What makes me angry...

What really makes me angry is working on a blog and not being able to have proper formatting. So, to solve this issue, I will submit a hard copy on Wednesday so that I don't lose marks for horrible formatting.

Wizard Of Oz - The Feminist Version

The Wizard Of Oz

By: Michaela Blaser

For: Mr. Murray

ENG4UE-02

October 28, 2008

The Wizard of Oz is a movie that is based on the journey of a schoolgirl, Dorothy Gale, from her home in Kansas to the magical world of Oz. Even though this film is about a female, The Wizard of Oz contains several aspects that relate more to the male standpoint (not to mention body) than that of the female. This is a French Feminist view, in which all aspects of a piece of art are viewed as relating directly back to men and their hypothetical dominance. If you watch closely, The Wizard of Oz is more dominantly masculine-based than feminine-based, and that is only through observance of Glinda’s tool, Dorothy’s reliance on men, and not to mention the shape of her destination.

Let us take a look at this wonderful tool of the Witch of the North. Not only is Glinda’s tool in the form of a penis, but it is magic too. Now what male would not want a magic stick, let alone stop talking about already having one? That Glinda uses a slender, pointy wand as her means of power is a direct stab at women. If you take the French Feminist view of the wand being a phallus, Glinda’s whole role in the movie is to pass on the power of male. If you look past her general appearance of a harlot that constantly has a penis in her hand, you begin to realize that all the power she has “comes” from this erect object. Being at the complete service of an object of male control would not be taken lightly by any feminist.

If the French Feminists weren’t pissed already, they would be now. Throughout The Wizard of Oz, we are made to believe that this journey is that of an innocent schoolgirl that is merely lost “somewhere over the rainbow” (Langley). At first glance, Dorothy is also seen as being kind enough to help others achieve their own personal quests.

LION: I haven't any courage at all. I even scare myself. Look at the circles under my eyes.

[…]

LION: I haven't slept in weeks.

TIN MAN: Why don't you try counting sheep?

LION: That doesn't do any good -- I'm afraid of 'em.

SCARECROW: Oh, that's too bad. Don't you think the Wizard could help him, too?

DOROTHY: I don't see why not. Why don't you come along with us? We're on our way to see the Wizard now. To get him a heart.

TIN MAN: And him a brain.

DOROTHY: I'm sure he could give you some courage.

(Langley)

At second glance, it becomes pretty obvious who is helping who. As the journey progresses, Scarecrow, Tin Man, and Cowardly Lion are those who lead the journey and end up assisting Dorothy instead of the other way around. An example of this occurs when the Wicked Witch of the West appears in Emerald City and writes a message in the sky that is directed to Dorothy and asks her to surrender.

DOROTHY: Dear, whatever shall we do?

SCARECROW: Well, we'd better hurry if we're going to see the Wizard!

(Langley)

This quote makes it seem as if Dorothy, a female, would need to rely on not one, not two, but three males. That she relies on these three males in Oz directly relates to her reliance on the males at home in Kansas, that aide her in every way they possibly can.

Now, what about this grand destination that Dorothy has attempted to get to throughout the movie? Emerald City, the end of her journey (or so she believes) and the ticket home, is the palace of the great and almighty Wizard of Oz. First, let us look at Emerald City: built as several erect towers, growing larger in height as you move to the center of the city. And is it even necessary to mention that all these towers are not pointy at the end, but round. If you look closely at Emerald City, you might also notice that the smaller towers to the front and to the side of the city structure are quite shorter and rounder. Phallus anyone?

DOROTHY: It's beautiful, isn't it?  Just like I knew it would be.  He really must be a
wonderful Wizard to live in a City like that!

LION: Well, come on, then.  What are we waiting for?

SCARECROW: Nothing!  Let's hurry!

DOROTHY: Yes -- let's run!

LION: Yes.

SCARECROW: Come on -- come on --

TIN MAN: Hurry -- hurry --

SCARECROW: Oh!  Oh, come on, come on!

TIN MAN: Look -- you can see it here.  It's wonderful!

SCARECROW: Emerald City!

(Langley)

If you were to over-analyze this quote, as anyone studying French Feminism would do in order to identify the various sexist bits and pieces, you would wonder why Dorothy thinks this huge phallic-shaped building is so “beautiful”, and why they are all so eager to get to Emerald City, saying “Hurry – hurry – Oh, come on, come on!” (Langley). Now, if this is not some sick joke, it could easily be considered a flat out stab at women and their supposed eagerness of the male phallus. Secondly, that the solution to all her problems lies with a wizard (read: MALE) is just another stab at women and their standing. The Wizard of Oz is yet another male that Dorothy runs to for aide, and yet another typical figure that happens to be the “great male provider” to all. And if her dependence on male figures was not enough, Oz demands work of Dorothy to prove herself worthy enough of his help.

OZ'S VOICE: But first, you must prove yourselves worthy by performing
a very small task […] bring me the broomstick of the Witch... of the West

TIN MAN: B-B-B-B-B-But if we do that, we'll have to kill her to get it!

OZ'S VOICE: Bring me her broomstick, and I'll grant your requests. Now, go!

