Term 3 Week 3 - Changes in the Representation of Macbeth

Trace the changes that we see in Macbeth from the opening scenes when he is presented to us as "brave Macbeth", the hero, to the "tyrant" Macbeth we see described by Lennox in Act 3, Scene 6 and by Malcolm in Act 4, Scene 3, lines 67-68. Consider both how he is described by others and how the play positions readers to view him through his actions and his own words.

It is ultimately Macbeth’s actions as opposed to his real intentions and motivations that promote the way he is viewed by other characters in the play. It is clearly evident when the play commences that Macbeth is very highly regarded. As a result of his triumph over the Norwegian army, other characters and even the King have very high and unshakable respect for the duty Macbeth has paid to his country and the courage he has displayed for the safety of his King. He is constantly regarded as ‘valiant’, ‘noble’ and ‘brave’, all in which are admirable qualities for any man or ‘worthy gentlemen’ to be synonymous with. Although, as the play progresses, it is Macbeths fatal flaw of unchecked ambition that tends to rule his decisions and leads him to be the architect of his own misfortune. By the time in which Macbeth has killed Duncan, thrown Scotland into a state of disorder and killed Duncan, Macbeth descends by harrowing stages to the point of no return. Amidst all of Macbeth’s wrongdoings, the internal workings of his mind begin to show which therefore encourages characters to question Macbeths position and the extent to which he is responsible for the disorder. Despite Macbeth having malicious thoughts even whilst he was being commended for his admirable qualities at the beginning of the play, his actions were not a reflection of his thoughts and thus keeping him safe. If Macbeth had maintained this he would have a greater chance of escaping the suspicion various characters tie to him. Malcolm expresses his thoughts of Macbeth in light of his unusual and suspicious behaviour. He says, ‘I grant him ‘bloody’, ‘luxurious’, ‘avaricious’, ‘deceitful’...’smacking of every sin that has a name.’ This description of Macbeth heavily contrasts that in which he is represented at the beginning of the play indicating to the audience that various characters are progressively becoming less ignorant of the tyrant Macbeth has become driven by his own pride and ambition.

Term 3 Week 2 - Macbeth 'Fair is Foul and Foul is Fair'

Present a discussion of they way ‘fair is foul and foul is fair’ motif runs through Act 1. Explore it relevance to what happens in this act and how it reinforced through the characters words. Support argument with quotations as evidence.

The motif, ‘fair is foul and foul is fair’ is both consistent and relevant to many characters and situations through out Shakespeare’s play, ‘Macbeth’. This predominant motif is introduced in the opening scene of the play and therefore indicative to the reader that it will hold great relevance to the plays plot. In Act 1 Scene 3, Banquo speaks the line, ‘so foul and fair a day’ referring to both the atrocious weather and the war in which they had defeated the Norwegian army respectively. Soon after, the three weird sisters ambush Macbeth and prophesise three things (two of which are fairly surprising). Macbeths confusion as to why the weird sisters had told him that he would be Thane of Cawdor and one day King, leads Banquo to say, ‘why do you seem to fear things that do sound so fair?’ It is ironic that as Banquo speaks this while Macbeth’s thoughts revolve around the ‘foul’ crimes he would have to commit in order to gain the ‘fair’ status and power of King. As the play progresses, deception is a concept often associated with the motif, ‘fair is foul and foul is fair’. In Act 1 Scene 5, Lady Macbeth says, ‘ look like th’innocent flower but be the serpent under it,’ and ‘hat my keen knife see not the wound it makes’ which epitomises the motif discussed. The warning to Macbeth alludes to the caution and particular interest Macbeth should take in deceiving the other characters so it may be possible that he be King. This motif also draws subtle connections to characters appearance in opposition to their selfish motivations and false ‘fronts’. Macbeth and Lady Macbeth are both fully aware of the foul nature of their actions (killing Duncan and Banquo) and the necessity of misleading other characters to detract suspicion away from themselves. Nevertheless, Macbeth and Lady Macbeth are prepared to risk it all as a result of their ambition and the ‘fair’ thought that Macbeth might one day be King.

