Freebie

Thanks for putting up with me the past 2 years. I'll be making headlines soon so you'll hear about me.

Witty Whitman

Step 1:
After one look through the notebook, I can see that Whitman was no calligrapher. Even still, he put many of his ideas into writing. Although Whitman was an American poet, it seems that he writes in Spanish as well as English. He writes about a "Ship of Libertad," translated from Spanish means "Ship of Liberty." Based on this observation, and given his context, I think liberty may be a popular theme in his writing; nonetheless, I am interested to see how and why Spanish words pertain to his area of focus. Another thing that stands out to me is the amount of things that he crosses out in his notebook. This may reflect his indecisive nature, as well as his constantly wondering mind. Lastly, the portraits and doodles stand out to me because I did not think Whitman was much of the artistic type. To me, these portraits appear as though they are none other than Whitman himself. His intent in these drawings may have been an emphasis on his exploring of the self. The last image, however, is particularly disturbing in that it depicts a man with a heart for a body, and an arrow going through it. Because his writing was centered around the Civil War, this may symbolize the death of the union.

Step 2:
The notes help provide a better understanding of Whitman's intentions in his journal. Although he never met the President, Abraham Lincoln was a large source of inspiration for Whitman's writing. In his journal, Whitman writes an ongoing imaginary dialogue with the President, explaining his grief as well as the President's. Whitman found the Civil War to be a case of history repeating itself: to him and many others of his time it was the second American Revolution. Comparing the two wars reflects Whitman's predilection for history and his attention to time. While it is not explained why in the article, Whitman's use of "libertad" may once again be him making a historical reference (this time comparing to revolutions that were taking place in Latin America around the same time). Lastly, I've come to learn that Whitman was, in fact, no artist. Although the portraits in his notebook are of him, historians believe that Whitman had others draw him. Even still, I think this suggests that Whitman was very interested in exploring the themes that existed within himself. For a man who tried so hard to put the world around him into words, he found it hard to conceptualize himself. In this case, images may have provided him more satisfaction than words could. The last image, however, I believe is a creation of his own. It is less refined than the other sketches and makes an implication about the state of the union; the sun is setting on the United States.

The American Dream

The American Dream is, in terms of the existence of civilized societies, a very new concept. For almost all of human history, man has been limited to the circumstances that he is brought up in. A man born a peasant in medieval Europe, dies a peasant. A woman born an untouchable in the Indian caste system, dies an untouchable. Predetermined fates have plagued people for millenniums. The trend has been that those born into poverty, stay in poverty. For the most part, this trend is still the sad reality that much of the world succumbs to. In Africa today, it is almost guaranteed that if one is not born into wealth, he will remain in despair. 

Nonetheless, humanity is motivated by an ever-growing sense of hope. The idea of living in better circumstances, working a quality job, seeing one's children prosper, and being happy, are the things that give purpose to billions of lives. Until the last few centuries, this hope was impractical; no medium existed to carry such people to success. Now, however, that medium is the United States. A nation founded by immigrants seeking freedom and opportunity, the United States is symbolic of hope in its most basic fundamentals. What started out as an opportunity exclusive to Europeans, soon spread around the world to encompass the globe. No matter a person's background nor heritage, he/she can make a life for his/herself in the United States. My father, an immigrant to the United States from India, is an example of the American Dream at its finest; he came from little but changed his life for the better in the land of the free. 

As for myself, I was born into wealth in this country and as a result, my understanding of the American Dream is not the same as my father's. From my experiences, however, I've learned a lot about wealth and its implications. I define wealth as anything that gives one power. In most cases, money facilitates power. But as the saying goes, money does not buy happiness; and because of this, I'd argue that the American Dream is not at all about money. The traditional American's concept of the American Dream is extremely distorted. Why? Because so many of us have no idea what it really means to struggle, myself included. In the materialistic society we live in, our idea of struggling is exclusive to a fiscal agenda and because of that, we are often misguided into believing that our purpose in life is to amass wealth. Americans view poverty as a hell they must escape by turning dollars into wealth. Outsiders, on the other hand, may likewise find poverty to be a hell they must escape, but rather through hope and happiness. 

