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THINK:

The system he inhabits with its Catholic school discipline and family traditions and conservative neighborhood demands people to conform while appearing polite and respectable. The community has unexpressed protocols for how people should present themselves and conduct their identity particularly in regards to male behaviors and sexual conduct. Through the combination of his theatrical skills with nicely manners and friendly personality Danny learns to adapt to this school system. Within this particular system he plays the role of someone who needs to safeguard his concealed sexual orientation so he can win acceptance and love from others.

FEEL:

He feels emotionally trapped because he experiences fear as a result. Danny shows composure and happiness to others yet his internal struggle engages with feelings of terror and guilt and shame because of his sexual orientation. His position within the system triggers feelings of anxiety because he fears losing the acceptance of his family members along with his friends and people from his faith community. During his confrontation with Lady Bird he cries revealing the complete personal cost of concealing his identity.

CARE:

Friendship together with acceptance and kindness hold great value to Danny. He keeps aspects of himself hidden while he puts relationship maintenance and avoiding disappointment of others as his top priorities. He desires both freedom from fear besides needing acceptance to express his true self without judgment. His main desire is to feel loved in his genuine self yet his society stands in the way of achieving this acceptance. His actions are steered by a need to be welcomed by others together with the hidden dream that he will eventually not face a conflict between finding love or telling the truth.

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In this lesson through my exploration of readings alongside the scaffold exercise I developed a more comprehensive comprehension of how people keep creating divisions based on others and how this dynamic exists today. My first point of view about othering as primarily historical spread toward isolation entered change as I read the Editor's Note and Introductory Essay and "To a Modern Audience" article. Othering exists beyond social construction since it shapes present-day societal identities and collective group interactions. Media and narrative tools prove essential for sustaining stereotypes and cultural divisions which shaped how people view exterior groups. Participants understood the capability of building empathy as well as inclusive understanding of common human traits to overcome these divisive constructs. Through the 3-2-1 Bridge scaffold I followed the development of my ideas about actively fighting othering in personal spaces and through nationwide cultural transformation.

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What is Shakespeare saying about the “other” in the world? Who creates “others” in the world?

In Othello, Shakespeare reveals the construction and maintenance of what he calls the Other by the people in power to cement hierarchies in the society. Being a Black male and a foreigner to a society dominated by white people with strong patriarchal tendencies, Othello is branded a different one, not only by his skin color but by his place of birth as well as the way he speaks. Such characters as Iago and Brabantio also stress this difference in order to prove their supremacy. Iago, in his turn, refers to the marriage of Othello and Desdemona as stealing, somehow comparing Othello to a prowler stealing something. This framing is a result of the strength of words to constitute who is in and who is not.

Instead, the othering is more than labeling of difference, it is a construction of us and them that propagates the power dynamics as proposed by the essays of the New Perspectives. In this sense, Venetian society constructs Othello as the Other to boost the identification of their society by invalidating his existence in their society even though he scores a success. It is not only a personal tragedy, but it is a systemic one, formed in the society that never lets him become a full-fledged member of it.

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→ Who or what allowed Iago to be so treacherous?

→ Does Iago have motives or a “motiveless malignity”?

→ How and why does Shakespeare use the Machiavel character to explore motive and morality?

In Othello, Iago can easily get away with his treachery, helped by his own tricksiness and by the social and institutional conditions in which this manipulative and deceiving behavior is permitted to go on unalleviated. Iago is in the society which is hierarchical and patriarchal, thus he is in a position to access people he trusts such as Othello, Cassio, and Roderigo and he uses them to create misunderstanding. In addition, no one notices or suspects him of his plans, which further helps him to go ahead with his arrangement. And Shakespeare demonstrates that the wickedness of Iago was not only the result of his willpower but a society where it accepts the falsehoods and appearances over honesty and lends itself to enable the blackest lies to prosper. This atmosphere, together with the brilliance of Iago in understanding the strength of language and social dynamics, gives him the ability to execute tragedy on stage without being seen and doubted until the final quarter of this play.

As a matter of motive, Shakespeare creates Iago as a mixed character that swings between obvious grievances and what some critics refer as motiveless malignity. Iago says that there are numerous reasons behind his actions things like being overlooked as a candidate of advancement to the next rank, being unable to perceive Othello dating his wife Emilia, and being completely hateful or envious of every other person. However, his malice can appear to be out of proportion and even self-stimulated which implies some darker, almost pathological sense of chaos and devastation that cannot be easily explained. The phrase Machiavel is used in many modern editions of the play to describe Iago, a scheming, immoral manipulator who projects ideas of power and deceit of the renaissance through the political thought; Shakespeare was exploring these motive issues as well as the nature of good and bad. Shakespeare asks audiences to face uncomfortable with something: evil is not necessarily rational and justified, but highly efficient when it comes disguised in the guise of reason and charisma, which is fully displayed through Iago. The accidental moralism is also critiqued in the Machiavel character, who represents a mixture of diabolical planning and the irrational desire, which should make us question not only vices of people, but also the very essence of evil itself.