LION: But -- but what if she kills us first?

OZ'S VOICE: ... I ... said, -Go!

(Langley)

If this is not a direct stab to a female's standing, I don't know what is. To deliberately showcase
a female having to prove themselves to a male is a sexist act that any New French Feminist
would antagonize over.

 In conclusion, The Wizard of Oz does quite well in showing examples of New French Feminist
Criticism, by providing a penis-hungry "good" witch, several male figures (including one of great
authority), and a great phallic city.



Bibliography:
Langley, Noel. "The Wizard of Oz - Movie Script." Scifiscripts. 28 Oct 2008
 .

Watership Down, The Essay

Watership Down

By: Michaela Blaser

For: Mr. Murray

ENG4UE-02

October 17, 2008

Watership Down by Richard Adams is a compelling story of a band of rabbits that endure a long and perilous journey for miles across unknown land in search of a better life. But before the story continues and the journey becomes more defined as the reader moves from one chapter to the next, a quotation (or epigraph, if you’re inclined to better diction) is given to inform the reader of the general direction and tone that the chapter is bound to take. Watership Down is built successfully around many epigraphs that foreshadow the direction each chapter will take and identify the seriousness of the actions that will be taken, as well as integrate into the story a level of literary depth and credibility.

The epigraphs at the beginning of each chapter summarize (mostly in just one line) what will happen in the chapter that follows.

“Never in his life had he seen a river before – this sleek, sinuous, full-bodied animal… All was a-shake and a-shiver – glints and gleams and sparkles, rustle and swirl, chatter and bubble.” (Adams, 296)

Before even taking a glance at the first line of the chapter subsequent to this epigraph from The Wind in the Willows (by Kenneth Grahame), it is obvious that the band of rabbits will approach a river and be completely overwhelmed by its characteristics.

“Peering through the plant-clumps, they could catch glimpses of the smooth, glittering river, evidently much wider and swifter than the Enborne… they felt the apprehension and doubt of those who have come unawares upon some awe-inspiring place, where they themselves are paltry fellows of no account.” (Adams, 298)

Coming from a dry environment in a wooded field, the rabbits were “uneasy and confused… each hoping not to see in the others the nervousness he felt in himself.” (Adams, 299) This is, however, an understandable situation as the largest body of flowing water that they have seen is the Enborne, which is described as being no bigger than a small brook. Among summarizing the chapter, the epigraphs might even (in some cases) foreshadow a major turning point or conflict in the chapter, if not the whole novel.

“His face was that of one who has undergone a long journey.” (Adams, 147)

In the case of this epigraph from The Epic of Gilgamesh, the new warren is reminded of their past when it comes back to haunt them. In the chapter following this small quotation, the rabbits must battle through the newly stirred-up emotion of what really happened after they ran away from their home (news brought from the close-to-death captain of defense from their home-warren). That someone as strong as Captain Holly had been almost destroyed beyond repair, and who looked as if his journey had been lengthy, was enough to impact the rabbits in a way that would later strengthen their defenses and forever change the way they looked at the world and lived in it.

As well as summarizing the subsequent chapter, the epigraphs do well in suggesting the seriousness of each chapter in terms of the strength of the action that will take place.

“The centurion… commanded that they which could swim should cast themselves first into the sea and get to land. And the rest, some on boards and some on broken pieces of ship. And so it came to pass, that they escaped all safe to land.” (Adams, 44)

It is apparent that the chapter introduced by this epigraph must be one with ample action and suspense. And so it is, as the chapter successfully illustrates a riverblock (pardon the pun) that the rabbits barely overcome during their great escape. As the refugees flee for safety, they must pass over a small river. This would not be such a great deal if they were not already tired from the day’s running. It is only in this desperate time that the rabbits take the desperate measure of going against the habits of a normal rabbit to actually push those that are too weak across the water.

“The piece of wood, hardly bigger than a large rhubarb leaf, was lightly aground. Blackberry almost drove Pipkin on to it with his claws… [the board] drifted out a few feet into the pool… [and] moved slowly across the pool and grounded on the opposite side.” (Adams, 48-49)

So as is evident, this chapter is both serious and has a great deal of action within it. Among other such epigraphs is the following from The Pilgrim’s Progress by John Bunyan:

“Timorous answered, that they… had got up that difficult place: but, said he, the further we go, the more danger we meet with; wherefore we turned, and are going back again.” (Adams, 55)

The minute conflict in the chapter that follows this paragraph is enough to bring on a seriousness and extremity of action that is important to the story and its direction. This action is not physical as the previous example, but nevertheless important. It is during this chapter that particular rabbits second-guess their initial decision to flee back to their home (note that this occurs before they find out what happened at their home).

“‘How can you go back through all we’ve come through?’ replied Hazel. ‘And probably get killed for wounding an Owsla officer [during our escape], if you ever do get back?’” (Adams, 61-62)

It is up to Hazel, the leader of the new warren, to help them see that there is just as much danger in going back as there is in moving forward (if not more danger in going back).

