Thursday, February 28, 2013

Essay #4 Shelley: Frankenstein


Opening Pandora's Jar out of Scientific Curiosity:
Frankenstein's Inter-textual Relationship with Greek Mythology

As literary theorist Julia Kristeva explained, texts construct their narrative not only from the sum of their contents, but also by referencing existing texts, to shape the reader's understanding of the story: “Every text is from the outset under the jurisdiction of other discourses which impose a universe on it.” (Chandler 2011). Shelley makes a direct allusion to the mythology of the titan Prometheus from the onset of Frankenstein, establishing a clear inter-textual relationship between the two texts. In doing this, she utilizes the reader's knowledge of the story of Prometheus as a cipher which will allow the reader to gain additional understanding and resonance from Frankenstein's atavistic themes.

In the Greek legend Shelley parallels; the titan Prometheus crafted the first men out of clay (Theoi Project n.d.). In punishment for the deeds he performed for his creations, Zeus had Pandora, the first woman made; knowing her curiosity would cause her to open the jar she'd been gifted with, and unleash dark forces on the world (Theoi Project n.d.). In his ability to manufacture a living hominid, Frankenstein is compared to Prometheus, but in the unintended consequences of his curiosity, his story is more directly paralleled with that of Pandora. What is discovered out of curiosity may be wondrous or horrifying (as was the case for Pandora). As Victor tells Captain Wolton discovering new knowledge can be “a serpent to sting you”, and remarks that an apt moral can be deduced from his tale.

The purpose of the inter-textual relationship within the narrative is to cause the reader to fear the possibilities of what scientific curiosity may allow us to discover, and what dark forces we may unleash on the world with that knowledge. Frankenstein begins by believing himself a modern Prometheus, only to realise his role is more similar to that of Pandora.

References
Chandler, D. 2011. Semiotics for Beginners: Intertextuality. http://users.aber.ac.uk/dgc/Documents/S4B/sem09.html (accessed February 25, 2013).

Theoi Project. n.d. Pandora. http://www.theoi.com/Heroine/Pandora.html (accessed February 25, 2013).

Theoi Project. n.d. Prometheus. http://www.theoi.com/Titan/TitanPrometheus.html (accessed February 25, 2013).

Thursday, February 21, 2013

Essay #3 Stoker: Dracula


Dust and Moonlight: Metaphors for Mortality and Supernatural Transmutation in Dracula.

Dust is used biblically as a symbol of “...transiency and humility of human life...” (Missouri University n.d.), and in Dracula that symbolism is drawn upon to remind the reader that despite their supernatural abilities, the vampires were once human, and now exist as creatures which have passed beyond death. Upon his defeat, Dracula is reduced to no more than dust, which is said to be “as though the death that should have come centuries ago had at last assert himself.”, re-enforcing the metaphor of dust of the transiency of human life.

The moon is symbolic of transmutability; because of the phases the moon itself passes through. “The moon’s continually changing phases led to its association with mutability, metamorphosis, inconstancy, or fickleness.” (Ferber 2007, 130). Appearances of the moon are used throughout the narrative to herald supernatural creatures who possess the ability to transform themselves in order to prey upon innocent humans; such as the wolves, who are described as behaving “as though the moonlight had had some peculiar effect on them.”, and the moon itself is implied to influence the powers and behaviours of these creatures.

The dust and lunar metaphors are combined, with Dracula described as travelling “...on moonlight rays as elemental dust...”; where the elemental dust is representative of his former mortality, and the rays of moonlight the transmutation that has allowed him to exist beyond death. The use of these metaphors weaves the story for the readers of dangerous forces that exist in the world; which defy explanation. This helps establish the horror elements of the story. That the moon itself may be a cause of supernatural transformation, advances the myth of 'lunar madness' (Sarton 1939), establishing an environment able to produce more monsters like Dracula himself, and giving readers greater reason to fear things that go bump in the night.

References
Ferber, M. 2007. A Dictionary of Literary Symbols: Second edition. Cambridge: Cambridge University Press.

