Sunday, November 29, 2015

Sample Paper 1: Australianism

This Paper 1 practice was written using the outline created in the carousel activity last week. Our group’s text was ‘Australianism’. The outline for the Perfect Paper can be found on Managebac (‘12_A_SL_Australianism’).

The given extract is an introduction to a dictionary of Australian slang, or Australianisms. This text type can be inferred from the heading in bold and the first sentence of the passage.

The language of the text informs us that it was written for an English speaking audience, thus revealing a cultural context. The explanations of what Australianisms are in lines 1-2, however, imply that the context of the dictionary is not necessarily Australia. Thus, the text is unique in that it may have been a Global Edition of the dictionary. This is also supported by references throughout the text cementing Australianism within a wider international context, for e.g. in referencing “other British colonies” (line 18).

The function of an introduction is usually to engage the reader and begin their journey through a topic. With the dictionary’s usual function of recording words and conserving a language in mind, we see that this introduction specifically does this by allowing the reader to reach a better informed understanding of the themes behind the conservation of a language. Throughout this analysis, we will see that this extract uses diction and style to present its readers with a background on Australianism, focusing on how it differs from English spoken elsewhere, how Australian English came to be this way, and the potential issues in dealing with its origins – in order to justify the conservation of ‘Australianism’.  

Having understood the general function and cultural context of the text, we can proceed to its audience and purpose. The given text appeals to the target audience using their main purpose of explaining the origins and historical events associated with Australian English. The central audience is comprised of people interested in linguistics. This can be gleaned from the wordy nature of its diction, and the choice of long and complex sentences over more easily understandable alternatives (e.g. the first sentence in four lines long).

Building off of this, the central purpose of the text is to introduce the audience to Australianism, focusing on how it differs from English spoken elsewhere, the reason for its origins, and the potential issues with identifying said origins. These main points outline the ‘how’, ‘why’, and ‘so what’ of Australian English. Doing this adds dimension to the dialect, and allows its conservation to be better justified.

The purpose of the text is strongly linked to its content and theme. Throughout the extract, the text provides the reader with historical and background information regarding the dictionary; explaining the concept of Australianism and reasons for the creation of the dictionary. The content of the extract can be split into three main parts, which tackle the topics in the following order: how Australian English differs from other English and why; the historical events that led to the creation of it; and the potential issues with identifying the origins of Australian English.

Clearly expressed in this text is the theme of conservation. From the earlier summary of the content alone, we can see that the author is mainly explaining and justifying Australian English. This links well with the general function of a dictionary. This theme would have been useful in engaging readers, since it presents the readers with reasons why they should read the dictionary, by making Australian English seem multi-faceted and interesting. Justification in this manner thus serves the introduction’s function of making people read the dictionary.

To support the given extract’s objectives of garnering more readers and reinforcing the theme of conservation, it uses a pedagogical tone to develop a formal and scholarly mood. The pedagogical tone is expressed in the many sentences of high modality which are presented as facts. For example, “Australian English reflects also the composition of the immigrant population…” (line 16). Phrases like “Most obviously…” (line 9) also imply to the reader that it is not in order to refute the statements of the dictionary. Finally, the scholarly mood is also created through the academic language and use of jargon (e.g. “regional dialect” in line 18), and the referencing of establish dictionaries like the “Oxford English Dictionary”.

The tone and mood of the text validate it and make it more creditable, contributing to its central purpose of justifying and encouraging the conservation of Australian English. This is also done using stylistic devices. For example, the earlier mentioned complex sentences give the author credibility, since they are well-written and perfectly crafted in terms of grammar. The audience may reason that someone who can write like that is qualified to make statements about language. This is thus an appeal to ethos.

The literary device of distinctio is also used in line 36, with “puncher (as in bullock puncher)”. This explanation of the original term furthers our argument that this text was intended for non-Australians, to encourage them to be interested in Australianisms. Alliteration and repetition is also achieved with the term “special significance”, which was used twice in the text. This reiterates the uniqueness of Australian English and the author’s attempts to promote it.

The absence of literary devices and the focus on style over literature also functions as an appeal to logos, since their argument seems more objective and less disputable. The strong structure of the content also makes the introduction seem more ‘essay-like’ and academic. The only stylization of the text is the heading, ‘Introduction’ (line 1), in bold at the top of the page. With this simplicity the text fits in better with the scholarly community, by indirectly stating that the content is what matters, not the outward fanciness or appearance of the text. The style and structure could thus be concluded to show the thought process behind the ideals of Australianism.


In conclusion, we have shown how this extract used diction and style to present its readers with a background on Australianism ­- specifically focusing on how it differs from English spoken elsewhere, how Australian English came to be this way, and the potential issues in dealing with this -­ in order to justify the conservation of Australian English. In all, the text generally achieves its purpose, since it conveys the theme of conservation by adding richness and depth to Australian English. With this, readers will see the value of preserving this language, and hopefully do their best to do so by reading the dictionary. 