Growing up, I've been lucky enough to become close friends with immigrants to the United States. From my definition, one of these friends has very little wealth. Regardless, he still considers himself a product of the American Dream. In Guatemala, where he was born, the safety of his family was in jeopardy. He lived in fear and doubted that his life would ever amount to much. After his father brought him and his family to the United States, these troubles and conceptions of his life changed drastically. Though his family still has little in terms of material, his intellectual outlook is at its brightest. My friend believes that the American Dream has served him well because it has given him hope. His family is safe and the future for him is bright now that he is receiving a quality, and respectable, education. Thus, to those born outside the United States, the American Dream is a beacon for hope and opportunity; for Americans born in the United States, the dream is more a symbol of material gain. 

With this understanding established, I've slowly changed the idea of what I wish to become. Though I may be blessed with more wealth than my friend, I've realized that this difference has not necessarily made me happier than him. Rather, it's caused me to take many things for granted. For my friend who came from much less, simply waking up in the United States each morning is a blessing. It's reasons like this that have made him far more appreciative and content with life than I have been. At the end of the day, wealth is overrated if it doesn't make one happy. So with that, I plan to live the American Dream by following a career path and lifestyle that brings me joy... and I'll find wealth somewhere along the way. 

Lost in Translation

Translations (outline): 

      As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.

a.       Diction: Use of the word “uneasy” makes the dreams seem not too bad: manageable. “Found himself” signifies that the result was unexpected and came as a surprise to the protagonist.

b.       Syntax: Only one period, no commas. Describes action “as” it is happening.

c.       Imagery/details: “In his bed” gives the reader an idea of where the scene is taking place. Thus, the reader can visualize a “gigantic insect” lying in a human bed.

d.       Structure: Active voice, narrative.

e.       Any other stylist/figurative elements: Written from third person point of view.

     Gregory Samsa woke from uneasy dreams one morning to find himself changed into a giant bug.

a.       Diction: The use of “uneasy” once again makes the dreams seem bad, but not too terrible. “Find himself” also is used to show that the protagonist did not expect to turn into an insect.

b.       Syntax: One period and no commas. Told as a completed action done in the past.

c.       Imagery/details: “Giant bug” provides an image of what Samsa has been transformed into. Lack of “in his bed” frees the reader’s mind to imagine Samsa as a bug in other places/situations.

d.       Structure: Rising action, active voice, narration leaves much unexplained.

e.       Any other stylist/figurative elements: Third person point of view, “giant bug” serves as a euphemism when compared to saying “gigantic insect”.

         When Gregor Samsa awoke from troubled dreams one morning he found he had been transformed in his bed into an enormous bug.

a.       Diction: “Troubled dreams” suggest reminiscent of a nightmare, denotation and connotation rather similar.

b.       Syntax: Still no use of commas or complex sentence structure.

c.       Imagery/details: “Enormous bug” suggests that the bug is comparable in stature to a human.

d.       Structure: Told in a chronological fashion, uses passive voice.

e.       Any other stylist/figurative elements: Third person point of view gives reader limited introspection into Samsa’s thoughts and concerns.

      One morning, upon awakening from agitated dreams, Gregor Samsa found himself, in his bed, transformed into a monstrous vermin.

a.       Diction: “Monstrous vermin” makes for a much scarier and dramatic description than the other translations. “Agitated” dreams supplement this style of creating fear within the reader.

b.       Syntax: Use of commas to build anticipation and setup scene. Told as a completed action.

c.       Imagery/details: A “monstrous vermin” puts a nasty image in the reader’s mind, suggests that he is naturally evil.

d.       Structure: Structure heavily influenced by the use of commas, mix of active and passive voice.

e.       Any other stylist/figurative elements: Most complex structure of all the other translations, still uses third person point of view.

Franz Kafka's novella, Metamorphosis, has been translated from German to many other languages; from German to English alone, more than four translations have been made. By looking at each of these translations, it’s interesting to see how meaning can change and interpretations vary, despite all coming from the same original text. In the examples above, diction and imagery differ amongst the four translations and thus a different effect is made on the reader for each one. Take the description of Samsa’s dreams for example. While the first two translations describe them as “uneasy,” the third calls them “troubled” and the last one “agitated.” Each of these words represent different degrees to which Samsa’s dreams were a nightmare. As the translations progress, the implied meaning is that Samsa’s dreams became worse and worse. As a result, Kafka’s original meaning may be lost in translation.