Missouri University. n.d. Signs, Symbols, Meaning, & Interpretation. http://web.mst.edu/~gdoty/classes/concepts-practices/symbolism.html (accessed February 12, 2013).

Sarton, G. 1939. Lunar Influences on Living Things. Isis 30(3): 495-507. JSTOR. http://www.jstor.org/stable/225527 (accessed February 19, 2013).

Stoker, B. 1897. Dracula. http://ebooks.adelaide.edu.au/s/stoker/bram/s87d/ (accessed February 12, 2013).

Thursday, February 14, 2013

Essay #2 Carroll: Alice's Adventures in Wonderland, and Through the Looking Glass


Through the Looking Glass: The Mirror as a Satirical Framing Device

The mirror Alice tumbles through in Through the Looking Glass functions as a framing device to place the story within the context of satire. Framing devices 'frame' a story (Alice playing with her kittens and looking though a mirror), around another story (the world through the looking glass); to ensure that the inner story will be understood through a set perspective (TvTropes n.d.).

The mirror metaphor frames the story as a satirical commentary on Victorian society, drawing from classical symbolism in which mirrors have represented introspection (Kalach n.d.);
“With respect to the replicative and 'reflecting' function of thought, the mirror is a symbol of knowledge, self-knowledge and conciousness as well as of truth and clarity.” (Becker 2000, 199).
That the world in the mirror is a satirical device for examination is first hinted at when Alice holds the black kitten up to the mirror “that it might see how sulky it was” (Carrol 1871). The looking glass world presents a satirical comedy:
“...whereby folly is seen everywhere, but the author’s attitude is one of laughter... from this perspective, the writing of satire portrays itself as the sane response to a world gone astray.” (The Satirist n.d.).
The chess game played by the Red and White queen and their looking glass denizens is a satirical parody of social manoeuvring, with each character attempting to advance their status within society. Throughout this game the authoritative behaviour of royalty, etiquette and conventions of society are all parodied (The Victorian Web 2007).

The story's conclusion, which proposes that “Life, what is it but a dream?” (Carrol 1871), concludes the satirical commentary. The looking glass examination of society and social protocols demonstrate both to be nonsensical, and therefore the suggestion that life itself is not a serious pursuit, further re-enforces the similarities between the real world and its satirical facsimile; the world through the looking glass.

References
Becker, U. 2000. The Continuum Encylopedia of Symbols. New York: Continuum International Publishing Group.

Carrol, L. 1871. Through the Looking Glass. http://ebooks.adelaide.edu.au/c/carroll/lewis/looking/contents.html (accessed February 12, 2013).

Kalach, M. n.d. Atelier Balbec - The Mirror in Renaissance Paintings. http://www.atbalbec.com/post/24476662806/the-mirror-in-renaissance-paintings (accessed February 11, 2013).

The Satirist. n.d. The Satirist - Satire (and Related Terms) Defined. http://www.thesatirist.com/_thesatirist_admin/thesatirist_definitions.html (accessed February 12, 2013).

The Victorian Web. 2007. "Alice-Mutton: Mutton-Alice": Parodies of Protocol in Through the Looking Glass. http://www.victorianweb.org/authors/carroll/lim.html (accessed February 12, 2013).

TvTropes. n.d. Framing Device - Television Tropes & Idioms. http://tvtropes.org/pmwiki/pmwiki.php/Main/FramingDevice (accessed February 12, 2013).

Tuesday, February 12, 2013

Essay #1 Grimm: Children's and Household Tales


I was immediately drawn to writing my essay on The Golden Bird, which is another telling of Tsarevitch Ivan, the Fire Bird and the Gray Wolf; one of my favourite fairytales largely because of Ivan Yakovlevich Bilibin's wonderful illustrations. In this essay especially I was disappointed by being unable to upload accompanying illustrations... I feel always, that I am far more articulate with pictures than words.




 
The Role of Organic Gold as a Catalyst in The Golden Bird and Rumplestiltskin.