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Who or what allows for treachery?

Deceit in Othello is made possible by multiple interactions of both Iago and his own connivance towards such a craftiness and a variety of weaknesses inherent to the society in which he operates, abiding by reputation, lack of supervision, and strict social ranks. This is because the characters are ready to be deceived by appearances and are incapable of looking beyond motives to suspect Iago's plans. Therefore, treachery is possible through the trickiness of Iago as well as the social situation in which lying and separation is facilitated.

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– Who experiences the most growth? Marjane or Lady Bird?

The biggest development is observed in Marjane since the political, emotional, and personal transformation her citizenship in Persepolis entails is tremendous. Being brought up in the times of the Iranian Revolution she experiences war, exile, identity crises, the trauma of losing ones she loves. Adolescence is not the only factor of her development, as she needs to survive in a restricting society, as well as define her identity as a person of Iranian origins with notes of Western influences. In the process, Marjane grows to be quite politically aware, self conscious and strong emotionally. Lady Bird may also undergo some maturing, which is definitely not as large as in her interactions with her mother and how she perceives the conception of home, but her development is more restrained to the daily nuisance of being a teenager in America. Marjane’s challenges are far more intense, global, and transformative.

– Both characters make some questionable choices / take questionable actions / hurt others during the course of their experiences. Whose choices/actions are ‘worse’? Marjane or Lady Bird?

It can be considered that the actions taken by Marjane may be even more “worse” in its consequences, because some of them are more life-altering or morally weighty, like giving a false accusation to a man who is not guilty, thus sending him to possible death by an execution. Such decisions are performed under extreme conditions and this is in that brutal choices that are made when one is in an authoritarian regime. In comparison, Lady Bird and her mother quarrel and Lady Bird lies to be popular and makes others feel emotionally bad, although those deeds are associated more with the rebellious side of teenagers and less serious in impact. As much as the choices that are made by the two characters are dubious, it is the ones that are made by Marjane that have greater ethical implications as they are done in a political background. But this also explains them better, not to mention that they are sometimes even warranted, and how environment constructs morality.

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Preparation of the present vodcast about the Iranian Cultural Revolution has taught me much more about the setting in Persepolis. Although I was informed that the story of Marjane Satrapi was set in the period of the political upheaval, learning about the Cultural Revolution taught me that the governmental attempts to transform the Iranian society were systematic and ferocious. I was also struck in particular by the shutting of universities over three years and the introduction of Islamic curricula this is something I had not paid enough attention to earlier as this was only a side note. This made me feel closer to seeing how education was used symbolically in the text, to create a place of resistance and molding an identity by Marjane through learning. The understanding of how schools were ideologically armed, and religious law trumped by personal choice helped gain clear insight into many of the conflicts depicted by Satrapi between religion and religion, the freedom and individual thinking.

By exploring such a case as the imposition of the hijab and regulating media, I understood the need to examine the Cultural Revolution as not simply the creation of new external rules but also the invasion of everyday life and psyche. It was also illuminating to get to know how these laws messed up the lives of normal citizens and created rifts in the society as can be seen in the photo on page 5 where there were two antagonistic groups as regards to the veil. In addition, it is interesting to learn how women suffered yet fought against such changes, which proved the complexity of the period. It was motivating to know that even with the limitations, the women were able to somehow claim their voice through education, political participation and culture. This historical knowledge did not simply make me read Persepolis in a more critical manner, but it also allowed me to put myself into the shoes of the characters and their inner struggle.

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→ If we accept jealousy as a fundamental human trait, how do we then reconcile its complications?

Jealousy is a universal human emotion, woven into the fabric of our very nature. Some people master it with control, while others succumb to its grasp.

It lurks like a ghoul, dwelling in the brain, waiting for the perfect moment to surge forth and consume us. But imagine a knight wielding a flaming sword, this knight represents those with strong emotional intelligence and regulation, standing guard against jealousy’s overpowering force. Those with a weaker emotional regulation tends to fall down as the creature overwhelms the human, erupting into violence, trash-talking or bullying.

→ Why do humans seek revenge? What examples can you think of from pop-culture?

Humans seek revenge to restore a perceived sense of justice, to smooth or alleviate emotional pain. It often stems from feelings of betrayal, humiliation and loss, lots of times including all 3 emotions, which driving individuals to retaliate in an attempt to balance the scales.