Saturday, November 14, 2015

I.B. Learner Profile Propaganda: Communicator

The main technique I used in my propaganda poster was appeal to fear. 'Alienation' has negative connotations, and I played on peoples' fears of being isolated and ostracized. To give the poster a dark, ominous tone, I used black and red as my dominant colours. The sense of finality in the words "Without Communication, there's only Alienation" also imply that being a Communicator should be prioritized above all else if we want to be included. Adding to this is the slogan at the bottom: "How can you succeed if you can't speak?", which is meant to reinforce the importance of communicating. 
The people jeering at the solitary figure are yelling variations of 'freak', 'outcast' and 'loser' in different languages (German, Chinese, English, French, Greek). This is significant as part of being a Communicator is expressing ideas in "more than one language", adding irony to the poster. The line "#IBCommunicator" also leads people to a place where they can take action and find out more about this cause.



    

Tuesday, November 10, 2015

Media Bias: Reflection Prompt

It is acceptable for a government to try to shape public opinion through information campaigns. 

Position: Agree.

I agree with this statement, as long as the information in the “information campaigns” is labeled as being from the government. If the public is aware of the information’s source, they can make their own decisions about whether to follow it or not.

Every government will have a ‘side’, or a certain bias that they tend towards. Governments are comprised of people, and people cannot exist without their beliefs of what is right and wrong. With this in mind, I propose that not only is it acceptable for a government to try to shape public opinion, it is sometimes also inevitable.

Assuming a democracy, the ruling party in question would’ve been selected to power for a reason – because the majority of people in the country agree with them and their ideas. Beyond this, we also elect individuals to power for the positive plans they have for a country. This implies action – we are willing to let them make changes and control the country because we believe in their ideals. It follows that the ideas in their information campaigns will probably agree with us, and public opinion will be further shaped in the direction it chose in the first place.

One example where this phenomenon has been better for a country as a whole is in Singapore’s Keep Singapore Clean campaign (1968-1990). Public opinion was shaped, encouraging people to change their views and habits to focus on an aspect they had previously ignored: keeping their country clean. As a result, Singapore is now one of the cleanest countries in the world*

In the case of the Iraq War, none of the examples we looked at could be considered information campaigns. The cases of Jessica Lynch and Pat Tillman were individual stories that the government chose to focus on, not a systematic sequence of actions – which is what a campaign would be. With regards to the documentary, government bias is often less dangerous than media news bias. This is because while both sides portray their information as the truth, the public is aware that the government has a specific side (their own). The media, on the other hand, is often pulled by invisible strings that the public doesn’t see or understand.

Continuing with the example of a democracy, if a government were to release information campaigns that went against a country’s values, it is the duty of the people to revolt, and to demand a different government.


* http://ireport.cnn.com/docs/DOC-1202168 
http://www.au.af.mil/au/awc/awcgate/milreview/beavers.pdf
http://remembersingapore.org/2013/01/18/singapore-campaigns-of-the-past/

Saturday, November 7, 2015

Media Bias Pastiche: Rewritten Article

Unruly Anti-Choice Protesters Face Potential Arrest After Illegal Demonstration
 STATE      NOV 2, 2015   |   8:05PM    DAYTON, OH
Anti-abortionists attempted to interrupt a celebratory pro-choice rally in Dayton, Ohio this Sunday. Offenders were politely asked to leave by the police, and as matters escalated authorities had to resort to threatening their arrests.

Bryan Kemper, leader of conservative group ‘Stand True’, was amongst the group of rebels protesting against abortion at the scene. He was joined by a small group of dissidents, who aimed to impede the pro-abortion rally. The rally, at Courthouse Square, was lauding the successes of the non-profit ‘Planned Parenthood’ health organization, as well as those of other abortion providers in Dayton. Supporters had applied for a permit to gather in advance.

Around an hour into the event, Kemper put down his sign and was seen taking photos of the pro-choice supporters to use in promoting the ideology on his website. Kemper also crashed the event wearing an insensitive T-shirt with anti-abortion propaganda on it.

As Kemper and his group closed in on the peaceful gathering, members of the pro-choice rally began to feel uncomfortable, and called the Dayton police in for assistance. According to the law, since rally organizers had a permit to gather and hold a rally, the anti-abortionists’ invasions were illegal. They were then politely asked by the police to leave to the sidewalk area outside of Courthouse Square.

Protesters ignored these repeated warnings of the police, and Kemper even accosted one police officer personally, claiming that they were “denying him access to public property”. He stubbornly insisted on this allegation, even after officials explained that Kemper and his group were providing a menace to the peaceful rally with their aggressive signs and uniforms.