      Another great example of diction, as well as imagery, are the descriptions used to describe what Samsa was transformed into: “gigantic insect,” “giant bug,” “enormous bug,” and “monstrous vermin.” With each of these examples, the reader is left with a different idea and understanding of the transformation. When a word like “bug” is used, it’s a broader term than “insect” and as a result the translation does not seem as dramatic. “Insect” forces the reader to consider the fine details of the new Samsa: six legs, antennas, big eyes, etc. Although the first three translations use “insect” and “bug” respectively, the tone for all three of them is surprise and genuine shock. The last translation, however, differs in that it takes on an entirely new tone: menacing and threatening. Using the phrase “monstrous vermin” to describe the new Samsa makes the reader fearful of what the protagonist has become. The language has greater connotative power and is therefore stronger in its effect on the reader.

      From this exercise, the difficulty of reading translated texts is made self-evident. The intended meaning from the original author and the resulting meaning from its translators can vary drastically. Because of this, one must be careful when analyzing the author’s intent using a translated version. In this exercise, the final translation was the most effective in that its use of diction and syntax engaged the reader more than the previous three translations; the use of commas heightens the reader’s anticipation and the word choice makes the reader fearful. Regardless, this may completely contrast with Kafka’s original intention. In the German version, Kafka may have wanted this sentence to hit the reader in a subtler manner. Tone is important to an author’s writing style, yet it is often lost in translation. As a result, the translator’s tone may be the one that prevails. 

IOC Practice

Passage analyzed: The Handmaid's Tale by Margaret Atwood (beginning with "I wait, washed, brushed, fed, like a prize pig" and ending with "You could tell yourself you were saving up your strength")

Self-scoring

Criterion A: Knowledge and understanding of the text or extract: Score of 8 awarded. I think that I had good knowledge of the text and pulled some important evidence from the passage to support my points, but my understanding could have been better supported by a more thorough analysis.

Criterion B: Understanding of the use and effects of literary features: Score of 7 awarded. While I did focus on the effect and implications of the author's language, I do not think I had enough emphasized focus on the actual literary features. Essentially, I believe that the understanding was present but the awareness was lacking.

Criterion C: Organization: Score of 5 awarded. This would actually probably be more like a 4.5. I definitely started and ended the commentary with a statement of my three main points, but within the body of the analysis my organization was not always the best.

Criterion D: Language: Score of 3 awarded. The register and style of my commentary were mostly appropriate, but I found myself repeating, stuttering, and following the same sentence structures. I'm not completely sure if my conversational style approach is what the IBO is expecting, or if I should be more formal with how I speak.

Judging by the Cover

All four book covers for Never Let Me Go make different implications about the novel. Each cover has a unique color scheme associated with it. Depending on the color scheme, a certain mood can be implied about the novel. The bottom two covers, which contain a darker color pattern, suggest a dark, ominous mood. In contrast, the top two covers, which have a lighter color scheme, imply a more hopeful, or even mysterious, disposition. Thus, the intentions for the cover reflect the individual artist's impression of the novel itself.  

For this analysis, I will examine two book covers. When looking at the first cover (above), the first word that comes to my mind is "life". The artist does a great job of emphasizing the greenery in this cover. By placing the girl, which I assume to be Kathy, in the middle of a sea of grass and plants, the artist forces his/her audience to consider vitality and liveliness. Without having read the novel, this cover paints a rather happy idea of what the book might be about. Typically, an abundance of plants implies a feeling of being alive. The girl in the middle, however, with her head down and frown on her face, suggests that the novel may have a depressing focus. Now that I've read the book, I see how the cover relates to the novel's emphasis on life in such a corrupt system. The children of Hailsham live in a world where they are mislead to believe that their lives are normal with bright futures ahead. In reality, however, the future doesn't have much opportunity in store for them. Thus, the cover underscores this apparent contrast between the way life seems and the way it actually is. Although the girl is sitting in a field full of life and plants (which generally implies an upbeat and optimistic connotation), she acknowledges the reality of her predetermined fate. 

