Okay, well we finished reading Puss In Boots today, and I have to say it’s my new favourite of the stories. I’m extremely fickle and every time we read a new story in lesson, I like it so much more and decide it’s my favourite! Anyway, on with the post;
Well, I’ll start with the narrator; there are many differences between this narrator and the previous narrators of the stories so far. For example this is the only male narrator in the whole book, and he is portrayed as being full of himself, “for what lady in all the world could say ‘no’ to the passionate yet toujours discret advances of a fine marmalade cat?” This is a quality that none of the other narrators appear to possess and is perhaps a stereotypical quality of males along with his obsession with sex? As well as being the only male character that we encounter, he is also the only one that is not human. I’m not entirely convinced that Figaro’s felinity has any impact on him as a narrator or character, especially as he is modelled on the Harlequin (a human character) from Italian pantomime.
Anyway, what struck me about this story is that even though most of the story surrounds the male characters, Figaro as the narrator and his master whom we hear a lot about, it is the two female characters that appear to be the most clever and dominant. For example it is the female cat, “Tabs,” who comes up with both plans to help their masters, for lack of a better phrase, get together, “she proposes her scheme to me.” Later in the book, we also see how the woman takes control of the situation when the Hag is suspicious of the noise and mess in the bedroom, “then lets her wardress into the scene of the faux carnage with the most modest and irreproachable air in the world. ‘See! Puss has slaughtered all the rats’”
I’ve kind of lost the will to blog now, so shan’t explain about comparisons to Italian pantomime instead here are some extremely brief notes;
Figaro = Harlequin
Master + Woman = The lovers
Signor Panteleone = The Pantaloon
The Hag = Fulfils role of the Pantaloon as she is conned and duped out of money.
Also, this story is almost like a play, contains lots of puns and over the topness etc etc.
Thursday, 25 March 2010
Thursday, 18 March 2010
The Tiger's Bride
So, we have just finished reading ‘The Tiger’s Bride,’ in lesson and I have to say that it is by far my favourite story that we have read so far (actually out of any of them- as I have read the whole book previously). Anyway, I think the first thing that strikes you about this short story, is the difference in the narrator to the previous stories. In The Bloody Chamber and The Courtship of Mr. Lyon, both narrators are willing to submit to every command of the male characters. An example, a very frustrating example, is where the young bride in The Bloody Chamber is phoned up by the Marquis and he tells her to come down to the courtyard to be murdered- and she goes!
At that point in the story, honestly, I was all for the Marquis killing her. Anyway, back to the point, ah yes, so I liked this story more because the narrator was slightly less naïve and wielded some power. For example she says of the town where the Tiger is from, “I myself spoke in favour of this remote provincial palace,” therefore this suggests that the narrator has some say in the destinations her and her father travel to, she is not completely powerless. Also, I really liked how cynical and sarcastic this character came across as, “what a burden all of those possessions must have been to him, because he laughs as if with glee as he beggars himself.” This narrator is also critical of her father- something which the female in the other beauty and the beast story lacked, “You must not think my father valued me at less than a king’s ransom; but, at no more than a king’s ransom.”
Other than the narrator, the other thing about this story that I really liked was the ending- it’s certainly a twist on the conventional Beauty and The Beast fairly tale, and although some of the other stories aren’t too similar to the original stories, this one thank goodness didn’t contain lots of well…….taboo language. I’m sure Carter had many valid reason for these language choices, but after a while it has less impact and is just annoying and often cringe-worthy in lessons :P Anyway, back to the twist, twas unexpected, the reader will have recognised the references to Beauty and The Beast- mirror, rose and the narrator being referred to as a beauty- and so the reader’s expectation is that at the end of the story The Beast becomes a man et voila everyone lives happily, conventionally after. But in this version, the narrator turns into a tiger, she changes, not the male. I’m not sure why Carter chose to do this, but it’s possible that she did it to give the narrator, the female more power. As it says in the story, “The tiger will never lie down with the lamb……….. The lamb must learn to run with the tigers,” this could mean that the tiger can not change to be with the narrator, even if he wanted- he has no choice and cannot, “lie down with the lamb.” However, the narrator can chose, “to run with the tigers,” she can change herself to be with him if she chooses, and so she has sole control over the possible future of their relationship. Then again, I could be typing a load of basura!