Kemper continued harassing the police, asserting that “he had no sign” even though it was visibly on the floor next to him. He also showed no respect for authority, and demanded to see the permit of the pro-choice group to have a rally. Eventually, the Dayton police had to threaten to arrest him lest he become violent. At that point, Kemper and his group began to panic and vacated the scene.

Also present at the illegal anti-abortionist protests were members of Kemper’s family. His 10 year old son was forced to hold “pro-life” signs and protest alongside his father. On the signs of the anti-choice rebels were propaganda-like slogans and images.

Protesters also exploited “victims” of abortion by showing images of them at the rally. This victimization of women who have made strong choices about their bodies is used to claim that abortion is worse for women, although this starkly contrasts reality: less than 1% of women will experience a major complication from the procedure, and the risk of death from childbirth is ten times the risk of death from abortion.

Given the ubiquity of choice these days, naysayers like these seem almost medieval. They are, however, still a frequent occurrence, especially in majority conservative states like Ohio, which also scores lower than average on the Diversity Index.

Nevertheless, incidents like these remind the public to make sure the basic human rights of choice and freedom do not get taken from us.

Sources:
http://smartblogs.com/leadership/2012/10/08/examining-ohios-political-leanings/
http://web.mit.edu/pro-choice/www/facts.html
http://healthresearchfunding.org/20-remarkable-pro-choice-abortion-facts-statistics/
http://www.comparativepoliticseconomics.com/conservative.html


Media Bias Pastiche: Original Article and Rationale

Rationale/Disclaimer
The issue I chose for this media bias pastiche was abortion. I thought it was interesting how central textual bias is to the fight, as anti-abortionists call themselves "pro-life" while pro-abortionists call themselves "pro-choice". Below is the original article, which I found on the 'Life News' website, which details "pro-life" successes and stories. I rewrote it in the opposite pro-abortion ideology. 

One of the first techniques I used in my re-writing of it was bias by headline, where bias through use of names and titles was also employed. "Pro-life advocate" became "unruly anti-choice protesters".  The "potential arrest" was also focused on more than the "just for wearing a pro-life t-shirt", giving the article a heightened sense of importance. I also ignored some details in the re-writing, like the fact that some pro-abortionists "mocked Bryan Kemper's son".  The re-writing also generally goes against conservative views, and (vaguely related) statistics are used in the article to paint Ohio in a more negative light. 

This rewriting wasn't meant to make fun of anyone or any group, it was solely for educational purposes. 

Police Threaten to Arrest Pro-Life Advocate Just for Wearing a Pro-Life T-Shirt
 STATE   MICAIAH BILGER   NOV 2, 2015   |   8:05PM    DAYTON, OH

A pro-life advocate says police threatened to arrest him for wearing a pro-life T-shirt and an abortion advocate mocked his 10-year-old son during a pro-abortion rally Sunday in Dayton, Ohio.

Bryan Kemper, president of Stand True, reports that he and two of his children joined about 20 other pro-lifers to peacefully protest during the rally to celebrate Planned Parenthood and other abortion providers in Dayton.

The Stand True blog reports more about the situation:
"After about an hour at the rally, Bryan put down his sign to walk around the Courthouse Square, a public area in Dayton, to take photos of the rally. The Dayton police were called to remove all pro-lifers from this public area. While the rally organizers had a permit to gather and hold a rally, they did not have ownership of this public square but the police demanded all pro-lifers leave and go to the sidewalk area outside the Courthouse Square.
Because the officers were claiming that he couldn’t be there even though he was not protesting at the time, Bryan approached them to ask why they were denying him access to public property. One of the pro-abortion protesters claimed that his pro-life shirt constituted a protest sign and disqualified him from being in the public area.
The officer mocked the pro-lifers and said, “It’s Sunday. Normal people are out enjoying the day, not causing problems.”
When Bryan tried to explain that he had no sign and was not protesting, the officer said, “I don’t care. You go over there.”
The officer also admitted that there was no copy of the (pro-abortion protest) permit on hand, and that he could not show it to us as he did not have it, yet he still kicked us off public property."

Someone at the rally caught on video part of the exchange between Kemper and the city police. Watch it here.

At one point, Kemper’s 10-year-old son also was targeted for harassment. A pro-abortion protester approached and mocked Kemper’s son as he was holding a pro-life sign, but the boy did not waver as he stood for the lives of unborn babies, according to the blog.
According to Stand True, the pro-life advocates did not interrupt the rally, and they were peaceful and respectful to the abortion supporters. Pro-lifers said they held images of the victims of abortion to show abortion advocates “what it was exactly that they were promoting and celebrating.”
“They wanted to give these victims the dignity of being recognized as the human persons they are,” according to the blog.
Kemper posted a photo from the protest on his Facebook page and called his exchange with the police an “outrage.”