The second book cover (above), is much more ominous, and even threatening, than the first one. The title of the novel are written with barbed wire, implying a dangerous nature to be associated with the book. In all honesty, the first words that come to my mind when I look at this cover are "death" and "confinement". I say "death" because of the way that the title is written. The letters are spaced out oddly with no attention to organization or a line scheme. This lack of structure makes me feel that the novel will break the conventions of its genre and create a chaotic setting. I also say "confinement" because the barbed wire makes me think that people are being held against their own will, by force. If I hadn't read the novel, I would think that it was inspired by events in Nazi Germany during the Holocaust. The shape of the barbed wire forms the outline of the internal organs of a human body. This observation makes me think that people may be killed or sacrificed in the novel, with special attention to their human anatomy. Having read the novel, I see the correlation between the cover and the plot. The cover is clearly pointing at the fact that the children of Hailsham will one day be forced to donate their organs. Moreover, the forest in the background of the cover is indicative of the same forest that haunts the children of Hailsham. 

Both the first and second book covers are strong in their ability to make implications about the text. Although they both reflect real events and ideas that transpire in the novel, they do so in different ways. To some extent, the covers serve as a "lens" with which to look at the book. This "lens," however, is different for each artist. While the first cover's artist chooses to underscore the irony contained within the novel, the second cover's artist emphasizes a pessimistic outlook. Because of this, it is clear that a book cover can be used to create many different perceptions of a novel. To relate back to the old saying, "don't judge a book by its cover," I now understand the legitimacy of this cliche. While each cover suggests something different about the novel, at the end of the day they all contain the same story. 

A tale of two Americas

I watched the TED Talk, "A tale of two Americas. And the mini-mart where they collided," delivered by Anand Giridharadas. In his talk, Giridharadas explains the concept of having two different "Americas" within the same United States. The first "America" is that of native-born citizens who have lived in the country for many generations. Despite being exposed to the opportunities and dreams that are fundamental to the American experience for so many years, this "America" tends to not capitalize on the chances that they have been given. In contrast, the other "America,"  of immigrants and "first-generationers" to this country, have a mindset that is determined to take advantage of every opportunity they are given: true to form of the American dream. 

At a Dallas mini-mart, Giridharadas explains how these two "Americas" came together one day, shortly after 9/11. A lower class white male, cultivated by a society of white supremacy and whose chaotic family had lived in the United States for many years, walked in to a mini-mart carrying a shot gun. The store clerk, a Bangladeshi immigrant to the United States, thought he was being robbed, but was met by an alternate reality. The white male asked the store clerk, "where are you from?" Before the store clerk could make sense of the situation, the white male fired his gun at him. Long story short, the store clerk survived. Despite losing his fiance and job, as well as accumulating an abundance of medical debt, the store clerk beat the odds, got an education, and went on to make a six-figure salary in telemarketing. 

The beauty of this story lies within the store clerk's capacity for resilience. As the white male awaited his end on death row, the store clerk fought to defend his attacker's life. The store clerk registered, through faith and his own experiences, that the "America" his attacker came from had ultimately failed him. While the store clerk had been brought up with a clear sense of values and ambition for his life, the white male was brought up in a society plagued by addiction, violence, and racism. In essence, the store clerk realized that his "America" was starkly different from his attacker's, and the trend would continue if he did not do something about it. 

Giridharadas takes special use of ethos, logos, and pathos in delivering his story to his audience. The elaborate story of the store clerk and the white male contribute to Giridharadas' credibility by providing the audience with a real-life story with which they can relate to and better understand the reality that Giridharadas is attempting to shed light on. Giridharadas' argument is further supplemented by his use of organization and a logical approach to his story. Giridharadas does a great job of telling the story in chronological order and explaining the motives behind the store clerk's change of heart to forgive and fight for his attacker. 

Nonetheless, Giridharadas shares a similar immigrant background to the store clerk and thus his perspective his biased in favor of the immigrant "America" over the native-born one. 

Lastly, Giridharadas often turns to pathos to build on and gain support for his argument, through both words and images. Giridharadas' powerful anecdote exemplifies the fundamental nature of humanism and the remarkable ability of people to forgive one another. These concepts bring his audience together, despite their personal backgrounds and perspectives, as one collective human spirit. The images of both the store clerk and the white male bring his story to life and allow the audience to relate on a more personal level. 

For me personally, I chose this TED Talk because it is very relatable to my life in a number of ways. To start, I share the perspective of the second "America" that Giridharadas describes. I am the son of an immigrant to the United States and have been influenced by my father's belief in the American dream, that anything is possible in this country with hardwork and determination. My background, however, becomes even more interesting in that my mother belongs to the first "America," of native-born people who have lived here for many generations. I have personally witnessed how the American dream is not as visible to the first "America," that is my mother's side.  

