English A: Language & Literature SL

Question: (Art, Creativity and Imagination) Art is a medium habitually used to expose implicit truths and reflect ideological criticism: to what extent is this true of two of the works you have studied?  

Thesis: Both Hoch and Fitzgerald portray the reality and multifaceted nature of the New Woman. Hoch does this by revealing the approach that the New Woman engendered among society, and Fitzgerald’s characterisation of Daisy and Jordan represents contrasting versions of the New Woman.

Essay: Art is a medium habitually used to expose implicit truths and reflect ideological criticism: to what extent is this true of two of the works you have studied?  

Whether it may be novels or photomontages– art is inevitably a tool used for expression. More often than not, artists are influenced by the ideological tenor of the times. This could mean raising social consciousness and even exhibiting criticism. For Hannah Hoch – a German female artist who began her career as part of the Berlin Dada school – , this tool endeavoured to voice the female perspective in Weimar era Germany– which saw the rise of the ideal European New Woman. Moreover, in F.Scott Fitzgerald’s novel ‘The Great Gatsby’, which was set in the roaring twenties and explored the sexual revolution, Fitzgerlad attempted to represent the American, New Woman. Both Hoch and Fitzgerald portray the reality and multifaceted nature of the New Woman. Hoch does this by revealing the approach that the New Woman engendered among society, and Fitzgerald’s characterisation of Daisy and Jordan represents contrasting versions of the New Woman.

Despite her changed role in society, the New Woman was not exempt from her former duties. Hoch relays this through her photomontage, ‘Monument I’, completed in 1924. The piece showcases a statue situated on a pedestal that consists of  photographs of body parts derived from various cut out from images, including those found in fashion magazines and some from museum listings (might not be the right word) photographs. Hoch recontextualizes this popular iconography from areas such as fashion, sport and history in order to represent and explore the concept of the multi-layered figure of the New Woman. The right leg of the statue is acquired from a photograph of German actress and singer Lilian Harvey with her friends at the beach. Hoch draws a parallel between them and the New Woman. Harvey and her friends encapsulate the altered appearance of the New Woman, who had began to sport more androgynous fashion, short hair-cuts, bare skin, and shaved legs. The right leg usually serves as the main foundation for one’s support. Through this conceptualization, Hoch indicates the hallmark of the New Woman. At the same time, the leg is attached to the torso and the arm, which were extracted from a photograph of an ancient Egyption deity named Taweret– the ancient Egyption goddess of childbirth and fertility. Through this connotative piece, Hoch makes reference to the two labels given to the New Woman, as the ‘Victim’ and the ‘Salvation’. Hoch highlights the double burden that the New Woman must cope with: raising a family and working alongside exploring her newfound freedom. It emphasizes that the New Woman had not been liberated from her duties towards her family and children, which were still very much prevalent. Furthermore, Hoch displays how society expected the New Woman to act as the saviour. Alongside the extended freedom granted, she was expected to display her nurturing and maternal attributes. Hoch attests that if the New Woman was efficient and able to successfully merge the two, it would be possible to meet the challenges of the newly rationalized word.

Fitzgerald also emphasizes how women’s rejection of any aspect of their traditional role would inevitably result in the destruction of the family – ultimately leading to the moral decline of society as a whole. This emphasis on the domestic domain of women, idealized them to be the centre of spiritual and moral goodness for their nuclear families. To Fitzgerald, Daisy embodied the 1920’s woman in transition between old and new values. Nick’s commentary is reflective of how society criticises the upholding of these traditional roles of women through Fitzgerald’s characterization of Daisy. When Nick asks Daisy about her daughter, she replies, “I suppose she talks, and-eats, and everything.’ This offhanded nature to her response is recurrent whenever her daughter is mentioned throughout the novel. Here, Daisy is criticized by society for her irresponsibility and detachment in the treatment of her daughter. Furthermore, when Daisy relays the birth of her daughter to Nick, she recalls when the nurse “told [her] it was a girl, and so [she] turned [her] head away and wept.” Initially, this alludes to the historical bias towards sons – which was and is still prevalent in many parts of the world. This is likely due to the persisting patriarchal nature of society- where boys are ultimately expected to grow up and be more productive economically in comparison to girls. Through this underlying assumption, Fitzgerald is critical of any concrete progress that the New Woman is symbolic of. Finally, Daisy remarks that “[she] hopes she’ll be a fool-that’s the best thing a girl can be in this world, a beautiful little fool.” Through these comments, not only does Fitzgerald display Daisy’s cynical view of the role of women such as herself in society, but also her lack of conviction in any betterment that the sexual revolution supposedly promises. As an evolving New Woman herself – this is worrisome. 

Similarly, Hoch implies that women were dealing with a false sense of equality in what remained a male dominated society. She demonstrated this through her photomontage, “Das Schone Madchen” or “The Beautiful Girl”, completed in 1920. While this particular collage features women, they are either faceless or their face has been obscured. However, the hallmarks of the New Women – such as the cut of a modern women’s hairstyle and thigh revealing bathing suit – have been preserved. Through this deliberate choice, Hoch alludes to beauty without any real substance. These characteristics were often linked to the advertised image of the New Woman who was portrayed as freethinking, independent and socially progressive. However, in this piece, the features are not presented in a glorified or idealized manner. Instead, their representation critiques and exposes the marketed cultural trends of the New Woman for what they truly were: superficial. On the other hand, the head of the decapitated woman wearing a bathing suit in the centre of the image, is replaced with a lightbulb. This is symbolic of the intellectual capability that women possessed. However, Hoch’s choice to feature the light bulb as unlit emphasizes this unacknowledged potential. The everyday life for the typical working german woman was one that contradicted the ideals which were often associated with the New Women. Finally, the repetitive symbols of mechanization such as the BMW logo, mechanical car parts and tire allude to the importance given to Germany’s automobile industry due to the sensitive situation of the German economy. Through this Hoch reveals how amongst the struggle to earn enough to run their homes, women did not have the opportunity to take advantage of their new political and social status. 