Term 2, Week 4 Homework Task

Write a paragraph identifying how the language choices in this article position the reader to respond to this situation. Try to include a mention of cultural assumptions.

The article positions the reader to initially emphasize with the young girl, Tiffany Eunick so that the reader can more easily accept the sympathetic tone Lionel’s situation is alluded with towards the end. This is apparent through the first quote incorporated within the article that explains the nature of Lionel’s injustices, ‘cold, cruel and indescribably’. Such figurative language is also later used to describe the physical act and therefore further positioning the reader to become more opposed against the actions of Lionel Tate, ‘[his actions imitated] swinging a limp object like a rag doll, into a stair rail’. In between these two quotes is a brief acknowledgement for the absence of a parent at the scene. This information lessens the disgust the reader may feel towards the 12-year old boy and rather assumes it was the mothers’ fault for not committing to her babysitting responsibilities. The reader is now positioned to consider the influences behind this child’s violent behaviour and consider the oblivious nature of children. The article concludes by shifting a portion of the reader’s empathy towards the harsh punishment of the boy, ‘Prosecutor Padowitz said he would join in asking…to reduce the sentence’. This statement leaves the reader in a position to regard children as irresponsible in their actions by nature and therefore can’t be blamed.

Phillip Adams - version of childhood

The version of childhood that is constructed by Philip Adams is largely negative. Childhood is portrayed as a generally unpleasant time where children are suppressed by ‘indignities and injustices’ inflicted upon them by authoritarian figures. To exaggerate his harsh opposition against childhood, Adams draws upon cultural knowledge via political allusions to support the negativity he associates with being a child, ‘what were assemblies but miniature Nuremburg rallies where pompous, petty officials could indulge their egos?’ In many more instances throughout the chapter, he makes references to the source of injustice not only as school but home as well, ‘it was just as bad as home...Don’t ask silly questions. Just do what your told. Don’t answer back’. Adams gives the impression that children are products of the ‘totalitarian regime’ they experience growing up through his statement, ‘we’d pick on those post-war unfortunates, the migrant kids’. He also makes one small and brief acknowledgement that there are in fact positives in childhood and therefore silences a large part of enjoyable childhood experiences. He also fails to acknowledge that the version of childhood he discusses is very much fixed in time. Through these gaps, silences and assumptions is childhood categorized as unjust and a generally restricting time causing children to want to, ‘shake of the yoke of youth’.