“The Dayton Ohio Police Department just threatened to arrest me for simply standing on public property with a pro-life t-shirt,” Kemper wrote. “Apparently if someone is holding a public rally on public property they have the right no deny citizens from simply walking on that public property. This is our courthouse square and I should be free to walk around as long as I’m not disrupting their rally.”
Link to article: http://www.lifenews.com/2015/11/02/police-threaten-to-arrest-pro-life-advocate-just-for-wearing-a-pro-life-t-shirt/

Wednesday, October 14, 2015

(Tentative) Written Task 1 Proposal

The following is a potential proposal for a Written Task. I say 'potential', because it doesn't fit the exact structure of the Written Tasks we have done in terms of using primary and secondary sources (I don't have any main ones). I'm open to suggestions about how to approach this idea differently. :)

This Written Task is centered on Part 2, Adverinfotainment, of the course. It is a pair of blog entries titled 'Why Rihanna Has Destroyed Feminism' and 'Why Rihanna Is My Feminist Icon'. It aims to fulfill the third learning outcome, and explore how mass media (in this case, the blogs) have used language to persuade people of their startlingly different conclusions. 

This idea is still in its infant stages - the format itself is something that I have not fully decided on, as it would also work as a magazine article. I chose this topic because we studied the objectification of women in media in this unit, and our current work on Alice Munro also gave some background on Feminism that can be used (especially for the negative article). I selected Rihanna as the subject due to her widespread fame - many who don't even listen to popular music know about her (such as my mom) - and her influence has expanded far beyond just being a singer. 

To support my claims on either side, I will be looking at the way she portrays herself (quotes etc.), her music videos, personal events, and publicity stunts. While there will be different examples used to support each side, I will include 1-2 examples that are the same for both Rihanna being anti-Feminist and Feminist to allow the audience to better recognize the bias and manipulation present in the media. One such example would be her Pour It Up video, which received both criticism and praise. Her newer B*tch Better Have My Money video was also deemed both feminist and un-feminist by critics. 

In all, I hope that with these two parallel blogs/articles, the audience will be able to see through the way the media manipulates us using language and literary devices. Usage of the same literary devices in the opposite way would further strengthen the contrast.

Note: This isn't the best timing for a Written Task, given that the IOC is only 13 days away. However, I posted about it now so that I wouldn't forget about it, and to encourage more development of the idea.  




Tuesday, October 13, 2015

Tempest IOC

Link to IOC:
https://drive.google.com/file/d/0B13rR1KO5wYqb25wdjhycC1Id0ltcjVYZmlUbGJSSVNDWEM4/view?usp=sharing

Passage:
TRINCULO 
O king Stephano! O peer! O worthy Stephano! look what a wardrobe here is for thee! 

CALIBAN 
Let it alone, thou fool; it is but trash. 

TRINCULO 
O, ho, monster! we know what belongs to a frippery. O king Stephano! 

STEPHANO 
Put off that gown, Trinculo; by this hand, I'll have that gown. 

TRINCULO 
Thy grace shall have it.

CALIBAN 
The dropsy drown this fool I what do you mean 
To dote thus on such luggage? Let's alone 
And do the murder first: if he awake, 
From toe to crown he'll fill our skins with pinches, 
Make us strange stuff.

STEPHANO 
Be you quiet, monster. Mistress line, is not this my jerkin? 
Now is the jerkin under the line: now, jerkin, 
you are like to lose your hair and prove a bald jerkin. 

TRINCULO 
Do, do: we steal by line and level, an't like your grace. 

STEPHANO 
I thank thee for that jest; here's a garment for't: 
wit shall not go unrewarded while I am king of this country. 
'Steal by line and level' is an excellent pass of pate; there's another garment for't. 

TRINCULO 
Monster, come, put some lime upon your fingers, and away with the rest.

CALIBAN 
I will have none on't: we shall lose our time, 
And all be turn'd to barnacles, or to apes 
With foreheads villanous low.

STEPHANO 
Monster, lay-to your fingers: help to bear this away where my hogshead of wine is, 
or I'll turn you out of my kingdom: go to, carry this. 

TRINCULO 
And this. 

STEPHANO 
Ay, and this.

Saturday, October 3, 2015

This is Water

Let me begin my providing my own version of David Foster Wallace's thesis in 'This is Water': he suggests that true freedom acquired through education is the ability to choose to be adjusted, conscious, and sympathetic. People without education don't lack this ability, but without having been taught how to think they may not know they have this choice.  