Gold is a valuable but finite resource, inorganically formed as a mineral (ThinkQuest 2000). Organically formed gold is a recurring plot device in fairytales, as it is a catalyst to quickly transform a character's fortune through the potential for an infinite supply of gold through organic reproduction. In The Golden Bird (Open Library n.d., 237) there exists a tree that bears golden apples, the golden bird, and golden horse; the titular character in Rumplestiltskin spun straw into gold for the miller's daughter (Open Library n.d., 228), and even in Jack and the Beanstalk a hen laid golden eggs (Marshall 2007).

The youngest Prince's fortune in The Golden Bird is dependent on securing organic forms of gold; he won't prove his worth to his father unless he can retrieve the golden bird, and the bird's owner will execute him unless he steals the golden horse. Securing these earthly golden riches is allegorical (Limouze n.d.) for the young prince proving his innate worthiness.

The King in Rumplestiltskin is drawn to marry the miller's daughter upon hearing her remarkable talent for spinning; alleged to include the ability to spin straw into gold. Her survival, like that of the young prince in The Golden Bird; is dependant on her ability to add to the King's fortune with organically produced gold “as he could never have enough of gold” (Open Library n.d., 229). Once she apparently accomplishes this feat through a deal made with the magical Rumplestiltskin, the King marries her, securing her future as a Queen.

In The Golden Bird the princess's testimony ultimately proves the young prince's accomplishments and worth, and in Rumplestiltskin the Queen defeats Rumplestiltskin by learning his true name; however in both tales the catalyst allowing these characters to prove their worth is organic gold.

References
Limouze, H. n.d. Rhetorical Figures of Style. http://www.wright.edu/cola/Dept/eng/limouze/STYLE711.HTM#allegory (accessed February 5, 2013).

Marshall, L. 2007. The Project Gutenberg EBook of Favorite Fairy Tales, by Logan Marshall. http://www.gutenberg.org/files/20748/20748-h/20748-h.htm#beanstalk (accessed February 4, 2013).
Open Library. n.d. Household Stories. http://www.archive.org/stream/householdstories00grimrich (accessed February 4, 2013).
ThinkQuest. 2000. What is a Mineral? http://library.thinkquest.org/J002289/minerals.html (accessed February 5, 2013).

Writing about Stories

I started taking a couple of units through Coursera over the Summer. My favourite unit is Fantasy and Science Fiction:The Human Mind, Our Modern World by Professor Eric Rabkin from the University of Michigan. One of the things I wanted to work on with these units is my written argument skills, as they're the area that needs further honing to get me through the PhD candidacy process.

So what I love about this unit is how grueling it is – there are ten set texts, and each week requires a 270-320 word essay on the week's text. The turn around time and brevity of each essay really has been forcing me to develop and articulate my arguments with great efficiency.

Over the next couple of months I'll be posting my short essays on the following texts here:
  1. Grimm — Children's and Household Tales (Lucy Crane translation with Walter Crane illustrations)
  2. Carroll — Adventures in Wonderland and Through the Looking-Glass
  3. Stoker — Dracula
  4. Shelley — Frankenstein
  5. Hawthorne & Poe — Stories and Poems
  6. Wells — The Island of Dr. Moreau, The Invisible Man, "The Country of the Blind," "The Star"
  7. Burroughs & Gilman — A Princess of Mars & Herland
  8. Bradbury — The Martian Chronicles
  9. LeGuin — The Left Hand of Darkness
  10. Doctorow — Little Brother

Thursday, February 7, 2013

Pretty Perth Plumage





 Some of Perth's brightly coloured birds.


Banksias and Black Cockatoos


A pattern featuring endangered Carnaby's Black-Cockatoos, and Banksia prionotes. I'm happy to live across from a reserve which sometimes features the former, and always the latter. I'm very fond of the native wildlife.

Hello Possums!



A little experimentation with possum illustrations and logos.

Some Orchids to Brighten Up Your Day



Various orchids - an Oncidium, Laelia and Vanilla planifolia, the orchid responsible for producing lovely vanilla!

Prisms of Phantasm





Development work on a mural for Curtin Student Guild's Queer Department using fantastical creatures as a metaphor for human diversity. Each creature is white, representing white light through which a rainbow of colours emerge prismatically. The mural is being painted in acrylic paints, and is expected to be completed mid 2013.