said, "it is well that you come here to whine over the desolation that you have made. (letters)
"But it is true that I am a wretch. I have murdered the lovely and the helpless; I have strangled the innocent as they slept, and grasped to death his throat who never injured me or any other living thing. I have devoted my creator, the select specimen of all that is worthy of love and admiration among men, to misery; I have pursued him even to that irremediable ruin.(letters)
I shall collect my funeral pile, and consume to ashes this miserable frame, that its remains may afford no light to any curious and unhallowed wretch, who would create such another as I have been. I shall die.(letters)
examples of wretch:How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? (ch5)
The picture appeared a vast and dim scene of evil, and I foresaw obscurely that I was destined to become the most wretched of human beings. (ch6)
A flash of lightning illuminated the object, and discovered its shape plainly to me; its gigantic stature, and the deformity of its aspect, more hideous than belongs to humanity, instantly informed me that it was the wretch, the filthy dæmon, to whom I had given life.(ch6)
Dear lady, I had none to support me; all looked on me as a wretch doomed to ignominy and perdition (ch7)
"I truly thank him. In these last moments I feel the sincerest gratitude towards those who think of me with kindness. How sweet is the affection of others to such a wretch as I am! (ch7)
But even if I were condemned to suffer on the scaffold for the same crimes, I would not change places with such a wretch."(ch9)
I perceived, as the shape came nearer, (sight tremendous and abhorred!) that it was the wretch whom I had created.(ch10)
I was a poor, helpless, miserable wretch; I knew, and could distinguish, nothing; but feeling pain invade me on all sides, I sat down and wept.(ch11)
It was a lovely sight, even to me, poor wretch! who had never beheld aught beautiful before. (ch11)
The mild exhortations of the old man, and the lively conversation of the loved Felix, were not for me. Miserable, unhappy wretch!(ch13)
"He struggled violently. 'Let me go,' he cried; ' monster! ugly wretch! you wish to eat me, and tear me to pieces -- You are an ogre -- Let me go, or I will tell my papa.'(ch16)
I, a miserable wretch, haunted by a curse that shut up every avenue to enjoyment.(ch18)
The wretch saw me destroy the creature on whose future existence he depended for happiness, and, with a howl of devilish despair and revenge, withdrew.(ch20)
Presently I heard the sound of footsteps along the passage; the door opened, and the wretch whom I dreaded appeared.(ch20)
human beings, their feelings and passions, would indeed be degraded if such a wretch as I felt pride.(ch22)
I avoided explanation, and maintained a continual silence concerning the wretch I had created.(ch22)
"I am satisfied: miserable wretch! you have determined to live, and I am satisfied."(ch23)
and of the wretched Victor, and thrust your sword into his heart. (ch24)
"I thank you, Walton," he said, "for your kind intentions towards so miserable a wretch; but when you speak of new ties, and fresh affections, think you that any can replace those who are gone?
"Wretch!" I said, "it is well that you come here to whine over the desolation that you have made. (letters)
"But it is true that I am a wretch. I have murdered the lovely and the helpless; I have strangled the innocent as they slept, and grasped to death his throat who never injured me or any other living thing. I have devoted my creator, the select specimen of all that is worthy of love and admiration among men, to misery; I have pursued him even to that irremediable ruin.(letters)
I shall collect my funeral pile, and consume to ashes this miserable frame, that its remains may afford no light to any curious and unhallowed wretch, who would create such another as I have been. I shall die.(letters)
Wednesday, February 25, 2009
2/25 notes
The Monster could represent many things: art, representation of child upbringing theories (nurture vs nature: monster had virtually zero nurture, could represent Victor's ego).
In one interesting study, a rise in abortion correlates to decrease in crime. When future children are not wanted, their upbringing is not proper. More people were having children who wanted to, less who didn't. This of course challenges the pro-life stance, intentionally or not. This is one of the great dividing moral issues of our time...I'm not sure that I have a strong opinion on this, maybe because I can't physically become pregnant. I know that if I were to be in a situation where a future child was mine, pro-life would be my stance in that situation.
In one interesting study, a rise in abortion correlates to decrease in crime. When future children are not wanted, their upbringing is not proper. More people were having children who wanted to, less who didn't. This of course challenges the pro-life stance, intentionally or not. This is one of the great dividing moral issues of our time...I'm not sure that I have a strong opinion on this, maybe because I can't physically become pregnant. I know that if I were to be in a situation where a future child was mine, pro-life would be my stance in that situation.