Lastly, Fitzgerald displays society’s tendency to infantilize women’s desire to retaliate against the false sense of equality they faced. Fitzgerald displays this through Nick’s psychoanalysis of Jordan’s character. To Fitzgerald, Jordan embodies the New Woman. A group of these women were coined Flappers– who were especially known to overtly subvert traditional standards of female behaviour. Later in the novel, Nick recounts when she had “left a borrowed car out in the rain with the top down, and then lied about it” during a  houseparty they attended. In addition, he describes that she exudes a “cool, insolent smile turned to the world”. These descriptions of Jordan divulge the stereotypical view of flappers that society held: arrogant, unemotional and often irresponsible. Furthermore, he narrates how she “instinctively avoided clever, shrewd men”, and how he now saw that, “this was because she felt safer on a plane where any divergence from a code would be thought impossible.” Fitgerald displays how Nick translated Jordan’s preference for men of lower intellect to be a result of her own insecurity, rather than the desire to be treated equally. His analysis reflected how society trivialized these women to ascertain that they weren’t “able to endure being at a disadvantage”, when in reality this was a hypocritical assessment of the New Woman. 

To conclude, both Hoch and Fitzgerald use their respective creative fields to expose the implicit truths and reflect ideological criticism in regard to the New Woman. Hoch and Fitzgerald both stress that despite the New Woman’s changing political and social status, they were still bound to their conventional domestic duties. Fitzgerald further emphasizes this by illustrating consequences of abandoning their duties and the judgement of society. Hoch unveils the reality that women were dealing with a false sense of equality in what continued to remain a patriarchal society in its core. Finally Fitzgerald critiques society’s evaluation of what were in actuality – women’s attempts to be treated equally. Despite the cultural differences present between the European and American New Woman, both artists ultimately attempt to untangle what is essentially a historically, and geographically unified perception of women’s role in society and at home.

Response: 

“Das Schone Madchen” or “The Beautiful Girl”, completed by Hoch in 1920, explores the false sense of equality that German women were dealing with in what remained a patriarchal society. The photomontage combines clippings of car parts from advertisements and female figures from magazines – images which Hoch recontextualizes. The collage features several hallmarks of the European ‘New Women’ – such as the cut of a modern women’s hairstyle and thigh revealing bathing suit. However, Höch purposely presents these features on women without faces – recontextualizing them to allude to beauty without real substance. Through this choice, she subverts the advertised image of the ‘New Woman’ who was portrayed as freethinking, independent and socially progressive. This representation exposes these superficial cultural trends for what they truly were – a marketing ploy by the new industries. Despite any freedom that the lifestyle of ‘New Woman’ promised, it was ultimately constructed by men who still held the majority of power in society. Furthermore, in the centre of the collage, the head of the women wearing a bathing suit is replaced with an unlit filament light bulb. Electric lighting and light bulbs were fairly new inventions during that time and so through this light bulb, Hoch symbolizes the ‘New Woman’ who became economically significant. They were now employed out of home and there was a new market for the industries whose products they would consume. However, through the Hoch’s choice of utilizing a unlit light bulb can also construe the restraint that existed on the intellectual capability that women possessed. Despite their emergence into the workforce, they were still restricted to certain jobs and had less employment benefits in comparison to their male counterparts. Finally, the recurrent symbol of the BMW logo allude to the importance given to German’s automobile industry due to the sensitive situation of the German economy during that time. Through this, Hoch reveals how amongst the struggle to sustain their homes, women did not have the opportunity to take advantage of their new political and social statuses. Additionally, through the use of this motif, Hoch once more critiques the effect of the new industries and the mass production and advertisement that came along with them, on the identity of females. They fabricated an artificial persona that was essentially a marketable product. By using her art to expose implicit truths and reflect ideological criticism, Hoch  ultimately challenges the supposed progress that the “New Woman” represented in Weimar Germany. 

Response: 

Fitzgerald’s initial presentation of Daisy in the extract could exhibit her as a woman of superficial, shallow and silly disposition. He first introduces Gatsby’s ostentatious display of wealth through the polysyndetic listing of the shirts. Gatsby’s shirts are described as being made of ‘sheer linen and thick silk and fine flannel’, all of which are expensive, luxurious and high grade fabrics that are exclusively catered to the upper class. The polysyndeton emphasizes the idea of material wealth that is displayed by the description of these shirts and connected by the conjunction. Fitzgerald subsequently introduces Daisy through her reaction to these symbolic shirts. At first glance, Daisy’s response as she “began to cry stormily’ can be seen as ironic, when she exclaims that “they’re such beautiful shirts”. This irony is reinforced by her dialogue, as she explains that she is “sad because [she’s] never seen such–such beautiful shirts before’. However, she doesn’t only cry as a result of the satisfaction that all of his material wealth brings her. As the novel proceeds, it is evident that it is at this moment that she may have realized that Gatsby had become a fitting way in which to get back at her husband Tom. Daisy is aware that Gatsby can never truly become one of the upper class, despite his rise in wealth, and that she will eventually have to return to Tom for the comfort and protection that his money and power poses. Her refusal to admit her love for Gatsby towards the end of the novel is suggestive of the fact that her attachment to him was purely business. Despite how Daisy’s nature may have appeared as in the beginning, her actions eventually suggest that she is more manipulative and shrewd than she is doltish. She is not fooled by the illusion of class mobility, and very much aware of how the world really works.