Because most of my mother's family has been content with the circumstances of their life, they have had no motivation to change their lives for the better. Comparatively, my father's family has thrived and excelled past my mother's family in just forty years of being in this country. The irony of this is truly demonstrated by history. My father was born in a dirt-floor home in southern India. When him and his family came to Canada in 1972, they had virtually nothing. My dad himself was a store clerk at a convenience store at the early age of 12, and has worked a job ever since. Though they lived in government housing and below the poverty line, my father and his siblings were driven by the ambition to prosper and survive in this new country, despite the adversity that they faced.  

Meanwhile, my mother grew up in Charlotte and Hickory, North Carolina. Her family was rather well-off and my mother didn't work a job until high school, when she wanted to make some extra cash. Though her immediate family was accepting of diversity, her extended family, nurtured by an uneducated society, has roots of racism and unfair bias against others. Just like Giridharadas describes two "Americas" coming together in a Dallas mini-mart (my hometown), the marriage of my mother and father is, to some extent, another example of these two "Americas" coming together. 

Moreover, the experience of the store clerk being questioned about his roots by his attacker is yet another relatable aspect of the story to me. In October 2001, just a few weeks after the store clerk in Giridharadas' TED Talk was shot, my father faced a similar, yet less violent, encounter. While waiting in the checkout line of a Home Depot, a cashier shouted at my father the same exact question that Giridharadas' store clerk was asked: "where are you from?" The questioner, fueled by fear and ignorance, seemed to be under the impression that my father was Muslim and of Arab descent. Though her implications were completely erroneous, the experience has had a lasting impact on both my father, and now me. 

Jekyllin' Me, Hyde

Mr. Edward Hyde excerpt:

“He is not easy to describe. There is something wrong with his appearance; something displeasing, something downright detestable. I never saw a man I so disliked, and yet I scarce know why. He must be deformed somewhere; he gives a strong feeling of deformity, although I couldn’t specify the point. He’s an extraordinary-looking man, and yet I really can name nothing out of the way. 

Dr. Henry Jekyll excerpt:

To this rule, Dr. Jekyll was no exception; and as he now sat on the opposite side of the fire — a large, well-made, smooth-faced man of fifty, with something of a slyish cast perhaps, but every mark of capacity and kindness — you could see by his looks that he cherished for Mr. Utterson a sincere and warm affection.

“I have been wanting to speak to you, Jekyll,” began the latter. “You know that will of yours?”

A close observer might have gathered that the topic was distasteful; but the doctor carried it off gaily. “My poor Utterson,” said he, “you are unfortunate in such a client. I never saw a man so distressed as you were by my will; unless it were that hide-bound pedant, Lanyon, at what he called my scientific heresies. Oh, I know he’s a good fellow — you needn’t frown — an excellent fellow, and I always mean to see more of him; but a hide-bound pedant for all that; an ignorant, blatant pedant. I was never more disappointed in any man than Lanyon.”

“You know I never approved of it,” pursued Utterson, ruthlessly disregarding the fresh topic.

“My will? Yes, certainly, I know that,” said the doctor, a trifle sharply. “You have told me so.”

“Well, I tell you so again,” continued the lawyer. “I have been learning something of young Hyde.”

The large handsome face of Dr. Jekyll grew pale to the very lips, and there came a blackness about his eyes. “I do not care to hear more,” said he. “This is a matter I thought we had agreed to drop.”

Analysis:

The first excerpt, given from the perspective of Mr. Enfield, establishes an evil, and mysterious, voice for Mr. Hyde. While Enfield insists that there is "something wrong" with Hyde's appearance, he is unable to say exactly what. Enfield's incapability to provide an explanation for why Hyde's appearance is "downright detestable" builds on the novella's theme of suspense and puzzlement, as well as Hyde's satanic voice. Enfield's description suggests that Hyde's peculiarity and wickedness is so extreme that Enfield himself lacks the words necessary to effectively characterize it. This pattern continues throughout the novella, as many characters, including Mr. Utterson, agree that while something is off about Hyde, they cannot accurately describe it. 