How does the Monster's tale make you feel about him?
The monster's tale makes me feel heavy sympathy for him. He was described as coming into the world with a mental maturity comparable to a newborn. While early in the book he does some extremely violent things, I think that they can almost be dismissed as part of his existence. He does so after being immediately shunned by his creator, his father. All he wanted was Victor's companionship, and he received nothing. When the monster himself is narrating (kind of through Victor), he recalls events showing his good side. He helps a group of peasants and even saves a girl from drowning. Since he is so frightful in appearance, his good deeds are rewarded with disgust and beatings. As the monster continues on, being torn between vengeance on Victor and remorse for his negative actions in live, you really start to feel for him. Think of his situation: he comes into this world, and is immediately cast out. Everyone he encounters and disgusted and terrified of him. He goes through his whole life having no companions, and only one acquaintance: the man who created him. Too bad Victor is the one who basically has caused all of his suffering, and now is hell-bent on killing him. Really, has anyone in history ever gone through life not only knowing just one person, but having that one person hate him?
Monday, February 23, 2009
2/23 notes
A Proposal: unconditional, deep, divine love is terrifying. When someone really deeply loves you, instinct is to push them away so they can't hurt you: as in Rime of the Ancient Mariner. I'm not sure I agree with this, in fact I often find it comforting and desirable to have someone who cares about you completely. Then again, maybe I can't relate, because I have never had someone entirely obsessed with me.
During Victor's dream on night of monster's creation, he dreams of Elizabeth turning into his mother's corpse in his arms. This suggests that he is trying to overcome the death of his mother, or possibly of Elizabeth's future death, however near or far that is. It's as if he wants to prevent a possibility of a world without her.
Victor compares himself to Satan: most suffering of all. Elizabeth wished to die with J...it sounds like she was also suffering pretty bad (probably worse).
During Victor's dream on night of monster's creation, he dreams of Elizabeth turning into his mother's corpse in his arms. This suggests that he is trying to overcome the death of his mother, or possibly of Elizabeth's future death, however near or far that is. It's as if he wants to prevent a possibility of a world without her.
Victor compares himself to Satan: most suffering of all. Elizabeth wished to die with J...it sounds like she was also suffering pretty bad (probably worse).
comparing Victor and Walton
Victor Frankenstein and Robert Walton are similar in many ways. Walton is after the "country of eternal light", seeking to be the first man to reach the north pole. He thinks that this will put him in the history books, making him into a sort of god. Possessed by this drive, his disregards all safety to quest north. Frankenstein has this same sort of reckless abandon: he thinks that by discovering the secret of life and creating his own being, he will go down in history. Perhaps in a more extreme way than Walton, Victor disregards any consequences of his actions and is focused solely on achieving his goal. Both Victor and Walton seem to have a hard time relating to other humans, as they feel distanced, perhaps more important (self righteous) then everyone else. Both could be viewed as reckless mad scientist types as well as brave explorer types, in the end, however, it is only Victor who lets his drive overtake any morality or logic.
Friday, February 20, 2009
2/20 notes
Frankenstein:
Walton wants to be a poet or discoverer, wants to be great in some way
Victor is ambitious to be great, to overcome death itself. Shelley describes both as artists. Shelley was not indeed writing about how man shouldn't meddle with god's domain, but about analyzing the "why" of the pursuit of Victor, and all humans. Victor is seen as even more criticized in 1831 version. Victor frequently says things like "I was fated". This is simply not true - he decided for himself, it was not his actual fate. Victor exculpates himself, justifies his mistakes through myth. Is fate real, or is it simply a concept endorsed by those trying to justify their mistakes? Of course, fate is often credited to good accomplishments. Perhaps fate is a concept related to religion, in that both center around faith in a concept.
During the creation of his creature, Victor views himself as a god-like father, and that this being will owe him everything. He thinks that this being will be a great creation; benevolent and impressive. He is completely engulfed in this process, almost killing himself in creating this new life. Victor is extremely ego-centric: he believes that he can do no wrong, and he is "fated" for greatness.