Additional Points/Ideas To Explore Post Feedback:

• How does the culture of the time restrict Daisy from ever really getting with Gatsby?

Despite the emerging sexual revolution of the “roaring twenties”, traditional societal expectations and norms surrounding the sphere of woman had not completely transformed. In fact, the ‘new woman’ was commended for her ability to handle both the household (which involved childcare) and her work. Additionally, this emphasis on the domestic domain of women, had idealized them to be the centre of spiritual and moral goodness for their nuclear families. Extra-marital affairs are considered immoral and acts of betrayal, regardless of who commits the misdeed. Howerer, perhaps, it is because of this angelic portrayal of women, that they are punished more harshly for their misdeeds by society (labeled ‘adulteresses’) in comparison to men. It is possible that this is also what restricts Daisy from ever leaving Tom and being with Gatsby. 

• Anything sympathetic you could also consider? 

There are various signs throughout the novel that suggest Tom’s abusive behaviour not only towards Daisy, but also towards other women like Myrtle. Fitzgerad hints about Tom’s multiple affairs – one even during their honeymoon. Tom is shown using physical violence as well – an example being when he breaks Myrtle’s nose. Gatsby, on the other hand displays his undying devotion to Daisy at various stages. Fitzgerald suggests that the possibility of attaining Daisy, was what initially inspired Gatsby to rise in wealth. When they reunite and Daisy voices that they “haven’t met for many years”. He responds with, “Five years next November.” The fact that he knows the exact month they parted displays how  intensely invested he is in their relationship. Perhaps, she is crying because she desires to be with Gatsby who offers her so much devotion, but does not possess the strength to bear the consequences she would have to face if she left Tom. 

The ‘Monument I’ is an art piece by Hanna Hoch, completed in 1924. It consists of a photomontage with watercolour on paper. Featured in the Monument I is a statue situated on a pedestal that consists of body parts derived from a wide range of photographs. Through her photomontage, ‘Monument I’, Hanna Hoch recontextualizes popular iconography from areas of fashion, sport and history in order to represent and explore the concept of the multi-layered figure of The New Woman. 

The right leg of the statue is acquired from a 1928 photograph of German actress and singer Lilian Harvey with her friends at the beach. Hoch draws a parallel between them and the New Woman. Harvey and her friends encapsulate the altered appearance of the New Woman, who had began to sport more androgynous fashion, short hair-cuts, bare skin, and shaved legs.  

The torso and arm of the statue are extracted from a photograph of an ancient Egyption deity named Tawaret who is depicted as a hippopotamus with feline attributes, female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile. She is the protective ancient Egyption goddess of childbirth and fertility, who bore the names: “Lady of the Birth House” and “She who is great”. Through this connotative piece, Hoch makes reference to the two labels given to the New Women, as the ‘Victim’ and the ‘Salvation’. Hoch highlights the double burden that the New Woman must cope with: raising a family and working. It emphasizes that the New Woman had not been liberated from her duties towards her family and children, which were still very much prevalent. Furthermore, Hoch displays how society expected the New Woman to act as the saviour. She was expected to display her nurturing and maternal attributes whilst also being efficient, fit and quick. If she was able to successfully merge the two, it would be possible to meet the challenges of the newly rationalized word. 

The head of the statue features a photograph of a white Punu-Lumbo mask which is a female tribal mask native to the Ogooue River basin in Gabon, Africa. Their white colour is symbolic of light, beauty and clarity. The beautiful female masks are showcased during the daytime, in contrast to the darker male masks which are considered ugly by the locals. Furthermore, the female masks are linked to female ancestor celebration dances. Through this emblematic element, Hoch illustrates the emergence of the New Woman out of the war. New woman had become enfranchised in a way that she wasn’t before. She had a changed political role. She worked outside of the home, in public. She had become socially and culturally significant. However, it also alludes to the portrayal of the New Woman in the eyes of men who viewed her as a ‘villain’,  responsible for taking away work from them.

Finally, Hoch mounts the completed figure of the statue upon a black pedestal or stand. This position can either be given to those either greatly admired or those who are to be held accountable for their wrongdoing. Through the positioning, she represents the trichotomy of the approach that The New Woman engendered among society.

Global Issue: Challenging established belief systems that were in place. 

• Beliefs, Values & Education

Body of Text 1: FitzGerald’s ‘The Great Gatsby’

Body of Text 2: ‘We are Making a New World’ (1918)

Introduction

The global issue that I have chosen today is based on ‘Beliefs, Values & Education’. Although, it may seem that the viewpoint of individuals has evolved to become more liberal today, we can sometimes forget that there is still a plethora of space for further progression. 

The equivalent of the American Dream today has become the ability to graduate college with minimal debt, secure a job and save for retirement – all still whilst living a comfortable life. Furthermore, with the rapid rate at which technology progresses today, assessing regulations and morals around the usage of machinery such as drones that dehumanize destruction become increasingly relevant. 