Stevenson's characterization of Dr. Jekyll in the second excerpt gives a much different voice to him than the one he assigns to Hyde. In contrast to the many questions that are raised by Hyde's image, Jekyll's description leaves the audience with a straightforward understanding of his character's appearance and good intentions. By Jekyll's looks, anyone could see "that he cherished for Mr. Utterson a sincere and warm affection." Stevenson bridges Jekyll's morally-straight voice to Hyde's evil one in order to emphasize the striking dissimilarity between the two characters. When Utterson mentions Hyde to Jekyll, "there came a blackness about his eyes" and Jekyll suddenly responds that he would not like to discuss the matter. Using the word "blackness" implies a dark, unpleasant view of Hyde by Jekyll. Moreover, Jekyll's strange reaction to the subject of Hyde adds to the skepticism surrounding Hyde and further builds on the distinction between Jekyll and Hyde's respective voices.

Step 2: This poem is intended to demonstrate the differences and similarities between Jekyll and Hyde’s characters. The intended effect of this poem is to reveal society’s views of the characters as well as their internal motivations. Jekyll’s part is written by Kayla Robinson and Hyde’s by Zack Thomas. All creative genius and physical labor that went into this poem is the work of Zack Thomas, exclusively.

Jekyll and Hyde: Two-Voice Poem

J: I am Henry Jekyll.

H: I'm Edward Hyde.

J: I am quite a renowned scientist.

H: I'm a notorious murderer.

J: Without my potion, Hyde is nothing.

H: Without me, Jekyll is deeply troubled.

J: Smooth-faced and kind,

H: Despicable and detestable,

J: People respect me and my wishes.

H: The London police want me in custody.

J & H: We are polar opposites.

J: Mr. Utterson is my loyal friend.

H: Mr. Utterson is trying to expose me.

J & H: Yet we are one in the same.

This a selfie featuring the authors of the above poem:

The Porter’s Netflix Recommendation List:

1. The Office

This sitcom attempts to embody the dynamics of office relationships in the 21^st century in a humorous manner. The main character, Michael Scott, is arrogant in that he beholds himself to a higher value than society typically would. Just like Michael, the Porter does not acknowledge the social order of the society in which he lives. Although he is very limited in authority, he speaks to those above him as though they were equals. Such a persona is demonstrated in Michael Scott during his interactions with the corporate executives who control the regional branch of the paper company that employs him. For these reasons, the Porter might see a funny, lighthearted representation of himself in The Office.

2. Master of None

Master of None follows the life of a young man, Dev Shah, who struggles to make decisions.  Dev lives his life in the present and never plans too far ahead. In many ways, Dev is an opportunist: he takes advantage of the opportunities that life throws at him and hopes for the best. Dev’s behavior in Master of None may represent the Porter’s disposition and view on life. Rather than concerning himself with material gain and the assumption of power, the Porter lives his life pretty laid back. He is not at all concerned with what is expected of him nor about what the future may hold. In the eyes of both Dev and the Porter, every day is a new day.

3. Flight­

This film is different from others on this list in that it tackles a significantly more dramatic topic: alcoholism. Although the Porter (from the brief appearances he makes in Macbeth) is generally nonchalant, he is symbolic of the life of an alcoholic. While it is never expanded on, there is likely a reason for which he drinks and why he has become so unconcerned. Flight details the life of an alcoholic pilot who is in hot water regarding a flight in which a plane malfunction resulted in a crash, killing several passengers on board. The movie does a good job of showing the struggles of overcoming alcoholism and the effect that it can have on the victim and his or her loves ones. As is the case with many alcoholics, the Porter may not wish to discuss his problem externally; but there is no doubt he would relate to this film’s premise internally.

4. Trailer Park Boys

This TV sitcom completes the list on a brighter note. Trailer Park Boys follows the life of three Canadian men living in a poverty-stricken trailer park. The “boys”, as they are referred to in the show, enjoy leisure activities like smoking and drinking, as well as coming up with elaborate schemes to make money. As demonstrated in Macbeth by his drunk state of mind at the feast for Duncan, the Porter is to some extent a party guy: he likes to kick back and have fun like the “boys” do. Trailer Park Boys was created with an attempt to relate to people with similar interests, such as the Porter. The drug references, potty humor, and crude behavior of the “boys” would likely resonate well with the Porter. 

Shakespeare, Power, and Corruption

"Power corrupts, and absolute power corrupts absolutely." - Lord Action 

In Macbeth, Shakespeare demonstrates the effect of power on man. In the beginning of the play, Macbeth is a noble warrior who fights with honor and creed. Shakespeare describes Macbeth's virtuous character early on through a conversation between King Duncan and one of his captains. The captain describes how "brave Macbeth" defeated the rebel Macdonwald to which King Duncan, delighted, responds "O valiant cousin! Worthy gentleman!" 