Walton wants to be a poet or discoverer, wants to be great in some way
Victor is ambitious to be great, to overcome death itself. Shelley describes both as artists. Shelley was not indeed writing about how man shouldn't meddle with god's domain, but about analyzing the "why" of the pursuit of Victor, and all humans. Victor is seen as even more criticized in 1831 version. Victor frequently says things like "I was fated". This is simply not true - he decided for himself, it was not his actual fate. Victor exculpates himself, justifies his mistakes through myth. Is fate real, or is it simply a concept endorsed by those trying to justify their mistakes? Of course, fate is often credited to good accomplishments. Perhaps fate is a concept related to religion, in that both center around faith in a concept.
During the creation of his creature, Victor views himself as a god-like father, and that this being will owe him everything. He thinks that this being will be a great creation; benevolent and impressive. He is completely engulfed in this process, almost killing himself in creating this new life. Victor is extremely ego-centric: he believes that he can do no wrong, and he is "fated" for greatness.
Wednesday, February 18, 2009
2/18 notes
Frankenstein, first published in 1819, republished in 1831 (class version)
Robert Walton, the ship captain, wants to find a passage to the north pole. This was a lifelong goal, due to his desire for fame. Walton wants to become king of elemental forces, elevating himself to a godly level. Along the way by boat, the crew encounters heavy ice and is unable to continue. While sitting, they find Frankenstein, and bring him on board. He's very sick - looks like he is about to die. Victor Frankenstein begins to tell them his story, to try to teach Walton a lesson. "Do you share my madness?" Frankenstein wants to save Walton from his mad quest for greatness, and has a desire for change.
Preface: written by husband Percy Bysshe Shelley (great poet). There is a theory that he wrote the entire novel: Dr. Mandell says that the man trying to prove this theory is insane, probably sexist. What would Percy's motivation be to do this? This scenario seems entirely ridiculous to me, a male attempt to discredit something great created by a female.
Robert Walton, the ship captain, wants to find a passage to the north pole. This was a lifelong goal, due to his desire for fame. Walton wants to become king of elemental forces, elevating himself to a godly level. Along the way by boat, the crew encounters heavy ice and is unable to continue. While sitting, they find Frankenstein, and bring him on board. He's very sick - looks like he is about to die. Victor Frankenstein begins to tell them his story, to try to teach Walton a lesson. "Do you share my madness?" Frankenstein wants to save Walton from his mad quest for greatness, and has a desire for change.
Preface: written by husband Percy Bysshe Shelley (great poet). There is a theory that he wrote the entire novel: Dr. Mandell says that the man trying to prove this theory is insane, probably sexist. What would Percy's motivation be to do this? This scenario seems entirely ridiculous to me, a male attempt to discredit something great created by a female.
Monday, February 16, 2009
2/16
Heathcliff as Frankenstein? (the monster or the doc?)
In the film from 1992, Cathy was played by same actress as Catherine: in a way, this reinforces the timeless love from Heathcliff, which in my opinion makes the movie more eerie. Heathcliff never could hate the real Catherine, just everyone else who represents her, or has had anything to do with their separation and ongoing love/hate relationship.
In the film from 1939, Heathcliff doesn't seem quite as dark as in the book, in fact, he could even be more handsome than the actor playing Linton. This is a little strange, as Heathcliff was never emphasized in the novel as being particularly handsome. Was the writer/producer of this film trying to portray Heathcliff in a different way, or way this simply a Hollywood situation of wanting the most attractive actors for the job? I feel that in contemporary cinema, the latter is true too often. In fact, I would bet there are thousands of amazing actors who would put current "stars" to shame. They just haven't had the chance, since they aren't Brad Pitt.
Scholarly articles often embody "dark sarcasm in the classroom" (pink floyd).
When high end jargon is taken out of the text, many times nothing is left. This is known as the "text curtain". Ordinary English is much more effective, and much less condescending. Maybe if more people bought in to this, groundbreaking and important thoughts could be much more mainstream. Do the current "intellectuals" even want this to happen, or do they want to keep it in the elite world of academia?
In the film from 1992, Cathy was played by same actress as Catherine: in a way, this reinforces the timeless love from Heathcliff, which in my opinion makes the movie more eerie. Heathcliff never could hate the real Catherine, just everyone else who represents her, or has had anything to do with their separation and ongoing love/hate relationship.