At that point in the story, honestly, I was all for the Marquis killing her. Anyway, back to the point, ah yes, so I liked this story more because the narrator was slightly less naïve and wielded some power. For example she says of the town where the Tiger is from, “I myself spoke in favour of this remote provincial palace,” therefore this suggests that the narrator has some say in the destinations her and her father travel to, she is not completely powerless. Also, I really liked how cynical and sarcastic this character came across as, “what a burden all of those possessions must have been to him, because he laughs as if with glee as he beggars himself.” This narrator is also critical of her father- something which the female in the other beauty and the beast story lacked, “You must not think my father valued me at less than a king’s ransom; but, at no more than a king’s ransom.”
Other than the narrator, the other thing about this story that I really liked was the ending- it’s certainly a twist on the conventional Beauty and The Beast fairly tale, and although some of the other stories aren’t too similar to the original stories, this one thank goodness didn’t contain lots of well…….taboo language. I’m sure Carter had many valid reason for these language choices, but after a while it has less impact and is just annoying and often cringe-worthy in lessons :P Anyway, back to the twist, twas unexpected, the reader will have recognised the references to Beauty and The Beast- mirror, rose and the narrator being referred to as a beauty- and so the reader’s expectation is that at the end of the story The Beast becomes a man et voila everyone lives happily, conventionally after. But in this version, the narrator turns into a tiger, she changes, not the male. I’m not sure why Carter chose to do this, but it’s possible that she did it to give the narrator, the female more power. As it says in the story, “The tiger will never lie down with the lamb……….. The lamb must learn to run with the tigers,” this could mean that the tiger can not change to be with the narrator, even if he wanted- he has no choice and cannot, “lie down with the lamb.” However, the narrator can chose, “to run with the tigers,” she can change herself to be with him if she chooses, and so she has sole control over the possible future of their relationship. Then again, I could be typing a load of basura!
Wednesday, 17 March 2010
Odd Italian thingies
Well, i read that websitey thing, and im confused as to how it relates to the work we are doing and so i kind of lost the will to write all of them up, so i disregarded all the ones that were incredibly similar to characters I'd already written about. Anyway, here we are;
Arlechino- or as I’ve previously heard it to be called, Harlequin.
This character became known in 1572, often found wearing a wooden mask (later made form leather) and a multicoloured patchwork costume. He is a poor and hungry fellow who through his naivety and simplicity is able to outsmart greedier, richer men.
Pantalone- or Pantaloon
This character can be anything from a merchant to a nobleman, however he is constantly faced with others trying to take his money away from him (as a rich and greedy man, he has plenty of this). He is too trusting of others and this teamed with his naivety means that more often than not he is outsmarted by wit and improvisation.
Il Dottore- or the doctor
His first appearance on stage was in the 16th century and was an, “I know everything,” character. His purpose was to break up the action within a play with longwinded monologues. His was generally dressed in black, well groomed and fat- his size is supposed to show that he is a very wealthy man- however he is very arrogant.
Il Capitano- or the captain
The captain was created to mock the armies that oppressed Italy- for example at one point the captain was clearly Spanish. This character was around from the 16th- to the 18th century. He is often seen with a long pointy moustache, a sword and several daggers, he repeatedly talks of bravery, but is easily scared off the scared by the Harlequin.
Pulcinella- or polichinelle
This character has a very simple, but poor nature, which was reflected in his costume- a white inexpensive costume with a sugar loaf costume. He is a very philosophical and dreamy character, a representation of the Neapolitan culture. His melancholic nature often lands him in problems, however it is this same approach that often helps him out of difficult situations.
Gli Innamorati- or the lovers
These characters lack any real personality- their sole trait is that they are in love with each other- and though this may be dull by itself, the lovers are essential to help draw the audience in and also much action can be developed around them. The lovers are very often young and the children of the elder characters, such as the doctor or the pantaloon.
Arlechino- or as I’ve previously heard it to be called, Harlequin.