Appointed as an official war artist by the British government, Paul Nash was recognized for his depictions of the first and second world war landscapes. In place of glorifying it, Nash showcased the reality of the war through a brutal and honest expression. Nash’s attachment to the natural world fueled his anti-war sentiments, signalling a new approach to documenting war in art. His paintings include “The Menin Road”, “Wire”, and “The Ypres Salient at Night”. In the painting I will discuss, named, ‘We are Making a New World’, he portrayed the full extent to which war had ravaged the Belgian countryside. Through his perspective, Nash encourages viewers to embrace the harsh reality of war in place of the romanticism with which it was depicted in the past; poems and official propaganda became entwined with nationalism. Similarly, Francis Scott Key Fitzgerald, an american author of the Lost Generation, often depicted the flamboyance and extravagance of the Jazz age. His work includes, “Tales of the Jazz Age” and “Flappers and Philosophers”. After serving in World War I, he moved to Long Island, New York with his family. The location served as inspiration for a few of his novels. His greatest masterpiece, The Great Gatsby, propelled him to be regarded as one of the greatest American writers of the 20th century. Through his novel, Fitzgerald uses Jay Gatsby’s rise in wealth to explore the tensions that occur as a result of the realization of the American Dream. Through their respective creative mediums, both Fitzgerald and Nash have subverted the perception of established belief systems and revealed the truth about their effects on society. Regardless of their unconventional viewpoints, their blunt work and destructive portrayals prompted audiences re-evaluate prevalent ideologies and engender social change.

Extract 1 – Paul Nash – ‘We are Making a New World’ (1918)

The non-literary text I will be discussing will be the painting ‘We are Making a New World’, by Paul Nash. Completed in 1918, Nash uses oil paint to display the remains of the Polygon Woods at Inverness Copse, near Ypres in Belgium after a battle. Through his piece, Nash rejects the traditional romanticisation of war. His brutal, yet authentic portrayal of the landscape under duress from the novelties of technology ultimately challenges society to re-evaluate their beliefs about war and what progress should entail. 

Nash rejected the traditional notions associated with war through his unorthodox portrayal of the suffering endured by both humans and the natural environment. Nash employed the modernism style in this particular painting, which was a literary and artistic movement that was usually associated with art in which experimentation was favoured over upholding traditions of the past. The abstract,  sharp-planed edges, unevenly distributed curves – extenuated by the lifeless and dull tones – are a parody of what can be seen in organic landscapes. The style of the painting also portrays the heavy influence of mechanized warfare on the war, land and soldiers. Through the portrayal of this landscape as reshaped by bombardment and attacks, Nash highlights the extent to which the land itself has become unrecognizable and inorganic. As a consequence it has become dead, polluted and ownerless. Furthermore, through his representation of the destruction, he asks audiences to reassess what it is that is romantic about the use of weapons which are capable of ripping apart entire landscapes, on humans. 

Nash reveals the brutal truth and destructive nature of the war through his choice of subject matter, as well as the symbols he chooses to portray. The 19th century artists were known for ‘genre art’, which meant they primarily found their subject matter in the life around them. These domestic settings, parties, or other events were either portrayed realistically or romanticized. This, too, was the art that was commonly exhibited in art showcases. Nash’s deliberate choice to paint a landscape visually similar to those common in the British countryside encouraged viewers to recognize that this could have been their land, countryside, town or cities that experienced the damage done here. Displaying this deglamorized piece next to romanticized versions of landscapes in museums that the audience are accustomed to, shocks them, ultimately sending a stronger message that hits closer to home. His style subverts the landscape genre by being both recognizable and unrecognizable at the same time.  Moreover, the land, painted in earthy tones is littered with masses of shell holes. The mounds of earth are spread out across the landscape in an irregular pattern. The exaggerated organic line’s nature itself has become a subverted parody of itself. It could also remind an audience of gravestones, once again subverting nature by yoking it to death, serving as a reminder of all those who lost their lives fighting in the war. The skeletal remains of the blasted trees personify those brutally killed and their families, who were left stranded after having lost their brothers, fathers or husbands in the war. Similar to the state of the land, Nash suggests through his depiction that the consequences of the war are permanent and inescapable.. 

Through his artistic choices, Nash provokes readers to question and reform their beliefs based on a more realistic portrayal of war. The optimistic title: “We are Making a New World”, contrasts Nash’s ironic depiction of a scarred landscape, mocking the ambition of the war. The sunrise is a conventional symbol for romanticism, pertaining to hope or a new dawn. Although, here it is slightly off centre, and the colour is a cold white rather than a warm yellow or orange. This artistic choice challenges the typical expectations. Whilst, this new world is unwanted and unlovable, it is inescapable. It asks questions, without providing answers. It leaves the audience to ponder the experiences of those who fought in such places and question the nature of the war itself. Whilst technology had promised in the past, and continues to promise today, this idea of a utopian future, we often neglect to consider the increased destruction that comes along with it. As a human race, can we face the fact that progress would mean an increased scale of destruction?

Extract 2 – F. Scott Fitzgerald – “Great Gatsby” (1925)

The literary text I will be discussing will be ‘The Great Gatsby’ by F.Scott Fitzgerald, published in 1925. The literary extract consists of the last five paragraphs of the novel. As Fitzgerald revisits the roots of the American Dream and its promise of class mobility, his representation of the tensions between old and new money serves to encourage readers to assess their perceived views of widely accepted notions of success.

Fitzgerald uses the Dutch sailor’s palpable sense of untapped potential when they arrive in America to display the historical moment of discovery which served as the root of the American Dream. He uses visual imagery to imagine a purer vision of America. The Dutch both literally and figuratively, paved “the way for Gatsby” by chopping the trees where his house would be situated and by laying the foundations for “the new world” that would become the United States of America. Through the Dutch sailors’ encounter with “something commensurate to his capacity for wonder”, Fitzgerald implies the idea that the American Dream was born before America itself was created. potential The recognition of success of “solid and prosperous Americans”, came from the accumulation of  materialistic possessions. 