Chapter 9: Positioning the audience through 3rd person narration

Holden paced slowly dragging his feet against the concrete, with only the accompaniment of his shadow. Holden stepped out of Penn station into the blazing sun. His mind was working at 100 miles per hour. He wasn’t sure what he was here for, why he wouldn’t swallow his god dam pride and go home. Beyond the blinding light of the sun Holden made out a phone booth. Finally he could cure his overwhelming sense of loneliness. Holden decided to call someone; anyone at this point would do. Whilst Holden was contemplating who he could possibly call to avoid embarrassment or inconvenience anyone, he realised there was no perfect candidate. Agitated with his idea in the first place Holden hung up the phone. Stepping out of the phone booth, the only rational thing Holden thought of doing was taking a cab to dissolve his thoughts of loneliness. Holden hurled himself into the cab as it stopped by the curb. Separated from his thoughts and thinking about home, Holden blurted out his home address to the driver. The agenda of Holden’s heart was winning over that of his mind. Holden corrected himself in a hurry in fear of changing his mind about staying in New York. Holden turned to look at the miserable cab driver looking for the opportunity to strike up conversation. Holden’s urgency to talk was driven by his lingering question about the ducks. Where did the go in the winter when their lake was frozen over? When the comfort of their normal environment is not accessible to them any more? It wasn’t too long before Holden gave in to the temptation and asked. After all he was looking for some causal discussion. The cab driver shot Holden back a look of judgement after asking him. In an attempt to hide his embarrassment Holden began to fiddle with the hunting hat he had on. Holden began to think that he’d forever be the troubled teen dealing with his problems alone. Holden world, like the ducks’ was indeed frozen over; no direction, no security, just him and the big wide world. Holden’s thoughts encouraged him even further to ask the cab driver for some company over cocktails. Although as anticipated the cab driver declined. Rejections seem to be a part of Holden’s daily life. As the cab driver pulled outside the Edmont Hotel, Holden was consumed with a potent feeling of uncertainty. He didn’t want to stay the night in a hotel full of phony screwballs. Holden took of his hat off and acted as if he knew exactly what his next move was. Holden’s’ facade of confidence and somewhat arrogance was always apparent when slightly intimidated. Soon after Holden was ushered into his hotel room, he was disgusted to see some crumby things a couple were engaging in. Squirting water on the person you loved or at least liked seemed almost incomprehensible to Holden. Wouldn’t you want to preserve the beauty of your girl? Despite the level of disturbance of what Holden just witnessed, it brought the idea of sex to the forefront of his mind. Holden toyed with idea of sex and came to the conclusion that he didn’t understand sex. Holden was always too concerned about destroying a young girls’ innocence. It just seemed a little selfish on the mans’ behalf in his eyes. After further contemplation Holden decided that the he’d give into temptation and call a girl he was told ‘didn’t mind doing it once in a while’. He figured that her innocence was long gone and he was feeling pretty horny anyway. Holden picked up the hotel phone immediately. If this was the only way he wouldn’t be alone, it seemed like a good plan to him. Holden waited in anticipation for the dial tone to be interrupted with the voice of Faith Cavendish. Once she’d finally picked up, Holden was surprised to hear the confusion in her voice when he told Faith that he was a friend of Eddie Birdsell. Holden was beginning to think that Eddie was just another one of those phonies making up stories about how many horny women he’s had the time with. When Faith remembered to whom Holden was referring to, she turned to conversation to discussing Eddie. Holden’s impatience for small talk led him to interrupt Faith by asking her if she’s like to join him for some drinks. For once Holden just wanted to get what he intended in the first place. Faith’s very sweet but resistant approach to Holden’s suggestion causes Holden to reject any of the alternatives she suggests. He hung up in frustration. Holden knew he had blown his chance, he was once again alone; with no one to talk to or have sex with or even argue with. Just him and the crumby hotel guests he could still see from his window.

Week 3 hwk: Positioning the reader through narration

Holden has just arrived to his destination via train and very is overwhelmed with the need for company and comfort. In his efforts to acquire this, Holden decides to call someone. He soon comes to realize that he wasn’t in the right situation to associate with anyone. He has officially committed to the idea that he was to remain in New York until he was due back home in order to avoid his parent’s disappointment. Holden gives the impression that in some ways he is a coward and obnoxious in the sense that he cannot admit to his mistakes. This is not only displayed through his refusal to confront his parents about his expulsion but also when he is unable to discuss his future with Mr. Spencer and accept his failure. It soon becomes apparent that Holden ultimately desires to be home when he ‘accidently’ gives his home address to the cab driver. This reinforces the ambiguity of Holden state of mind and his experiences of loneliness.

Holden’s actions contradict what he intentionally reveals about himself. This is exemplified when Holden’s pride interferes with the truth. In some ways this suggests that whilst Holden is urgently trying to avoid adulthood, his ‘adult-like‘ pride restricts him from admitting that he is simply lonely, misunderstood and ultimately needs his family. For the sake of maintaining his dignity, Holden justifies his decision not to call anyone through multiple excuses and then checks into the Edmont hotel. Holden’s urgency to have sex that night, leads him to call a girl at an unreasonable hour who was suggested to be ‘easy’. This shows of Holden’s immaturity in the sense that he is accustomed to making rash decisions without considering the consequences.