The most obvious device Wallace uses to develop his thesis is meiosis and litotes. He deliberately undermines his own wisdom and that of what he's saying, for example in 'I am not the wise old fish' and 'please don't think that I'm giving you moral advice'. By reducing the importance that he attaches to his words on the surface, the audience believes they attached the importance themselves, making the speech more personal. 

Wallace uses one main example throughout the essay, which details the life of an average adult after leaving work and having to go to the supermarket for groceries. This is a well chosen example, as many can identify with the boredom and thoughts about these 'stupid god-damn people' in the checkout line. Even if many students may not have experienced these feelings in a supermarket, many in first-world countries have gone through sub sections of his example - be it waiting in line, being stuck in a traffic jam, or having to deal with inconsiderate driving. This manner in which he links his central idea of freedom of thought to the real world makes it more applicable and relevant. 

Later on, Wallace also employs pathos by talking about 'worship' and making sweeping statements like 'everybody worships'. This elicits an emotional reaction, as Wallace has already primed the audience to accept him (see earlier devices) and his ideas. Now, this idea is accepted more readily by the audience, and they respond to the personal question of 'worship' (which asks what supports us?) by looking inside themselves for an answer. 

This is just a selection of ways in which he develops his thesis. This theory contributes to the inquiry question because literature is a form of education, and it makes us aware of other people's emotions, just like Wallace claims education does. The inquiry question is thus an example of his thesis. For instance, as Alice Munro's stories reveal to us more about what average women go through, we are becoming more sympathetic (seeing and identifying with their feelings), adjusted (we see how fortunate we are and where we stand in this world), and conscious (I am now aware of other people's feelings and thoughts). 

David Foster Wallace's essay was truly thought-provoking, and I felt that he put into words an abstract idea that many people may have already been aware of on some level. By doing this, he made the concept of thought choice more concrete, and put more responsibility on us for our own happiness. Personally, I agree with his ideas, especially that it is not knowing these things that is important, but rather applying them in daily life. 

Word Count: 499



Tuesday, September 29, 2015

Practice IOC2: Alice Munro's Passion

Link to the Recording:

https://drive.google.com/file/d/0B13rR1KO5wYqeGUyTGNxaXhFMjJRUEVEQU1Id3hfSnhlTmpj/view?usp=sharing

Passage Analysed is...

He did take her to the movies. They saw “Father of the Bride.” Grace hated it. She hated girls like Elizabeth Taylor’s character—spoiled rich girls of whom nothing was ever asked but that they wheedle and demand. Maury said that it was just a comedy, but she told him that that was not the point. She could not quite make clear what her point was.

Anybody would have assumed that it was because she worked as a waitress and was too poor to go to college, and because, if she wanted that kind of wedding, she would have to save up for years to pay for it herself. (Maury did think this, and was stricken with respect for her, almost with reverence.)

She could not explain or even quite understand that it wasn’t jealousy she felt; it was rage. And not because she couldn’t shop like that or dress like that but because that was what girls were supposed to be like. That was what men—people, everybody—thought they should be like: beautiful, treasured, spoiled, selfish, pea-brained. That was what a girl had to be, to be fallen in love with. Then she’d become a mother and be all mushily devoted to her babies. Not selfish anymore, but just as pea-brained. Forever.

Grace was fuming about this while sitting beside a boy who had fallen in love with her because he had believed—instantly—in the integrity and uniqueness of her mind and soul, had seen her poverty as a romantic gloss on that. (He would have known she was poor not just because of her job but because of her strong Ottawa Valley accent.)

He honored her feelings about the movie. Indeed, now that he had listened to her angry struggles to explain, he struggled to tell her something in turn. He said he saw now that it was not anything so simple, so feminine, as jealousy. He saw that. It was that she would not stand for frivolity, was not content to be like most girls. She was special.

Grace was wearing a dark-blue ballerina skirt, a white blouse, through whose eyelet frills the upper curve of her breasts was visible, and a wide rose-colored elasticized belt. There was a discrepancy, no doubt, between the way she presented herself and the way she wanted to be judged. But nothing about her was dainty or pert or polished, in the style of the time. A bit ragged around the edges, in fact. Giving herself Gypsy airs, with the very cheapest silver-painted bangles, and the long, wild-looking, curly dark hair that she had to put into a snood when she waited on tables.

Special.


He told his mother about her, and his mother said, “You must bring this Grace of yours to dinner.”

Sunday, September 27, 2015

Practice IOC: Alice Munro's 'Boys and Girls'

Link to the audio file:
https://drive.google.com/open?id=0B13rR1KO5wYqdEtNTEtxSEEyV2dwVzdoQTVGVW8wRWRZd3g0

I tried to embed it onto the page. I really did.