Fitzgerald critiques the idea of class mobility which is promised by the American Dream, through the characterization of Gatsby as he rose in wealth. Fitzgerald uses the motif of the “green light at the end of Daisy’s dock” throughout the novel. It parallels “the green breast of the new world”, which had left the sailors “enchanted”. To Gatsby, the “green light” was representative of opportunity and money. He spent a substantial amount of time looking at it, and believing in it, only to have it elude him. In the end, Fitzgerald reveals that although “his dream must have seemed so close that he could hardly fail to grasp it”, “he did not know that it was already behind him.” Gastsby failed to realize that money was not enough. The invisible classes served as a barrier. He could obtain money, but he wasn’t able to buy or fake class. The very day he was born, his pedigree unequivocally determined his class. 

Fitzgerald unmasks the illusion of the American Dream that Gatsby attempted to embody, through the prevalent tension between old and new money. Fitzgerald makes reference to Gatsby’ house as a “huge incoherent failure”. Through this, he alludes to how Gatsby’s estate was an ostentatious but ultimately tasteless display of wealth, which further highlighted his difference in class. Furthermore, the vandalization on his property is symbolic of how ‘new money” was rejected by ‘old money’. Gatsby was ruined and exploited by the indifferent ruling classes, and eventually left alone with nobody to mourn him. His ending exemplified the diminished nature of the dream in the US and the morally corrupt consumerist society that had replaced it. 

Conclusion

To conclude, both Fitzgerald and Nash challenged established belief systems that had been in place at the time, and unveiled the truth about their potentially devastating effects on society. Their atypical reflection prompts audiences today to not blindly place their faith in conventional ideologies, but rather to actively questions and critically analyze them. It becomes increasingly relevant to pause and examine both traditional and emerging belief systems and the values they promote as the world progresses at a faster rate than ever before.

‘In what way can transformation and creativity in texts be seen

 as responses to social change?

Global Issue: Lessons learnt from the consequences of violence – wars, conflicts and genocides. 

• Politics, Power and Justice

Body of Text 1: ‘We are Making a New World’ (1918)

Body of Text 2: ‘Shooting Stars’, from Standing Female Nude (1985)

Introduction

The global issue that I have chosen today is based on ‘Politics, Power and Justice’. Despite World War Two ending 75 years ago, there are still a multitude of conflicts happening every day, all around the world. Whether it might be conflict in Afghanistan or tensions rising between the US and Iran, the threat of a third world war consistently looms before us. Consequently, the lessons learnt from previous destructive wars and conflicts are still relevant today in order to prevent the repetition of similar atrocities.

Appointed as an official war artist by the British government, Paul Nash was recognized for his depictions of the first and second world war landscapes. In place of glorifying it, Nash showcased the reality of the war through a brutal and honest expression. Nash’s attachment to the natural world fueled his anti-war sentiments, signalling a new approach to documenting war in art. For example, in his painting, ‘We are Making a New World’, he portrayed the full extent to which war had ravaged the Belgian countryside. Through his perspective, Nash encourages viewers to embrace the harsh reality of war in place of the romantic style that was depicted in the past: poems and official propaganda – which had become entwined with nationalism. Similarly, a poet willing to tackle sensitive and difficult topics through her customary use of first person narrative, colloquialisms and graphic language is Scottish poet Carol Ann Duffy. In her poem ‘Shooting Stars’, published in 1985 in her book Standing Female Nude, Duffy portrays the perspective of the victims of the holocaust through the voice of a Jewish women who is about to be shot. Through their work, both Duffy and Nash incentivize their readers to truly acknowledge and contemplate the atrocities of the past. Regardless of any stigmatization surrounding these sensitive events, they prompt audiences to consider their relevance today, in order to prevent similar events from occurring in the future. 

Extract 1 – Paul Nash – ‘We are Making a New World’ (1918)

The first non-literary text I will be discussing will be the painting ‘We are Making a New World’, by Paul Nash. Completed in 1918, Nash uses oil paint to display the remains of the Polygon Woods at Inverness Copse, near Ypres in Belgium after a battle. Through his piece, Nash explores the suffering of those involved in the war, as well as the consequences and progress that society is left to live with post the conflict. In addressing these themes, Nash encourages us to review our modern-day conflicts whilst keeping in mind lessons learnt from the past.

Nash explores the suffering endured during the war of both humans and the natural environment. Nash employed the modernism style in this particular painting, which was a literary and artistic movement that is usually associated with art in which experimentation was favoured over upholding traditions of the past. The abstract,  sharp-planed edges, unevenly distributed curves – extenuated by the lifeless and dull tones – are a parody of what can be seen in organic landscapes. The style of the painting also portrays the heavy influence of mechanized warfare on the war, land and soldiers. Through the portrayal of this landscape as reshaped by the bombardment and attacks, Nash highlights the extent to which the land itself has become unrecognizable and inorganic. As a consequence it has become dead, polluted and ownerless. Furthermore, through his representation of the destruction, he asks audiences what a weapon capable of ripping apart an entire landscape would do to a human body. 

Nash addresses the consequences of the war through his choice of subject matter, as well as the symbols he chooses to portray. The 19th century artists were known for ‘genre art’, which meant they primarily found their subject matter in the life around them. These domestic settings, parties, or other events were either portrayed realistically or romanticized. This, too, was the art that was commonly exhibited in art showcases. Nash’s deliberate choice to paint a landscape visually similar to those common in the British countryside encouraged viewers to recognize that this could have been their land, countryside, town or cities that experienced the damage done here. Displaying this deglamorized piece next to romanticized versions in museums that the audience are accustomed to, shocks them, ultimately sending a stronger message that hits closer to home. Ultimately, his style subverts the landscape genre by being both recognizable and unrecognizable at the same time.  Moreover, the land, painted in earthy tones is littered with masses of shell holes. The mounds of earth are spread out across the landscape in an irregular pattern. The exaggerated organic line’s nature itself has become a subverted parody of itself. It could also remind an audience of gravestones, once again subverting nature by yoking it to death, ultimately serving a reminder of all those who lost their lives fighting in the war. The skeletal remains of the blasted trees personify those brutally killed and their families, who were left stranded after having lost their brothers, fathers or husbands in the war. Similar to the state of the land, Nash suggests through his depiction that the consequences of the war are permanent and inescapable. This holds true even today, where some zones along the Western Front continue to remain toxic and littered with unexploded ordnance. 