In the film from 1939, Heathcliff doesn't seem quite as dark as in the book, in fact, he could even be more handsome than the actor playing Linton. This is a little strange, as Heathcliff was never emphasized in the novel as being particularly handsome. Was the writer/producer of this film trying to portray Heathcliff in a different way, or way this simply a Hollywood situation of wanting the most attractive actors for the job? I feel that in contemporary cinema, the latter is true too often. In fact, I would bet there are thousands of amazing actors who would put current "stars" to shame. They just haven't had the chance, since they aren't Brad Pitt.
Scholarly articles often embody "dark sarcasm in the classroom" (pink floyd).
When high end jargon is taken out of the text, many times nothing is left. This is known as the "text curtain". Ordinary English is much more effective, and much less condescending. Maybe if more people bought in to this, groundbreaking and important thoughts could be much more mainstream. Do the current "intellectuals" even want this to happen, or do they want to keep it in the elite world of academia?
Sunday, February 15, 2009
What does James Phillips do that helps people better understand Catherine Earnshaw's relationships of "love"?
This article, "The Two Faces of Love in Wuthering Heights", (found on Academic Search Complete) greatly helped me to understand and have insight into not just the specific scene in which Heathcliff overhears Catherine discussing her love of Linton, but her relationship and outlook on her love for Linton and Heathcliff throughout the novel. Phillips describes the two loves of Catherine in different terms: Heathcliff as the transcendental face of love, and Linton as the empirical face. Phillips defines the two types of love, empirical and transcendental in terms of the 18th century German philosopher Immanuel Kant: Kant believes that empirical thinking is based off of a background of the transcendental. It cannot exist alone, and it must exist if transcendental thinking (how things appear to us, not necessarily what they actually are) occurs. Phillips describes transcendental as "the necessary and universal structures of experience". Although the occurrences and time line of Catherine's love life were very clear in the novel, I found that at times, it was hard to understand the reasons for her actions. For example, although she marries Linton, she says that she is in love with Heathcliff. Understanding this proved to be difficult through merely interpreting Catherine's words, and this article offered some good insight.
In chapter 9, Catherine puts into words how she feels about each of her loves. She says that ‘My love for Linton is like the foliage in the woods. Time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath — a source of little visible delight, but necessary’. Phillips suggests that the reason Catherine never considers having two loves as a highly immoral situation is because Catherine relates the two as separate types of love - empirical and transcendental.
In Catherine's relationship with Linton, Phillips says that 'Catherine’s love is determined empirically: it presupposes a scrutiny of experience and an evaluation of the relevant data.' Basically, she loves him in the now because he is beautiful and has money. If these circumstances were to change, it's as if she thinks she has the right to retract that love. Phillips suggests that Catherine does indeed love Linton, but only because of his "lovability". He says that in order to qualify for traditional "true love" circumstances, however, Catherine would need the love to be two-fold: empirical and transcendental. He says that the love for Phillip can never exceed the empirical realm so long as the transcendental love for Heathcliff exists: to happen would blur the separation of the two, perhaps causing Catherine to actually feel guilt.
Heathcliff perfectly fits Kant's idea of the transcendental: he has to exist for Catherine in order for Linton to. He is to her "a source of little visible delight, but necessary". Phillips asserts that this love is not dependent simply on the two's infatuation with each other's individuality, but because, as Catherine says, Heathcliff is the same person as her. Close to the end of the novel, Heathcliff expresses his feelings towards Catherine as she is dying. He scorns her, saying that she has killed herself, and that she deserved to die. He feels as if she has ultimately betrayed him by marrying Linton. Phillips thinks that Catherine does not feel the same at all: from analyzing her words, he feels that she cannot possibly abandon Heathcliff, because their love exceeds that of Linton, which relies on physical facts such as his wealth and appearance. He says that their relationship is "indissoluble", and suggests that Catherine treats Heathcliff badly simply to prove to herself that the relationship is bullet-proof. Phillips thinks that her torture of Heathcliff is in fact a necessary part of their relationship; the cruelty is 'in the service of the transcendental aspect of love because it is the test of empirical destructibility from which the bond between Catherine and Heathcliff is to emerge triumphant. Catherine never pauses to consider that there might be a point of no return. She puts their love to the test, not because she doubts it, but because she glories in the spectacle of its indubitability. Everyone around her takes this for capriciousness." This is the statement that made her ill-treatment of Heathcliff finally understandable to me: she does it because she knows she can. In my opinion, this makes her not only extremely greedy, but a bit of a sadist.