Friday, September 11, 2015

Women's Literature Reflection

Although it has only been four lessons, the insights that I have gained and the changes in my original opinions toward make it seem like a longer time has passed. While I’ve always enjoyed literature, it has evolved (for me) into something that I should do, rather than just something I happen to do. We looked at the scientific benefits of studying literature, and the study speaks for itself. By reading quality works, we will become more adept at understanding people, and thereby the world around us. The purpose could be seen as ‘practicing the human experience’. Reading literature is like a trial run of social interaction, allowing us to be a part of someone’s world without even having to know them.

With this in mind about literature, the presence of such a thing as women’s literature reveals the sexism inherent in our society. When I first started the year, I was quite frustrated with this distinction. After all, there are strong female characters and writers in literature. Later on, however, when presented with the numbers (surprisingly by Mr. Michael) and after seriously considering the books and protagonists on my bookshelf, I began to see the huge disparity that still exists today. Despite this, I believe that relegating all literature written by women or for women to the category ‘women’s literature’ would be inaccurate. While women are underrepresented in literature (more info here), this is a separate issue from women’s literature. The genre is very nuanced and hard to define, but a superficial marker of women’s literature may be passing the Bechdel test.

The value of studying women’s literature lies in the ‘balance of stories’ that we learnt about back in Grade 11. Chimamanda Adiche’s TED Talk on the Danger of a Single Story reminds us that telling only one story of a people will rob them of their dignity, dehumanize them, and make us see them only as the stories say they are. Women’s literature is important because it removes the stereotypes surrounding women, and reiterates to readers that the stories shared by people are the same whoever they are.

Munro’s social realism was especially significant in the 1950s to 1980s, as those were the main years of second wave feminism. What distinguished this particular brand of feminism from its predecessors was that it had more of a ‘spirit’, especially in how there wasn’t any one specific thing they were fighting for. There was also a movement of ‘consciousness raising’, where personal stories were politicized to bring attention to ordinary women’s lives. Munro’s stories are a perfect example of this, as her narratives of normal lives achieve exactly what ‘consciousness raising’ aimed to do. Her stories also created a starting point for other women to know that they weren’t alone, and could share their experiences.  

This brings us back to Munro’s contributions to gender equality. By providing the balance of stories that was needed in the literary world, Munro showed that the similarities between men and women are far more than the differences between them. The thing that I both enjoyed and hated most in these stories was how ‘normal’ they were. On one hand, it was very depressing when every story turned out like how it would in real life, with no room for magic or unicorns or aliens (L). On the other hand, Munro made poetry out of ordinary situations, without embellishing or changing them at all. I really enjoyed this minimalism in her work, especially as it made it seem like any one of us could be ‘interesting enough’ to be in a book.

Lastly, I also believe Munro made a very powerful statement about feminism through her stories. None of the Alice Munro stories I read had only women or men in them, which reminds us that feminism is about the equality of the sexes, and not man-hating. Even Simone De Beauvoir supports this – in her theory of the other she concludes that the sexes should not aim to tear each other down, but rather live respectfully each in their own right. 

Note: This post is a little late, I originally wrote it on a word document but then forgot to post it. Sorry!

Friday, September 4, 2015

Song Showdown – The Greatest Lyrics of the Century: Janelle Monáe’s Dance Apocalyptic

Before we begin, watch Monáe’s performance of her funky song here:


Excited yet? When I first heard the song, I was amazed by the energy and total abandon in her voice, which complemented the lyrics’ unapologetic insistence on her central theme.  

While there are hints of general plot, the song’s real weight lies in the Monáe’s main motif: Rebellion. This song is about separating ourselves from the stereotypes, claustrophobia, and societal norms of the modern world. In the repeated chorus and bridge, Monáe sings to the audience that we ‘found a way to break up!’ and that we’re ‘not afraid to break out’. These two lines are also instances of anaphora. She goes even further by asking: ‘If the world says it’s time to go, tell me will you freak out?’, almost demanding that the audience join her in her defiance to the world.

The chorus then tumbles into the cheerful onomatopoeia of ‘smash, smash, bang, bang … chalangalangalang.’ These stanzas are echoed throughout the song, reminding the audience of Monáe’s call to action: to destroy any restrictions in sight.  She establishes herself as a revolutionary figure with her direct narration, where the audience is told exactly what to do. The total absence of dialogue also shows that this isn’t just any ordinary conversation – it is an instruction manual to shatter the mold.

Part of Monáe’s success in creating her theme is through her use of diction. The word ‘apocalyptic’ by itself sets the tone for the listener, who now has images of a science-fiction-dystopian future in mind. Contributing to these images are phrases like ‘zombie in the front yard’, ‘it’s all built like a comic book’, and ‘food tasting plastic’, which have similar connotations. There’s even an allusion to the 1950s cold war era thrown in with ‘worried about the bomb threats’. It was common for families to build fallout shelters in their backyards. Later on, mentions of ‘a new wife’ and ‘bought a house’ support the earlier allusion by referencing the idea of the ‘perfect housewife’ which was common in post-WW2 times.