This character became known in 1572, often found wearing a wooden mask (later made form leather) and a multicoloured patchwork costume. He is a poor and hungry fellow who through his naivety and simplicity is able to outsmart greedier, richer men.
Pantalone- or Pantaloon
This character can be anything from a merchant to a nobleman, however he is constantly faced with others trying to take his money away from him (as a rich and greedy man, he has plenty of this). He is too trusting of others and this teamed with his naivety means that more often than not he is outsmarted by wit and improvisation.
Il Dottore- or the doctor
His first appearance on stage was in the 16th century and was an, “I know everything,” character. His purpose was to break up the action within a play with longwinded monologues. His was generally dressed in black, well groomed and fat- his size is supposed to show that he is a very wealthy man- however he is very arrogant.
Il Capitano- or the captain
The captain was created to mock the armies that oppressed Italy- for example at one point the captain was clearly Spanish. This character was around from the 16th- to the 18th century. He is often seen with a long pointy moustache, a sword and several daggers, he repeatedly talks of bravery, but is easily scared off the scared by the Harlequin.
Pulcinella- or polichinelle
This character has a very simple, but poor nature, which was reflected in his costume- a white inexpensive costume with a sugar loaf costume. He is a very philosophical and dreamy character, a representation of the Neapolitan culture. His melancholic nature often lands him in problems, however it is this same approach that often helps him out of difficult situations.
Gli Innamorati- or the lovers
These characters lack any real personality- their sole trait is that they are in love with each other- and though this may be dull by itself, the lovers are essential to help draw the audience in and also much action can be developed around them. The lovers are very often young and the children of the elder characters, such as the doctor or the pantaloon.
The Bloody Chamber
After completing The Bloody Chamber, I shall use this blog to reflect upon it (this is by no means being forced by Mr. Francis :P ). Well, I guess the thing that most struck me about this short story is how it can be interpreted as a feminist story.
One reason I think this is because of the two main male characters within the book, the Marquis and the piano tuner. The Marquis is a cruel, sadistic murderer who treats all of his wives rather meanly (e.g killing and attempting to kill them). Whereas the Piano tuner is a far nicer character who is kind to the young bride and even sticks by her as she goes down to meet the psychotic Marquis. According to Laura Mulvey, the moment that men look at women they subconsciously hate and oppress them- and this is what the Marquis does to his wives, he controls them and eventually murders them. This theory is backed up by the fact that the Piano Tuner is blind, he cannot see the narrator and so that is why he does not hate and oppress her.
The mother of the narrator is a very prominent figure in the novel, she is portrayed as a very strong character, from the beginning we are told that she, “outfaced a junkful of Chinese pirates, nursed a village through a visitation of the plague, shot a man-eating tiger.” These are all very dangerous, heroic and assertive things to do- she is portrayed perhaps in a stereotypical role of a male. The mother acts as a role model for her daughter, who is far less assertive. In fact the narrator is a pushover and is not even given a name- she is that insignificant. She allows the Marquis to control her and is even so obedient that when he tells her to come down to the courtyard for him to kill her- she goes!
It is also possible to link the Madonna/Whore complex to this short story as when we see inside the bloody chamber, we see that the Marquis has dressed his dead wives in their bridal clothes. This is because this is the last time his wives were virginal and pure- after this, in male’s eyes women are whores and so by dressing the women as for their wedding the Marquis is seeing them as the Madonna. This is backed up as the Marquis refers to his newest bride as a, “whore.”
One reason I think this is because of the two main male characters within the book, the Marquis and the piano tuner. The Marquis is a cruel, sadistic murderer who treats all of his wives rather meanly (e.g killing and attempting to kill them). Whereas the Piano tuner is a far nicer character who is kind to the young bride and even sticks by her as she goes down to meet the psychotic Marquis. According to Laura Mulvey, the moment that men look at women they subconsciously hate and oppress them- and this is what the Marquis does to his wives, he controls them and eventually murders them. This theory is backed up by the fact that the Piano Tuner is blind, he cannot see the narrator and so that is why he does not hate and oppress her.