The combination of Catherine's two types of love somehow does not make her insane, but work in harmony. Since part of her love capacity is occupied by each of the men, the two cannot occupy the same realm, making each balance the other out. Phillips sums this up as following for Catherine: "No choice can be made without overthrowing the distinction on which Catherine's loves stand. She must love both in order for the love she feels for Heathcliff to be what it is and in order for the love she feels for Linton to be what it is." To me, viewing Catherine as such makes her seem like the least moral character in the story. Heathcliff is bent on revenge, but only because he has been wronged continually by the one he truly loves. While one could argue that his marriage makes him equally as bad of a person, Catherine seems perfectly content to torture both men she "loves", only so that she can feel personally fulfilled.
Phillips, James. "The Two Faces of Love in Wuthering Heights." Brontë Studies 32.2 (2007): 96-105.
In chapter 9, Catherine puts into words how she feels about each of her loves. She says that ‘My love for Linton is like the foliage in the woods. Time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath — a source of little visible delight, but necessary’. Phillips suggests that the reason Catherine never considers having two loves as a highly immoral situation is because Catherine relates the two as separate types of love - empirical and transcendental.
In Catherine's relationship with Linton, Phillips says that 'Catherine’s love is determined empirically: it presupposes a scrutiny of experience and an evaluation of the relevant data.' Basically, she loves him in the now because he is beautiful and has money. If these circumstances were to change, it's as if she thinks she has the right to retract that love. Phillips suggests that Catherine does indeed love Linton, but only because of his "lovability". He says that in order to qualify for traditional "true love" circumstances, however, Catherine would need the love to be two-fold: empirical and transcendental. He says that the love for Phillip can never exceed the empirical realm so long as the transcendental love for Heathcliff exists: to happen would blur the separation of the two, perhaps causing Catherine to actually feel guilt.
Heathcliff perfectly fits Kant's idea of the transcendental: he has to exist for Catherine in order for Linton to. He is to her "a source of little visible delight, but necessary". Phillips asserts that this love is not dependent simply on the two's infatuation with each other's individuality, but because, as Catherine says, Heathcliff is the same person as her. Close to the end of the novel, Heathcliff expresses his feelings towards Catherine as she is dying. He scorns her, saying that she has killed herself, and that she deserved to die. He feels as if she has ultimately betrayed him by marrying Linton. Phillips thinks that Catherine does not feel the same at all: from analyzing her words, he feels that she cannot possibly abandon Heathcliff, because their love exceeds that of Linton, which relies on physical facts such as his wealth and appearance. He says that their relationship is "indissoluble", and suggests that Catherine treats Heathcliff badly simply to prove to herself that the relationship is bullet-proof. Phillips thinks that her torture of Heathcliff is in fact a necessary part of their relationship; the cruelty is 'in the service of the transcendental aspect of love because it is the test of empirical destructibility from which the bond between Catherine and Heathcliff is to emerge triumphant. Catherine never pauses to consider that there might be a point of no return. She puts their love to the test, not because she doubts it, but because she glories in the spectacle of its indubitability. Everyone around her takes this for capriciousness." This is the statement that made her ill-treatment of Heathcliff finally understandable to me: she does it because she knows she can. In my opinion, this makes her not only extremely greedy, but a bit of a sadist.
The combination of Catherine's two types of love somehow does not make her insane, but work in harmony. Since part of her love capacity is occupied by each of the men, the two cannot occupy the same realm, making each balance the other out. Phillips sums this up as following for Catherine: "No choice can be made without overthrowing the distinction on which Catherine's loves stand. She must love both in order for the love she feels for Heathcliff to be what it is and in order for the love she feels for Linton to be what it is." To me, viewing Catherine as such makes her seem like the least moral character in the story. Heathcliff is bent on revenge, but only because he has been wronged continually by the one he truly loves. While one could argue that his marriage makes him equally as bad of a person, Catherine seems perfectly content to torture both men she "loves", only so that she can feel personally fulfilled.
Phillips, James. "The Two Faces of Love in Wuthering Heights." Brontë Studies 32.2 (2007): 96-105.