Despite this initial characterization, Macbeth's value of loyalty is suddenly changed by the prophecy of the witches promising him power. In murdering King Duncan, Macbeth shows complete disregard for the allegiance to his country that he was once so willing to die for. The struggle for power, then, fundamentally corrupted Macbeth; he completely lost sight of his moral compass. For this reason, Shakespeare would agree, to a great extent, that absolute power (like being King) absolutely corrupts what one stands for (such as the irony of a soldier killing the King that he once fought for). 

In my own experience, I have also demonstrated the ability of power to change one's personal values. For all my life, I have been very dedicated to spending money wisely. Over the summer, my parents gave me a credit card to use for emergencies and, occasionally, for food. In contrast to spending my own money, the credit card gave me full access to my parent's bank account. Because of this, I did not feel the usual guilt associated with spending money when I used the card. As the summer went on, I began to use the card more and more frequently. The consequences of overusing the card were, at the time, indifferent to me. 

At the end of the summer, however, after my parents read through their bank statement, I was stripped of my credit card privilege and forced to pay my parents the $300 bill out of my own pocket. In retrospect, I consider the credit card to have been a form of absolute power to me. With the card I could buy virtually anything without having to worry about losing my own money. Ultimately, I turned into a person with no regard for spending nor rational purchases. Just like the power of being King led Macbeth to betray his values, the power of the credit card led me to do the same. 

Freebie!!!!!!

On November 13, 2016, I am using my one "freebie" for the first semester.

Canterbury Tales & Jane Eyre: Question #3

"One afternoon (I had then been three weeks at Lowood), as I was sitting with a slate in my hand, puzzling over a sum in long division, my eyes, raised in abstraction to the window, caught sight of a figure just passing: I recognised almost instinctively that gaunt outline; and when, two minutes after, all the school, teachers included, rose en masse, it was not necessary for me to look up in order to ascertain whose entrance they thus greeted. A long stride measured the schoolroom, and presently beside Miss Temple, who herself had risen, stood the same black column which had frowned on me so ominously from the hearthrug of Gateshead. I now glanced sideways at this piece of architecture. Yes, I was right: it was Mr. Brocklehurst, buttoned up in a surtout, and looking longer, narrower, and more rigid than ever." -Charlotte Bronte, Jane Eyre 

In the selected chapter from Jane Eyre, by Charlotte Bronte, Bronte employs a stylistic use of imagery to introduce the character of Mr. Brocklehurst. This imagery takes on a rather architectural lens: describing physical characteristics that neglect to acknowledge the the character's status as a human being. Taking away Mr. Brocklebury's  mortality  underscores his nonconformity with human nature early on. In the passage above, Jane first predicts the arrival of Mr. Brocklehurst after seeing a "gaunt outline" pass the window of her classroom. Diction in this case, such as "gaunt", establishes a grim foundation for Mr. Brocklehurst from the get-go; his presence is essentially bleak in nature. As a result, the development of his character is retarded to a low level of empathy for others, unlike what is expected of humanity. 

Once Jane's prediction is proved accurate, she then compares Mr. Brocklehurst's appearance to that of a "black column". A dark color, black suggests that Mr. Brocklebury is both a powerful and serious individual. Furthermore, a column is straight by definition and can therefore appeal to logic; Mr. Brocklebury is motivated by reason rather than emotional dilemmas.  In her final remarks regarding Mr. Brocklehurst's appearance, Jane states that he looked "longer, narrower, and more rigid than ever." "Than ever" implies that Mr. Brocklehurst's character on this particular occasion will be extreme in its respective nature and thus more cold. Such character is unlikely to change on account of his "rigid" disposition. In brief, Bronte's embrace of the architectural imagery approach serves to dehumanize Mr. Brocklehurst and therefore explain his inhumane temperament. 

Lust, A Horrible Temptation

This advertisement was created by the United States government and released to the public in 1942. On the surface, we can see a line of blonde-haired, white women dressed in the same attire. Below the women are the face’s of three men, each of them wearing a hat. The text on the image reads “98% of all procurable women have venereal disease,” followed by “Why bet against these odds?” Looking at the connotative implications, new conclusions be made. Considering the tight-fit clothing and high skirts of the women, it can be inferred that the US government intended to present these women in a sexual manner. The three male heads below the line of women substantiate this inference by means of facial expressions: the men’s faces appear to be entranced. Furthermore, the text suggests that due to the high percentage of women with sexually transmitted diseases, arbitrary fornication may not be sensible. 