The mother of the narrator is a very prominent figure in the novel, she is portrayed as a very strong character, from the beginning we are told that she, “outfaced a junkful of Chinese pirates, nursed a village through a visitation of the plague, shot a man-eating tiger.” These are all very dangerous, heroic and assertive things to do- she is portrayed perhaps in a stereotypical role of a male. The mother acts as a role model for her daughter, who is far less assertive. In fact the narrator is a pushover and is not even given a name- she is that insignificant. She allows the Marquis to control her and is even so obedient that when he tells her to come down to the courtyard for him to kill her- she goes!
It is also possible to link the Madonna/Whore complex to this short story as when we see inside the bloody chamber, we see that the Marquis has dressed his dead wives in their bridal clothes. This is because this is the last time his wives were virginal and pure- after this, in male’s eyes women are whores and so by dressing the women as for their wedding the Marquis is seeing them as the Madonna. This is backed up as the Marquis refers to his newest bride as a, “whore.”
Monday, 7 December 2009
The Madonna/Whore complex
A few lessons ago we looked at this concept by Sigmund Freud, and I’m not completely sure that I understand it, because it is so….. well, weird and absurd and therefore I’m puzzled as to how Freud became so famous. Anyway, I believe the complex to mean that there are only two ways in which a man can see a woman, she is either a sacred love object, where no sexual contact has occurred and so to men she is the Madonna. On the other hand, once a man has had sex with a woman, then he will see her as the whore.
Within the context of Dracula, this complex is fairly important as, despite both Mina and Lucy being virginal, Lucy is seen as the whore stereotype and Mina is seen as the Madonna stereotype. At the beginning of the novel, Lucy is desired by many men and even receives three marriage proposals in one. Then later on in the book, Lucy is bitten by Dracula, she has been ‘penetrated.’ After this event has occurred, Lucy’s physical appearance has changed and we see her, “pure [turn to] voluptuous wantonness.” Then Lucy is no longer desired by many men, despite her appearance being prettier, only Arthur still is in love with her. And even then Van Helsing won’t let Arthur near Lucy and her new whore-like characteristics. Tis shows that men far more crave the Madonna type of woman.
Within the context of Dracula, this complex is fairly important as, despite both Mina and Lucy being virginal, Lucy is seen as the whore stereotype and Mina is seen as the Madonna stereotype. At the beginning of the novel, Lucy is desired by many men and even receives three marriage proposals in one. Then later on in the book, Lucy is bitten by Dracula, she has been ‘penetrated.’ After this event has occurred, Lucy’s physical appearance has changed and we see her, “pure [turn to] voluptuous wantonness.” Then Lucy is no longer desired by many men, despite her appearance being prettier, only Arthur still is in love with her. And even then Van Helsing won’t let Arthur near Lucy and her new whore-like characteristics. Tis shows that men far more crave the Madonna type of woman.
Saturday, 5 December 2009
Dracula- Chapter 5
A few lessons ago we were looking at chapter five of Dracula. In particular we focused on the importance of letters with in this chapter. There are many benefits to the use of letters, for example the sudden change from Jonathan Harker’s journal to the letters between Lucy and Mina reflect the distance between the two topics, joy of Lucy and Harker’s fear, and of the actual distance between the characters, Transylvania and England.
The use of letters between Mina and Lucy also allows the reader to get to know the characters more quickly. If a narrator simply explained the two characters’ thoughts and feelings and actions, the reader wouldn’t feel as close to them or have as much sympathy for the characters. This is particularly important for Lucy as she becomes ill and then dies fairly early on in the book and this more direct way of communicating with the reader will allow them to feel sorry for Lucy and ultimately her fate.
The reader may be more inclined to believe events that are told to them if it is through letter form. This is because it is not through a narrator and so it seems more direct and real. Lucy and Mina aren’t trying to convince the reader that what they say is true and real, these are private and confidential letters being read. Therefore they have no cause to lie and so this will help to add to the book’s attempts to make us believe that the novel’s events are true.
Letters between Lucy and Mina have the effect of showing a contrast between the two characters. Mina is shown to be very committed and almost, ‘wifely’ to Jonathan, “when we are married I shall be able to be useful to Jonathan.” Whereas Lucy appears to be almost promiscuous, “why can’t they let a girl marry three men?” The closeness of these comments highlights the differences between the two girls.