Monday, February 9, 2009
2/9 notes
Heathcliff's revenge: Heathcliff overhears Catherine talking, saying that reason that she cannot be with him is because Hindley brings him down to such a low social class. Before he hears her talk about how much she loves him regardless, he storms out. The first part of Heathcliff's revenge begins with Heath marrying Isabelle. This is done for several reasons, all centering around revenge on the Linton family. This is partially to make Cathy jealous, but more so to get to Edgar. It kind of ends up being a "you take my girl, I'll take yours" situation. Another part of Heathcliff's revenge involves acquiring Wuthering Heights from Hindley through a card game. Something to think about: soulmates. Does this apply to Cat and Heath? Is a soulmate someone who you frequently disagree with? Is it needing the other person to survive? Doesn't this seem fairly oppressive? I think that a "soulmate", if such a thing exists, is someone who you can share ideas and opinions with respectfully, not someone with whom you would argue with until you want to kill them. You share a love and understanding of each other that transcends differences that would normally cause huge arguments. This does not mean you are the same person: I think that such a thing is impossible. The beauty is in the difference: not in being ideal. Wuthering Heights as the greatest love story of all time? I would disagree with that, but I would go as far as to say it is a novel having some of the best character development ever written. Every character is highly complex, having both good and evil, and acting based on a large group of experiences and complex inter-character histories.
Thursday, February 5, 2009
Heathcliff
Basically, the whole book of Wuthering Heights centers around Heathcliff. You can tell he is somewhat of an odd and possibly evil character from the first time we are introduced to him. He is said to have "black eyes", with a suspicious look about him. Heathcliff seems to have a very vengeful drive throughout the book, with most of the plot rotating around his desire for vengeance. Where I am in the novel, I am having a very difficult time understanding this character. It almost seems as if beneath his rough and brooding exterior lies some type of good, wanting to do what's right, being some type of romantic hero. I wonder how much more of his violence and malintent I can take before any hope for good is erased from his character.
Wednesday, February 4, 2009
2/4 notes
Wuthering Heights notes:
The story has a very dark beginning. Lockwood is immediately portrayed as a misanthrope: one who hates other people. Heathcliffe has a son who has died, has a daughter in law who hates him, and has hunting dog who hates him (who he kicks). He tends to treat people pretty much in the same way as his dog. When reading chapter 3, it is important to know the meaning of maxillary convulsions: grinding teeth, angry, trying to hold back crying.
The story has a very dark beginning. Lockwood is immediately portrayed as a misanthrope: one who hates other people. Heathcliffe has a son who has died, has a daughter in law who hates him, and has hunting dog who hates him (who he kicks). He tends to treat people pretty much in the same way as his dog. When reading chapter 3, it is important to know the meaning of maxillary convulsions: grinding teeth, angry, trying to hold back crying.
Monday, February 2, 2009
digital rape
I found the case of Mr Bungle to be a very intriguing one. Did he commit rape? What is rape? Rape can traditionally be defined as unwanted, forced sexual intercourse. Now, in this case, there was no type of sexual intercourse. There was nothing physically, as everything happened in a MOO, which basically is a beefed-up chatroom. Perhaps what Mr Bungle was guilty of is not as serious as rape, but rather guilty of being an asshole. But is that all? I think that in this case, he was guilty of criminal sexual harassment, even if it only involved fictional characters. He was assaulting individuals, without their consent. He was most certainly unwelcome, and while I generally do not agree with censorship, he was past the line of speaking mind and harassing others.
Friday, January 30, 2009
1/30 notes
Virginia Woolf:
Woolf grew up not being able to have a room (intellectually): not allowed on the grass, not allowed in the library. She thinks that being called back into your body equals pulled out of intellectual world. At the end of the essay, Woolf concludes that women (or anybody) who write with a chip on their shoulder (men writing like men, women writing like women) are writing self-consciously. Writers should write as individuals, as a soul, not as a category or a type. The concept that "All who have brought about a state of sex consciousness" is wrong. She says that building one's self up by putting others down embodies racism, sexism, and classism. I strongly agree with this: somehow, this still seems to work for people today. If we were to take a stand against these people, we would realize that this way of building self importance is not only wrong, but shows a lack of actual importance and a weakness of that person.