The US government intended for this image to appeal to adolescent and young adult men. Although the advertisement is applicable to men from all social and economic backgrounds, it was most likely directed toward the poorer classes; during the 1940s, abstinence was easier to achieve in richer communities, in which an emphasis on education steered people away from sexual activity until adulthood. In creating this image, the US government assumes the stereotype that young men are attracted to white, blonde hair, voluptuous women. The US government, as well as contraception lobby groups who would have economically benefitted from this image, demonstrates that while women may be aesthetically pleasing, they are still not worth the risk of contracting a venereal disease.  

AAAAAA

What's in a name?

For this investigation I will explore the meaning and history of my last name, Thomas. The surname Thomas comes from the Greek word “ta'oma,” which means “twin.” Because Thomas is the name of an apostle in the New Testament, the name is often associated with Christian roots. According to behindthename.com, Thomas the Apostle was “martyred in India.” This is particularly interesting to me because my dad's family, from which I received my last name, is from India. 

In my life experiences, I think that my last name has helped define me in a religious sense. Because I am half-Indian, many people have the preconception that I may be a follower of Hinduism. My name, however, as demonstrated by its connection to Thomas the Apostle, suggests that I am of Christian descent. Ironically enough, though, Thomas shouldn't even be my last name. When my grandfather moved his family to Canada in 1972, he accidentally applied for Canadian citizenship using his first name as his family name; thus, my grandfather's legal name is Thomas Thomas.

Being an individual and, at the same time, part of a larger whole is very relatable to me given recent events. On the social media platform, I have come to realize that although my ideas and opinions are strictly my own, they represent a larger group of people as well. Take for example my Twitter account. In the past month, I took it to myself to defend Millbrook's pride by replying to the Tweets of multiple friends from other high schools who were disrespecting, in my opinion, our school's honor. 

In my responses to their Tweets, I neglected to consider the larger audience that would see what I said. Because of this, I used language that is unbecoming of me, as well as Millbrook high school. My soccer coach, who discovered the Tweets, was very disappointed in the image that I was painting for Millbrook. Ultimately, I resolved to delete the Tweets and issue a formal apology to the students who I Tweeted at. When all is said and done, it is clear that although the inappropriate language came from my account, it reflected on the school as well because I am a Millbrook student and athlete. 

Atta girl, Atwood

In Wing Young Huie's David and Lou (published in South Minneapolis, MN, 2012), included in his "We are the Other" collection, two men of different ethnic backgrounds are presented on a porch with a white column dividing them. The man on the left is white, dressed in gym shorts and a tank top, and is smoking a cigarette. In contrast, the man on the right is black, wears a button up shirt, and has an earring on his left ear. Despite these differences, the two men seem remarkably similar. They both wear glasses, have a square-shaped beard, and are sitting in almost the exact same position. After reading the text below the photograph, new discoveries can be made about the men that are not apparent on the surface. The two have been friends for seven years and consider themselves to be "two bosses" and "entrepreneurs." Both men live their lives by a shared moral code of values: serving to strengthen their relationship and understanding of each other.

Both Wing Young Huie and Margaret Atwood use color to present the concept of "othering" in their work: the process by which people or things are portrayed as fundamentally different. In Huie's David and Lou, the difference in color between the two men's skin immediately suggests to the audience that they come from two different backgrounds. Furthermore, sitting on the front porch of a house in such attire is stereotypical of poor, Southern communities, which have a long history of racial conflict between blacks and whites. As a result, the audience is generally surprised when they discover that the two men are actually close friends and share common interests. Similarly, Atwood uses color in The Handmaid's Tale to underscore the difference between classes in the society of the Republic of Gilead: the Handmaids wear red, the Marthas wear green, and the Wives wear blue. Although color does divide the women, the Marthas and Handmaids demonstrate some degree of association and shared understanding in that they are both subservient to the Wives. Color in both scenarios, therefore, lets Huie and Atwood alienate people in the physical sense while still allowing them to be bound together in the mental sense. "Othering," then, can be misleading at times; while a person or group may be presented as fundamentally different, some striking similarities may exist between them below the surface.