The use of letters between Mina and Lucy also allows the reader to get to know the characters more quickly. If a narrator simply explained the two characters’ thoughts and feelings and actions, the reader wouldn’t feel as close to them or have as much sympathy for the characters. This is particularly important for Lucy as she becomes ill and then dies fairly early on in the book and this more direct way of communicating with the reader will allow them to feel sorry for Lucy and ultimately her fate.
The reader may be more inclined to believe events that are told to them if it is through letter form. This is because it is not through a narrator and so it seems more direct and real. Lucy and Mina aren’t trying to convince the reader that what they say is true and real, these are private and confidential letters being read. Therefore they have no cause to lie and so this will help to add to the book’s attempts to make us believe that the novel’s events are true.
Letters between Lucy and Mina have the effect of showing a contrast between the two characters. Mina is shown to be very committed and almost, ‘wifely’ to Jonathan, “when we are married I shall be able to be useful to Jonathan.” Whereas Lucy appears to be almost promiscuous, “why can’t they let a girl marry three men?” The closeness of these comments highlights the differences between the two girls.
Wednesday, 11 November 2009
Verisimilitude in the Opening of Dracula
Last lesson, we were looking at verisimilitude. This is where a piece of fiction contains similarities or reference to real life. For example, some verisimilitudes in Dracula include the locations of France and Germany. Verisimilitudes are the true aspects contained in the novel, things which still exist outside of the novel, another example would be Harry Potter going to King’s Cross station in London. Although Harry Potter is a fictional character, the station is real and so exhibits some realism and authenticity in the reader’s mind. (I don’t know why I used Harry Potter as an example, given that I have never read any of the books).
Once the definition of verisimilitude was established, we than began to look at the opening of Dracula in relation to this. The first extract is from page 8/9 and contains many verisimilitudes and details such as descriptions of the local people, “strangest figures we saw were the Slovaks, who were more Barbarian than the rest, with their big cow-boy hats, great baggy dirty-belts, nearly a foot wide, all studded over with brass nails.” This one sentence alone contains much factual information about the clothing and appearance of the people, it is not very orientated around opinions, but around concrete descriptions. The second extract we looked at was on page 13 of Dracula and was less factual; it contained more picturesque and dreamlike descriptions, such as, “the road, losing itself as it swept round the grassy curve.” Finally, the third extract, from page 14, was even less fact based and contained phrases such as, “peasant’s cart with its long, snakelike vertebra,” and, “produced a particularly weird and solemn effect, which carried on thoughts and grim fancies engendered earlier in the evening.” This extract has become even more based upon opinion and contains far more imagery than clear description. Mysticism has entered the novel, and so because the very beginning of the book contained to much factual and relatable information, the reader is potentially more likely to believe what the narrator is telling them. This is particularly important in a book like Dracula, which contains a lot of mythological ideas and so by containing verisimilitudes, the reader may find the ideas more readable and enjoyable.
Once the definition of verisimilitude was established, we than began to look at the opening of Dracula in relation to this. The first extract is from page 8/9 and contains many verisimilitudes and details such as descriptions of the local people, “strangest figures we saw were the Slovaks, who were more Barbarian than the rest, with their big cow-boy hats, great baggy dirty-belts, nearly a foot wide, all studded over with brass nails.” This one sentence alone contains much factual information about the clothing and appearance of the people, it is not very orientated around opinions, but around concrete descriptions. The second extract we looked at was on page 13 of Dracula and was less factual; it contained more picturesque and dreamlike descriptions, such as, “the road, losing itself as it swept round the grassy curve.” Finally, the third extract, from page 14, was even less fact based and contained phrases such as, “peasant’s cart with its long, snakelike vertebra,” and, “produced a particularly weird and solemn effect, which carried on thoughts and grim fancies engendered earlier in the evening.” This extract has become even more based upon opinion and contains far more imagery than clear description. Mysticism has entered the novel, and so because the very beginning of the book contained to much factual and relatable information, the reader is potentially more likely to believe what the narrator is telling them. This is particularly important in a book like Dracula, which contains a lot of mythological ideas and so by containing verisimilitudes, the reader may find the ideas more readable and enjoyable.
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