Woolf grew up not being able to have a room (intellectually): not allowed on the grass, not allowed in the library. She thinks that being called back into your body equals pulled out of intellectual world. At the end of the essay, Woolf concludes that women (or anybody) who write with a chip on their shoulder (men writing like men, women writing like women) are writing self-consciously. Writers should write as individuals, as a soul, not as a category or a type. The concept that "All who have brought about a state of sex consciousness" is wrong. She says that building one's self up by putting others down embodies racism, sexism, and classism. I strongly agree with this: somehow, this still seems to work for people today. If we were to take a stand against these people, we would realize that this way of building self importance is not only wrong, but shows a lack of actual importance and a weakness of that person.
Thursday, January 29, 2009
My perfect room...
My perfect room would be so if it was able to upload the image....not sure what I'm doing wrong. Anyhow, it would be a scene of the band Radiohead playing live. The band is simply amazing. Their music is extremely creative, using interesting ideas in texture, instrumentation, harmonic language, and melody. The music, like my room which was also supposed to play one of their songs, is highly cathartic. Easily the best band that still makes music.
Monday, January 26, 2009
1/26 notes
Mary Wollstonecraft notes:
Wollstonecraft grew up with a father as an alcoholic, and ended up basically taking care of her family. She was self educated, and decided to write for a living. One important writing was "reflections on a revolution in france", followed by "vindication on the rights of man". The latter, published in January 1790 was seen as effeminate; Mary attacks men for not being "manly", meaning virtuous and rational. She defends liberty, and said that the concept of piece was classist. She treats men as a number of classes, or "men" as all humans
Her next important writing was "vindication on the rights of women". Wollstonecraft isolates women as a class of persons who have been treated the same way historically. She believes that society, through education, trains women to be immoral and irrational. With the current bombardment of gender roles and expectations propagated through the media (intentional or not), I would argue that this could still apply today.
ch.1:
Mary is a proponent of meritocracy: the rise to power due to merits and talents, not birthright. She views education as a subordinate system, inducing immorality. As a future teacher, I value the interests and education of students far over the adherence to a system, or molding students to "fit in" with societal expectations. I hope that I never become a vessel of teaching subordinance.
ch.2:
Women are taught to be subordinate, in order to be pleasing. Wollstonecraft says that soldiers are like women, taught to do as they're told, governed by rules and regulations in order to please others. Essentially, she is proving that men can be educated the same way as women, proving women are not naturally inferior. Everything relies on enculturation. She sees Rousseau as a sensualist. His view is that women are governed by fear, using cunning to render themselves as more alluring. She finds this to be nonsense. Rousseau was seen as standing for equality in the French revolution, but apparently just for men.
ch.3:
Mary says that women are taught to be beautiful, using their weakness to lure men. Women still do this today! I find this particularly unattractive, as I am more interested to someone who is an intellectual peer with me, not someone who needs taking care of. She says the women have been given too much, haven't proven themselves, and have been taking advantage in life rather than working hard to achieve. She fully believes in the power of her own word: if her word doesn't hold true, the world has betrayed her. In life, honesty and transparency are paramount: not traditional virtue as we view now. This is an interesting concept: it seems like Wollstonecraft is challenging the concept of right and wrong itself: who defines this? On what basis?
Wollstonecraft grew up with a father as an alcoholic, and ended up basically taking care of her family. She was self educated, and decided to write for a living. One important writing was "reflections on a revolution in france", followed by "vindication on the rights of man". The latter, published in January 1790 was seen as effeminate; Mary attacks men for not being "manly", meaning virtuous and rational. She defends liberty, and said that the concept of piece was classist. She treats men as a number of classes, or "men" as all humans
Her next important writing was "vindication on the rights of women". Wollstonecraft isolates women as a class of persons who have been treated the same way historically. She believes that society, through education, trains women to be immoral and irrational. With the current bombardment of gender roles and expectations propagated through the media (intentional or not), I would argue that this could still apply today.
ch.1:
Mary is a proponent of meritocracy: the rise to power due to merits and talents, not birthright. She views education as a subordinate system, inducing immorality. As a future teacher, I value the interests and education of students far over the adherence to a system, or molding students to "fit in" with societal expectations. I hope that I never become a vessel of teaching subordinance.