Despite the melancholy, Nash introduces the idea of progress  through artistic choices which cause the reader to question the cause and effects of the war. The optimistic title: “We are Making a New World”, contrasts with Nash’s ironic depiction of a scarred landscape, mocking the ambition of the war. In Nash’s bitter vision, the sun will continue to rise each and every day, exposing the desecration and repeating judgment on those responsible. The sunrise is a conventional symbol for romanticism, pertaining to hope or a new dawn. Although, here it is slightly off centre, and the colour is a cold white rather than a warm yellow or orange, challenges these expectations. Whilst, this new world is unwanted and unlovable, it is inescapable. It asks questions, without providing answers. It leaves the audience to ponder the experiences of those who fought in such places and question the nature of the war itself. Whilst technology had promised in the past, and continues to promise today, this idea of a utopian future, we often neglect to consider the increased destruction that comes along with it. As a human race, can we face the fact that progress would mean an increased scale of destruction? The moral questions that Nash’s work implores us to consider become more prevalent today as we see weapons such as drones in operation. Killing at a distance dehumanizes the destruction caused, concealing one from the true horror of death by  transforming it into a mere computer game.

Extract 2 – Carol Ann Duffy – ‘Shooting Stars’ (1985)

The second literary text I will be discussing will be ‘Shooting Stars’ by Carol Ann Duffy, published in 1985. The confrontational poem is voiced by a Jewish women who represents the silenced and marginalised voices of the prisoners held captive by Nazi soldiers during the time of the holocoust. Through this poem, Duffy urges us to face the  suffering , torture and death of the Jewish people during the genecide. Furthermore, it addresses the consequences such as the normalization of violence, whilst providing hope for the future – reminding us that these past lessons should guide our actions in modern day conflicts. 

Throughout the poem, Duffy places emphasis on the suffering of the Jewish people, in hope that we learn from the discrimination. Similar to Nash, Duffy’s choice of title is ambiguous yet effective in subverting the expectations of audiences. ‘Shooting Stars’ are a cliche symbol of hopes and dreams. However, the notable mention of the star is truly symbolic of the ‘Star of David’ which is a recognized symbol of Jewish identity. The word ‘shooting’ refers to the genecide or literal shooting of Jewish people, as well as the degradation of the ‘Star of David’ – their religious symbol. Moreover, through the list of Jewish names of three women and men – “Rebecca Rachel Ruth” and “Aaron Emmanuel David” – which deliberately lack punctuation of commas, Duffy displays the unity of the Jewish community in the face of adversity. Furthermore, she displays how the Nazi’s did not distinguish between individuals, instead grouping them as a signly entity who were to be killed without further deliveration or mercy – essentialy dehumanazing them and demeaning their religion. 

Through collated images scattered across the poem, Duffy addresses the dehumanization of the Jewish people in order to bring attention to consequences of those past actions. The image of the german soldiers breaking the fingers of a Jewish woman in order to ‘salvage’ her wedding ring – thereby desecrating a symbol traditionally associated with love and earnest money – displays how the soldiers showed no remorse, valuing a ring over the life of a human being. Afterwards, the soldiers are depicted to be laughing, their mood not dampened despite being surrounded by dead corpses, indicating their lack of empathy towards the horrifying circumstances. This treatment bears witness that it was ingrained in the soldiers, that the lives of Jewish people were equivalent to that of garbage. Additionally, the juxtaposition between the “immense suffering” of humans and the domestic action of taking “tea on the lawn”, shows the extent to which the horrors were overlooked. In the midst of the scene, “a boy washes his uniform”. The blood he washes, symbolizes the washing away of sins, divulging their belief that by washing their uniforms, they can ignore the event. Through the uniform, casual tone adopted throughout the poem, Duffy showcases the normalization of suffering among the german soldiers – including child soldiers. This becomes increasingly relevant today, when we draw a parallel between them and the use of child soldiers today in armed groups like the Taliban. 

Duffy confronts the consequences of the holocaust and focuses on what it means for our future. The Jewish woman asks the audience to “mourn for the daughters”. Judaism is matrilineal, where a child of a Jewish mother is considered to be Jewish regardless of the father’s lineage. As a result, when the daughters die, the Jewish family line is terminated. Through this line, Duffy reiterates the Nazi’s intent to eradicate the Jewish poeple. Furthermore, the repetition of “Remember” emphasises the idea that we should not forget the tragic things that happened during the holocaust which has made the world “forever bad”. Through exploring the theme of rememberence and progress, Duffy conveys the message that no amount of retribution will compensate for what has been suffered by those in the holocaust. In addition, Duffy writes that “after the history lesson children run to their toys”. Through this line, she calls out present-day readers, implying that we often overlook the suffering and dismiss it as history when “only a matter of days seperate this from acts of torture now.” This becomes pertinent, when we are consistently calling into question the existence of concentration camps in countries like North Korea and the United States today. 