At most, the epigraphs at the beginning of each chapter of Watership Down show that the author, Richard Adams, went to great lengths to incorporate various forms of literature to add to the depth and credibility of this novel. Examples of the various forms of literary sources of the epigraphs seen throughout the novel include plays, poems, biblical verses, music lyrics, and even royal letters, the majority of which are exemplified in different languages. Not only do they add credibility and depth to the novel, but they set the tone of the chapter that they precede. For example, a chapter headed by such a quote as from Plato’s Euthyphro is more than likely going to contain an inquisitive or intellectual tone.

“You will be sure to prove that the act is unjust and hateful to the gods? Yes, indeed, Socrates; at least, if they will listen to me.” (Adams, 411)

What follows this epigraph is a chapter where Hazel’s authority is questioned as a raiding party from an enemy warren sets out to destroy Hazel and his home. Not only does this chapter have an inquisitive tone, but it manages to hold the logical setting in place as the warren quickly considers its defenses:

“‘Get the holes filled in! Get everyone underground! There’s not a moment to lose!’” (Adams, 415)

Another example of a credible epigraph is Aeschylus’ Agamemnon. This excerpt does well in setting the dramatic tone of the chapter, as it is the first glimpse of the oppressive danger that is to come.

“CHORUS: Why do you cry out thus, unless at some vision of horror?

CASSANDRA: The house reeks of death and dripping blood.

CHORUS: How so? ‘Tis but the odour of the altar sacrifice.

CASSANDRA: The stench is like a breath from the tomb.” (Adams, 15)

In this chapter, Fiver, a rabbit with a sixth sense for danger, has a vision of his burrow and the surrounding field covered in blood. The epigraph most definitely communicates the dramatic establishing of the setting and the story.

In conclusion, Richard Adam’s extensive uses of epigraphs in his novel Watership Down contribute greatly to the story as a whole. Not only do the epigraphs summarize key points in the novel, but they help a great deal in identifying the seriousness and strength of action to be taken, as well as add literary depth and credibility to the novel as a whole.

Bibliography:

Adams, Richard. Watership Down. London: Puffin Books, 1973.

44 days in...

It's hard to believe that we're already 44 days into this school year. So much has been happening since Day 1 that time just seems to be speeding by. In English alone, we've tackled a group project (the last group presented today) and the first ISU is due this Friday.
And that's not even all... with scholarships to apply to and the homework load from Chemistry and Math (well, not so much from Chemistry), time just seems to be so limited.
Well, that's my mini blog... don't admire typing much, and the next post will be a long enough post to do up for this one.
Maybe this weekend I'll actually get a break... nope, I don't think it's happening.

Watership Down Outline

Thesis: Watership Down is built successfully around many epigraphs that foreshadow the direction each chapter will take and identify the seriousness of the actions that will be taken, as well as integrate into the story a level of literary depth and credibility.

Reason: The epigraphs at the beginning of each chapter summarize (mostly in just one line) what will happen in the chapter that follows.
Example: "Never in his life had he seen a river before - this sleek, sinuous, full-bodied animal... All was a-shake and a-shiver - glints and gleams and sparkles, rustle and wirl, chatter and bubble." -Kenneth Grahame The Wind in the Willows- (Adams, 296)
Example: "His face was that of one who has undergone a long journey." -The Epic of Gilgamesh- (Adams, 147)

Reason: The epigraphs do well in suggesting the seriousness of each chapter in terms of the strength of the action that will take place.
Example: "The centurion... commanded that they which could swim should cast themselves first into the sea and get to land. And the rest, some on boards and some on broken pieces of the ship. And so it came to pass, that they escaped all safe to land." -The Acts of the Apostles, Chapter 27- (Adams, 44)
Example: "Timorous answered, that they... had got up that difficult place: but, said he, the further we go, the more danger we meet with; wherefore we turned, and are going back again." -John Bunyan The Pilgrim's Progress- (Adams, 55)

Reason: At most, the epigraphs at the beginning of each chapter of Watership Down show that the author, Richard Adams, went to great lengths to incorporate various forms of literature to add to the depth and credibility of this novel.
Example: "You will be sure to prove that the act is unjust and hateful to the gods? Yes, indeed, Socrates; at least, if they will listen to me." -Plato Euthyphro- (Adams, 411)
Example: "Be not merciful unto them that offend of malicious wickedness. They grin like a dog and run about through the city. But thou, O Lord, shalt have them in derision. Thou shalt laugh all the heathen to scorn" -Psalm 59- (Adams, 398)

Example:

"Don Alfonso: 'Eccovi il medico, signore belle.'

Ferrando and Guglielmo: 'Despina in maschera, che triste pelle!' " -Lorenzo da Ponte Cosi fan Tutte- (Adams, 103)

Alas, my thesis...

I will admit up front that I absolutely despised this book and think it's a complete waste of paper and ink. I found myself not looking forward to the next chapter, but rather looking forward to the epigraph at the beginning of the chapters, which seemed just so much more entertaining than a bunch of rabbits. Due to this delightful little interest in a sea of nonsense, here is my thesis on Watership Down by Richard Adams:

Watership Down is built successfully around many epigraphs that foreshadow the direction each chapter will take and identify the seriousness of the actions that will be taken, as well as integrate into the story a level of literary depth and credibility.