ch.2:
Women are taught to be subordinate, in order to be pleasing. Wollstonecraft says that soldiers are like women, taught to do as they're told, governed by rules and regulations in order to please others. Essentially, she is proving that men can be educated the same way as women, proving women are not naturally inferior. Everything relies on enculturation. She sees Rousseau as a sensualist. His view is that women are governed by fear, using cunning to render themselves as more alluring. She finds this to be nonsense. Rousseau was seen as standing for equality in the French revolution, but apparently just for men.
ch.3:
Mary says that women are taught to be beautiful, using their weakness to lure men. Women still do this today! I find this particularly unattractive, as I am more interested to someone who is an intellectual peer with me, not someone who needs taking care of. She says the women have been given too much, haven't proven themselves, and have been taking advantage in life rather than working hard to achieve. She fully believes in the power of her own word: if her word doesn't hold true, the world has betrayed her. In life, honesty and transparency are paramount: not traditional virtue as we view now. This is an interesting concept: it seems like Wollstonecraft is challenging the concept of right and wrong itself: who defines this? On what basis?
Thursday, January 22, 2009
Maid in Manhattan as Cinderella Story
If I remember right, this romantic comedy from a few years ago directly parallels much of the Cinderella story line. In this case, the protagonist is a maid working at a hotel, wishing to be in a better job position. She ends up "borrowing" some fancy clothes from a room in the hotel, and in doing so, has a chance encounter with a handsome, very well-to-do young man (Prince). Well, she ends up being caught, just like Cinderella ends up having to return home back to ashes every night, but when her prince finds her again, he takes her back, insisting that she was forgiven for lying, and saying that he would have noticed her anyhow, not just because of her fine clothes. It seems to me that this is the same deal: the rich guy only notices the girl when she dresses and acts up to his high society standards. Upon being caught in the sense that the male seems superficial, both the prince and the guy in this movie take the girl anyhow, redeeming themselves a bit, showing their "true love" capacity. All in all, I seem to remember this movie being fairly boring and cliche. You knew what was coming the entire time.
Wednesday, January 21, 2009
1/21 notes
Courtship of Mr Lyon:
The beast from this version of the story is a bit different than the traditional beast that we all know. He is more intense and ferocious, and seems to be less caring, and has a very limited soft side. One theme of the story centers on violence and males: this is the story of a man coming to terms with violence, redemption, need for love regardless of self.
Snow Child:
In this story, the count can be seen as a symbol of masculine power and desire.The girl created represents a "masculine fantasy", beautiful, yet powerless, nothing but a sex object, described as the "child of his desire". If this is meant to be a generalization of all males, I feel that it is unfair and inaccurate. I could see this being accurate as an extreme exaggeration, but overall, just a little ridiculous. The countess in the story is jealous of the girl, competing for the count's love. Essentially, she is under the control of the count. When she says "It bites!", this could represent the pain of being a woman, living in the male-dominated world.
The beast from this version of the story is a bit different than the traditional beast that we all know. He is more intense and ferocious, and seems to be less caring, and has a very limited soft side. One theme of the story centers on violence and males: this is the story of a man coming to terms with violence, redemption, need for love regardless of self.
Snow Child:
In this story, the count can be seen as a symbol of masculine power and desire.The girl created represents a "masculine fantasy", beautiful, yet powerless, nothing but a sex object, described as the "child of his desire". If this is meant to be a generalization of all males, I feel that it is unfair and inaccurate. I could see this being accurate as an extreme exaggeration, but overall, just a little ridiculous. The countess in the story is jealous of the girl, competing for the count's love. Essentially, she is under the control of the count. When she says "It bites!", this could represent the pain of being a woman, living in the male-dominated world.
Wednesday, January 14, 2009
Cinderella notes
I found the Anne Sexton version of Cinderella to be much more interesting than the Grimm brothers version, mainly due to some colorful language. This begins with the term "luscious sweet", comparing a female to possibly a food. It continues by mentioning Dior, a french fashion designer. The next interesting allusion was to Bonwit Teller, a now out of business high end department store. The next reference I researched was "Al Jolson", to whom Cinderella covered in ashes was compared, since he frequently performed wearing black-face makeup. Towards the end, I found a little more colorful language to look up, curry favor. This simply means to seek favor of someone through flattery. Finally, the story ends with "Regular Bobbsey Twins", a reference to an old book series. It is language like this that kept this story fresh, rather than simply telling the tale like the Grimm brothers.
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