Conclusion

To conclude, whilst, both Nash’s painting and Duffy’s poem are centred around events that have taken place in the past – the second world war and the holocaust – the messages they convey to us are timeless. In today’s world, where we are in a constant state of unrest and tension, the lessons we learn from their work are more valuable and relevant than ever. It serves as a reminder of the consequences we faced in the past, and urges us to prevent the repetition of similar atrocities in the future.

Global Issue: The detrimental effect of cultural assumptions about love and marriage on men and women. 

• Culture, Identity, Community

Body of Text 1: ‘Valentine’, from Mean Time (1993)

Body of Text 2: ‘Havisham’, from Mean Time (1993)

Introduction

The global issue that I have chosen today is based on ‘Culture, Identity and Community’. Despite the modernization of global attitudes in the world today, women hailing from a variety of cultures are still constrained by society’s archaic notion of love. A prime example of this is the culture in India. Women undergo extreme pressure from both societal standards and their own families to succumb to the traditional, romanticized concept of marriage and dating.

A poet who has consistently challenged social norms and reinstated marginalized women’s voices throughout history has been the Scottish poet Carol Ann Duffy. Through her customary use of first person narrative, colloquialisms and graphic language, Duffy is able to subvert traditional notions of love in her poems such as ‘Valentine’ and ‘Havisham’. Both are derived from her book, ‘Mean Time’ in 1993, a collection of poems which focus on the complexities of life such as loss, betrayal and desire. The two poems describe the stark realities of love and explore the theme of violence. Furthermore, Havisham proceeds to display the disastrous effects on women as a consequence of society’s rigid structure of love and it’s place in their lives. 

Extract 1 – ‘Valentine’, from Mean Time (1993)

The first literary text I will be discussing will be ‘Valentine’. Whilst the title may seem to imply otherwise, the satirical nature of the poem ‘Valentine’ challenges the traditional, romanticized, commercially driven idea of love by offering an unconventional approach to a well known day dedicated to the expression of love. The abrupt first word of poem, “Not” and absurdity of the gift of an “onion” emphasize the heterodox views that the speaker holds, setting the tone for the rest of the poem. 

Through the use of metaphors, Duffy reveals the overbearing and dominating presence love can have in one’s life. The onion itself is presented as a metaphor for “a lover”. Duffy makes use of a metaphor when the speaker declares that the onion “ is a moon”. This hints at the white colour of the onion. The white connotes to hope, light, innocence and virginity – all alluding to the qualities of an inexperienced individual, unaware of the harsh realities one may encounter in the face of real love. Additionally, the moon alludes to possessing the power to control tides which represent the ebb and flow of emotions. In the context of the poem, Duffy suggests the strength of a relationship is correlated to its ability to control a person’s constant state of mind and actions. The moon’s inherent bright light essentially blinds one with love, taking over their entire life. 

Duffy bluntly describes the consequences of love on one’s identity and persona. Just like when one cuts an onion, a lover too “will blind you with tears”, not only implies that they will bring grief but also that one’s tears can possibly blind them to the faults of their lover. Furthermore the speaker announces that “it will make your reflection a wobbling photo of grief”, suggesting that relationships can lead one to self-doubt and insecurity. In the eleventh line, Duffy writes, “I am trying to be truthful”. This line suggests the speaker is battling to present a realistic and honest view of love, and despite it being hurtful, they believe it to be crucial in a relationship. 

Through connotations and symbolism, Duffy unveils the dark and sinister side of love. In line 19, Duffy compares the “platinum loops” of an onion, “to a wedding-ring”. Through this conversion, the speaker subverts marriage. Through operationalizing the entire institution to simply a ring on a finger, the narrator renders it of no value. The ring symbolizes a binding contract that becomes a restraint on one’s life. The repetition of the word “cling” in the last stanza, further hints at the possessive nature of relationships. A marriage proposal is pivotal and is described as “lethal” because no matter the response, the relationship is bound to change from that point onwards. The reference to a “knife” in the last line connotes to danger. Through this last word, Duffy indicates that the love we are taught to idealize is inherently toxic and unsafe, involving both pain and violence. Ultimately, Duffy breaks down the over-romanticized, stereotypical and rosy view of love by exposing it’s dark aspects. 

Extract 2 – ‘Havisham’, from Mean Time (1993)

The second literary text I will be discussing will be ‘Havisham’. The hysterical poem is voiced by the character of Miss Havisham – a rich spinster who was betrayed and abandoned at the altar – from the novel ‘Great Expectations’ by Charles Dickens. ‘Havisham’ portrays the all-consuming forces of love and hate, and the repercussions women face for the rest of their lives. 

Duffy uses word choice and allusion to portray the extreme depth of Miss Havisham feelings and its effect on her mental health. Miss Havisham’s oxymoronic use of the expression “Beloved sweetheart bastard” communicates the repressed emotion of love torturing her whilst also cursing her fiance who betrayed her. It displays her inability to see reason, leaving a woman who was once strong, confused and helpless. The plosive ‘b’ sound and percussive hard consonants further suggest her spitting fury, exhibiting a violent streak. Duffy describes Miss Havisham’s “Puce curses”, as “sounds not words” in line nine. Miss Havisham is so tortured that she becomes inarticulate as attempts to scream, spewing vicious random sounds in place of words. This display shows the abominable effect of toxic love and how it can transform a well read heiress into a mad woman. 