The motif of the ‘perfect family’ is a suitable starting point for what Monáe is revolting against: mundanity. She also uses characterization to enrich the song, using the dichotomy of the normal family (i.e. ‘you’re working nine to five’) versus those who are already ‘going crazy’ (i.e. ‘exploding in the bathroom stall’). These two characters merge into one with Monáe’s resolution, which proudly exclaims ‘Look at you! You look just like a little old earthquake.’ Her final stanza also reveals the audience as active characters, who move the story forward even though they make mistakes (i.e. breaking things). This makes Dance Apocalyptic that much more relatable, because real people are active characters.  

These literary devices are just scratching the surface of Monáe’s lyrics. There is much more, including puns, metaphors, diacope, pacing, and plot to uncover. Dance Apocalyptic also pulls off something not many songs can pull off – groovy satire. Much of what she tells us is applicable to our modern situation, for example ‘the hitmen always find you’ could refer to the NSA scandal over spying on American citizens, which happened in the same year the song was released. In this sense, Dance Apocalyptic is one huge hyperbole, greatly exaggerating our current situation, and providing similarly exaggerated reactions in order to draw attention to the world we’re living in.

In all, Janelle Monáe’s Dance Apocalyptic is the anthem of mutiny. It’s allusions and references cement it’s relevancy in our time and context, and it uses elements of plot to guide the audience through a strongly charged theme of rebellion. Combine flawless lyrics with an irresistible beat and a confident, almost aggressive delivery, and you get the song of the century. Dance Apocalyptic encourages listeners not just to defy expectations, but to dance our way to a new world.   

Sources:

Saturday, August 15, 2015

Why Language Is (Or Could Be) An Area of Knowledge

12 Days Left!

Ok, the title may sound more dreary than interesting, but as I was considering some philosophical aspects of language over summer, I began wondering about why Language was not already an Area of Knowledge (AoK). To give some background, Language is a Way of Knowing (WoK), which as the name suggests is a way of gaining knowledge. WoKs provide answers to the ‘How Do We Know?’ question. The other WoKs are emotion, intuition, faith, reason, imagination, memory, and sense perception. The existing AoKs, which I believe Language should join, are Ethics, History, Natural Sciences, Human Sciences, Mathematics, Religious Knowledge Systems, Indigenous Knowledge Systems, and the Arts.

An Area of Knowledge can be defined by its characteristics, which include having specific Scope and Application, having its own Concepts and Language, a concrete Methodology, Historical Development, and Links to Personal Knowledge. To argue my case, I’ll be looking at each component of the AoK through the lens of Language.

Language can be described as a system for communication, where information can be conveyed when symbols are put together on paper, or when these symbols are given sounds that give meaning when they are spoken. This is what Language as an Area of Knowledge is about – communication. It studies how humans transfer information to one another, and by doing so solve problems in other AoKs. For example, certain conundrums in psychology (a Human Science) could be explained with the absence of certain words that exist in other languages. Having a word for a concept makes it more concrete in our minds, as it fits into our communication system. For instance, the word litost is Czech for ‘depression caused by sudden insight into one’s own miserable self’. It could be argued that the Czechs would be more prone to this malady, as they are more aware of it than we are (as it exists more indirectly in English). Additionally, just like the Scope of any other AoK, Language contains open questions (e.g. What is the origin of Language?) that are still being explored.

The next characteristic of an AoK is slightly trickier. Concepts and Language emphasize the role of language in the way knowledge is created in each AoK. Language encompasses concepts, and it is these concepts that constitute the Areas of Knowledge as we know them.

One way around this would be to consider not the system for communication itself, but the study of it (which we mentioned earlier). For example, linguistics is a study under Language, which looks at its structure and its implications (e.g. social, historical etc.). Like any scientific field, Linguistics has its own terminology. We even learnt some of it in class, for example ‘creole’, ‘dialect leveling’, ‘code switching’ etc. These words represent key concepts in linguistics, a field directly related to Language, and so consequently explain our knowledge of this area.

Linguistics as a field of Language is rather ‘meta’, as it attempts to understand the origins, structure and implications of itself. It also fits well into the AoK framework under Methodology. Experiments involving language (such as this game) are frequently conducted, revealing to us more information about how we communicate with each other. In fact, other subsections of Language, like literature (the production of artistic language) also have distinct ways of being understood that could be considered Methodology. One might analyze themes, diction, characterization, plot etc. to further understand the work. Additionally, Language again resembles an AoK through the things it values (which we see directly in literature), and the rejections it makes (font size, for example, does not matter as much in literature).