Holden’s reaction to ‘easy girl’s’ refusal to meet Holden that very hour, causes him to slam the phone down in aggravation. This encourages audiences to consider Holden as immature and impatient. With the exception of Holden’s little sister, Phoebe, it slowly becomes apparent that Holden very quickly becomes bored with anyone he is even briefly associating with. Partly because he believes that anyone within his or her stages of adulthood are ‘phonies’ but moreover is still trying to find himself before having an adult relationship with the many characters he fails to understand. Holden will continue through New York, taking life as it comes whilst trying to make sense of whom he is and what his desired destination is beyond adolescence.

Winnie the Pooh-Version of Childhood being constructed

This chapter in ‘Winnie the Pooh’ encapsulates a time when children are often heavily praised for their achievements considering their lack of life experience and the many limitations that are presented with as a result of being a small child in an adult world, full of adult problems. The version of childhood constructed is that children have the potential to be quite innovative and unexpected in their logic. This originates from the assumption that the text makes about children’s initial innocence and failure to fully understand possible consequences or complexity of problems. Throughout the good and the bad, Pooh and his friends never fail to recognize a situation; no matter how serious, as an adventure with a potential positive outcome. Contradictory to this, when Piglet proposes that he couldn’t do anything to escape, it suggests to audiences that children are also likely to feel vulnerable to situations they have little or no familiarity with. Children are always seeking approval. This is exemplified when Pooh opts to make an excuse to avoid disapproval for his inability to read.

The element of innocence is displayed when both Christopher Robin and Pooh, make; what they think, to be a very clever assumption, ‘There’s a South Pole…I expect there is an east and a West pole, though people don’t like talking about them’. This verifies that not only that children lack knowledge of the world around them but also that they have the capacity to think widely and freely as they please (whatever’s said; goes). Recognition for Pooh’s display of ‘Bravery’ and acknowledgment of being ‘Clever’ is suggested to also be a primary element- highlighted by the capitalization of such words. This therefore proposes to audiences that if a child acquires such qualities, they should be praised. Whilst the text places an importance on this, the text also recognizes that children can often be in need of ‘Company’ to avoid feelings of ‘Anxiety’ also, which the text capitalizes for the same effect. It is proposed that children are to be praised for their ability to think of ideas that most adults wouldn’t even consider, ‘Pooh himself said something so clever could only look at him with mouth open and eyes staring’. As a reaction to this praise, Pooh bear responds in quite a shy and modest manner even though he contradictorily makes an excuse, ‘there was water in his eyes’ rather than him admitting to his inability to read. The lack of knowledge becomes obvious when the wise Owl speaks with complex vocabulary and Christopher doesn’t understand. This reinforces the idea that children are generally expected to not have gained the knowledge to interact with adults at such an advanced level. Vulnerability is also a common feeling shared between the young and particularly small characters of the play, ‘it’s a little anxious…to be a very small animal entirely surrounded by water…I cant do anything to escape,’ says Piglet. This exposes the complexity within the representation of childhood being constructed; whilst children have wild, adventurous imaginations, there is still an instinct-based understanding of consequences. The children of the book also seem to give the impression to the reader that in the face of a challenge, despite the lack of life experience, the desired or close to desired outcome will be reached, ‘[Pooh] never comes to any harm…he does silly things and they turn out right’. This reinforces the idea that children are typically carefree.

The visuals that accompany the story enhance the emotions that are being portrayed as standard for a child to experience in a traumatic situation. The image that shows Piglet looking warily down at the rising water reinforces the idea of vulnerability and puts into context the extent of the issue compared to the size and capability of little Piglet. These illustrations put into perspective for audiences the validity of the emotions being felt by the characters. Whilst the majority of images give off a sense of concern and doubt, they are illustrated to show the characters persistence to overcome the problem. An example of this would be Pooh attempting to sail the water in an umbrella. Whilst a sense of unsurety is present, the overall impression paints the picture of an innovative, adventurous and innocent child taking life as it comes.