Despite the promise of further potential that comes along with affluence, Duffy reveals Miss Havisham’s inability to live a fulfilled life or face society due to her failed relationship. In the second stanza, she calls herself a “spinster”. Not only is this an expression of self-hatred and shame, but also an indication of social failure. As a woman, she has been rejected by her fiance and as a result, forced to lead a restricted life with a lower status in society resulting in emotional and social isolation. In addition, she trembles when she tries to “open the wardrobe”, afraid to change into another set of clothes and face society after the humiliation she had to suffer through. Duffy portrays how despite the fault being that of the men, the blame inevitably always falls on the women. Furthermore, the “balloon bursting” in the second stanza is a moment of epiphany for Miss Havisham, symbolizing her shattered hopes and dreams. She realizes that the promise of “happily ever after” is simply a facade, which ends up ruining a woman’s life and potential.

Through the use of structure and parallelism, Duffy reveals the vicious cycle Miss Havisham’s life has adopted post the departure of her ex-fiance. In the second stanza, Miss Havisham admits that “[she] stink[s] and remember[s]”. Through this line, not only does she express her self loathing but she also alludes to her day-to-day routine of wearing the same old, rotting wedding dress. The smell attached to it, a constant reminder of her terrible wedding day. As the days go by, as an individual she too rots, losing her character alongside her dying love. The poem ends with a stutter when Miss Havisham professes that it’s not, “only the heart that b-b-b-breaks”. The last line provides no resolution to the poem just as there is no solution to her situation- the reality/betrayal of love can leave you trapped with no solution. The plosive ‘b’ used in the beginning and at the end of the poem creates a cyclical structure, which demonstrated that she is locked in an endless cycle. Ultimately Duffy displays Miss Havisham’s inability to escape, and how the entirety of her life has been left to revolve around her failed relationship. 

Conclusion

Duffy’s poems are increasingly relevant in the world today, as we attempt to modernize our ideas and expectations of love, relationships and marriage. Poem’s such as ‘Valentine’ and ‘Havisham’ challenge the ideals set by society, not only by exposing their unrealistic nature but also the harmful consequences they can have on a woman and her life. As society attitudes evolve across cultures, Duffy reminds us that art can assist in reshaping our traditional, fantasised view of love into a more truthful, realistic version.

This text is an advertisement for “Campbell’s canned tomato soup” produced by the company in 1934. It is primarily targeted at housewives who often take on the role of a hostess whilst entertaining guests at their homes. Cambell not only reinforces socially relevant messages about women’s sphere being domestic through their use of declarative language, but also sets an ideal for them to follow. They emphasize the standards one must adhere to in order to properly fulfill their role as demonstrated by the mise en scene. Furthermore, they display a problem-solution structure, encouraging housewives to purchase their canned tomato soup, ultimately aiming to increase their product sales.

The declarative language in the advertising reinforces societal norms about women’s sphere and instills a fear in them of not being able to meet the standards that they as hostesses must adhere to.  Accompanying the “presiding lady”, the strong and consistent use of feminine personal pronouns such as “she” and “her”in the first paragraph declare that the role of the host is that of a woman’s, therefore highlighting the woman’s sphere as being domestic. It stresses to these women that they must approach “ dinner with every detail ‘just so’.”, and that, “not so much as a flutter [should be] noted in her demeanor.” The importance of having everything ready before hand is emphasized –  even the “soup [should be] served” without delay. These texts emphasise that nothing but perfection is expected from them, and even the simplest of mistakes could be detrimental to their social image. Additionally, they declare the soup as “the social test”. This declaration sends the message that the first course is what guests will base their first impression on. If it does not meet their standards, it not only entails that it will invite “criticism”, but also that they will have failed in their duty as a perfect hostess, ultimately poorly reflecting their family’s social status. 

Campbell makes use of the mise-en-scene in their advertisement to create an unattainable ideal for middle-class housewives to aspire to. They display a lady in the centre of the image who embodies the perfect hostess, acting as a role model. Whilst the red in both her laced gown and bright lipstick connotes to feminine sensuality and sexual themes, the lace shoulder sleeves retains a sense of elegance that comes with the modesty she displays. For housewives, she becomes the symbol of two qualities that a perfect hostess should possess – alluring and yet fearless.. The velvet midnight blue of the receding grand staircase alludes to wealth and demonstrates  the importance of an impressive entrance in how a perfect hostess is perceived by her guests. With the model’s chin up high and hand on her waist, she poses for her audience before descending to meet them, emphasizing her confidence. Ultimately, not only does Campbell set an unrealistic ideal, with allusions to the ‘great american dream’, but also attracts middle-class housewives to aspire to achieve it. Campbell’s offers to make hosting easier and allows you to project the image of a high class household that they’re convinced, will surely impress guests. 

Finally, Campbell makes use of a problem-solution structure in order to increase the sales of their canned tomato soup. Through setting an ideal worth a fortune, middle-class housewives are pressured to uphold an image they cannot realistically afford. However, they provide a solution as well – their canned tomato soup. They present their soup as a symbol of wealth and prosperity, luring budget households who aspire to live luxuriously. They attract women who may have a tight budget by letting them in on ‘a secret’. Displayed in small text, they announce that “when you add an equal quantity of water in your kitchen, you obtain twice the quantity of soup at no extra cost.” Additionally, they emphasize the quality of their soup by repeatedly informing consumers that it is “prepared by professional soup specialist[s]” and “skilled soup chefs”. Through these marketing ploys not only do they exploit housewives by exaggerating the quality and “truly unique” flavour of their ‘luxurious’ soup, but they also present it as an affordable option for the middle-class. They truly glorify the value and potential of their soup in being able to help the middle class present themselves as wealthier. 

To conclude, Campbell advertises their canned tomato soup by creating an ideal for what a perfect hostess should embody through both the mise-en-scene and strong declarative messages. Furthermore, they provide a solution to middle-class housewives that promises to help them conform to the ideal by introducing their tomato soup as both extravagant and affordable at the same time, ultimately aiming to increase their product sales.