Do I really need to explain why Language has a Historical Development? Although there are contrasting theories on the origins of language (e.g. Discontinuity and Continuity theory), they both involve it’s gradual evolution to what we know it as today. Even from the linguistics perspective of meta-language, our understanding of the communicative systems we use is constantly changing based on historical context. For example, at a time when people relied on the church for explanations, the story of the Tower of Babel illustrated the origin of different languages. Now, however, linguists believe different languages arose out of different needs and contexts. Etymology can also provide interesting insights into the historical development of specific words and ideas.

The last component of an Area of Knowledge is its Links to Personal Knowledge. With this element, the AoK must tell us what it should mean to us, and why it is important. There are many direct connections to the Knower in Language, as its usage is almost unavoidable (an interesting article here talks about thought without language – a very rare occurrence). Language is also instrumental in the many forms of communication that surround us today – from advertisements to entertainment and social media. Any interaction with people will use some form of language, and establish our personal links to the AoK.

It seems that Language does follow the structure of an AoK. But one must also realize the compelling argument for it as a WoK – the way that Language encompasses nearly every aspect of our lives and also every AoK is what places it in that category. To counter this, we can focus on the purpose of an AoK – to categorize our knowledge into systems to understand it better. Language fits well here, especially as our earlier definition explained it as a communicative system and the study of it.
All in all, I believe that Language can fit effectively into the Area of Knowledge framework. This argument does not make a statement about Language but rather about ToK, proving that the existing WoKs and AoKs are not infallible structures that govern all knowledge. They have their own limitations, which must be recognized to truly understand ToK.

Of course, many of the examples I brought up here fit in well with Language and Literature, and the analysis was also completed on the English language, which we are studying in this course. The argument is not flawless as it does not look at other languages, but it provides a good beginning for more analysis. What do you think?

Sources
http://simplyphilosophy.org/words-are-arbitrary/

Sunday, July 26, 2015

Book Reflection: Dave Eggers’ A Heartbreaking Work of Staggering Genius (SLIGHT SPOILERS!)

I hope everyone has been enjoying their summers so far. 32 Days Left!

I’ve just finished reading A Heartbreaking Work of Staggering Genius, Dave Eggers’ memoir. A very brief synopsis: it documents the life of the author (twenties?) after and as both his parents pass away, and he cares for his younger brother (eleven) and deals with the tragedy. While the content of the book is “staggering” by itself, what really stood out to me was the author’s prose. It greatly impacted my view of writing, and my understanding of what constitutes telling a story. This blog post will attempt to outline what it was that made this not a book, but an experience.  

The first thing that set it apart from others was its structure, or rather the lack thereof. It was very ‘anything goes’, where one sentence could be half a page long, and where two different and unrelated narratives could be told at the same time. It also paid little attention to grammatical structure, with instances where words were just stuck together instead of forming ‘proper’ sentences. All this flowed together like thought processes, which the reader can identify with – especially as the abstract phrases conjure up feelings that are more universal than the specific events that triggered them.   

Working together with the very personal structure of the novel is how self-conscious it is. There are times when characters lapse into monologues that are obviously false – questioning the purpose of the memoir and insisting on the selfish motives of the author for focusing on the tragedies around him to ‘add drama to his own life’. As the reader, the times when the book questioned itself brought me back to the reality of what I was reading and engaged me to question it. While this is a very useful device, it can become annoying if used too often and without skill.

In A.H.W.O.S.G., however, the self-consciousness never became problematic as it was balanced with a level of honesty that was almost painful to watch. The book was not pretentious at all, and attempts at being ‘cool’ or being anything were shot down by the self-conscious side of it. This absence of any self-labeling within the story makes the novel even more personal and vulnerable, as it laughs at itself first to defend against any potential criticisms or other people lampooning it. All hatred, jealousy, and ulterior motives of the writer are undisguised.   

Earlier this year, we discussed ‘standard English’ and the fact that it does not really exist. This book fits this sentiment perfectly – not only is proper grammar abandoned at times, Eggers also uses lists, charts, and drawings to communicate his message. What is interesting is that his message is always delivered, and that oftentimes it is in the least organized parts that the message is the clearest.  This is perhaps aided by repeated swear words, which also contribute to the novel seeming like someone’s inner dialogue.

In conclusion, all these factors work together to create a book that makes you feel like you are sitting in Dave Eggers’ head, sifting through his past experiences and watching as he processes and deals with what life has given and is giving him. Watching another human’s thoughts (the part where we usually feel most alone) is at once comforting in its familiarity, but at the same time scary in the realization that we are not as special as we think we are. I’d definitely recommend this book, although beware – there may be some themes that people may be uncomfortable with. As mentioned before, it is very honest, and nothing is hidden from the reader’s view.  


Have a great summer! J