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It is possible to talk about gender and voice as it is implied in one poem written by Carol Ann Duffy, the poem is called Mrs Darwin, and the poet reveals how voices are often ignored or discounted during the history, especially when it comes to women as thee idea is explored in this poem. Imagining Mrs Darwin humourously speculating on the potential relationship between her husband and a chimpanzee, Duffy allows her to hint that she might have had an impact on the birth of the theory of evolution suggesting the creation of the chimpanzee by Darwin might not have been accidental. The witty twisting of line, something about that Chimpanzee over there reminds me of you reframes the female voice satirically and ironically, using the female voice to remove the narrative of scientific discovery by the male dominants. This short yet acute poem allows Duffy to criticize the absence of female voices in history and hint that women might have played a bigger part than it is presented in the history.

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The poem the book concerns is the poem of the cultural memory and generational connection since it brings the idea that the food can act as the vessel that keeps the heritage preserved, the identity and the bonds between generations. The poem highlights the transfer of traditional customs through the nostalgic reminiscent experience of the speaker who recalls her childhood making sweet dumplings with her grandmother and this forms the connection back in time, to the present. The image of the senses through the dough when it comes to floating like fluffy clouds and the hands of the grandmother guiding him throughout this process indicate the intimacy and the warmth of togetherness since this experience is one of togetherness and it also shows how appealing oral traditions are in the Caribbean culture. Working on the basic idea of cooking, it displays much larger concepts of belonging and legacy, the silent power in matriarchal wisdom, a reminder to her readers, that much of the culture is preserved in the simple, mundane artifacts of daily life, to which generations of people cling.

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Wild Geese (General Function + Specific Effect = Meaning + Purpose)

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Wild Geese (General Function + Specific Effect = Meaning + Purpose)

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General Function = Is to assure comfort and reassurance through visual imagery.

Specific Effect = The poem evokes a sense of solace and hope in the reader.

Purpose = The purpose is to remind the reader that despite feelings of loneliness or despair, they are inherently part of a larger, vibrant universe.

Meaning = The poem conveys that healing and belonging come not from self-punishment or strict discipline but from embracing oneself with gentleness and love. It emphasises that life and nature offers beauty and connection even amidst personal pain, and that each individual is an integral part of this ongoing, dynamic world.

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In "I Looked Up from My Writing," Hardy explores the transient nature of human perception and the profound impact of moments of awareness on our understanding of life. The speaker's act of looking up symbolises a pause from routine and concentration, suggesting a shift from inward focus to outward observation. This moment of looking up reveals a deeper connection with the surrounding world, emphasising the fleeting beauty of time. Hardy’s use of imagery and tone conveys a sense of reflection and perhaps a recognition of life's ephemeral nature, prompting readers to consider the importance of mindfulness and appreciation of the present moment amidst daily pursuits. Overall, the poem highlights the significance of brief pauses in life that can lead to meaningful insight and a renewed sense of wonder.

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At this point (end of Act 1) what do you think the significance of the flute music motif is?

At the end of Act 1 in Death of a Salesman, the flute music motif signifies Willy Loman's fleeting connection to his past and a faint hope associated with his father, a flute maker. The music, often described as "small and fine, telling of grass and trees and the horizon," contrasts sharply with the oppressive, dark apartment buildings surrounding his home, symbolising the encroaching societal pressures he has to face.

Does it signify something specific, or does it have multiple interpretations?

There are multiple interpretations of the flute, with one being the representation of his father, his retrospective memories of the past as well as a reference to the poem "The Road Not Taken". Willy seems to try to aim for a better future and longing for his own idealised world, however, the flute's melancholy shows the fading trust and the disappearing goals he has had in mind. Taking reference to the poem "The Road Not Taken", it connects with the idea that his father was a successful man yet Willy tried to take the same path but miserably failed.

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What do you think you know of this family so far? (Experiences, their situation, their hopes/dreams etc.) What do you think has led to their current situation?

Right now we know a little about the racial discrimination towards British-Muslims shown from the interrogation in Chapter 1. We can see that she was questioned for 2 hours showcasing the extreme doubt and suspicion due to her religious background. Her missing her flight shows and relates to systematic prejudice and how similar British-Muslims and her family suffers from political and social dismay.

We also know that Isma is someone who is really protective of her siblings shown from her willingness to look after them for along time. She is also worried of the rift she will form between them if she attends grad school. This leads to a dilemma which is impacting her thoughts.

Their current situation is one of financial hardship and precarious social standing, largely due to their father's disgraced political past and absence. This situation has led to a cycle of fear, suspicion, and a desire for the family to be invisible, as their father's notoriety makes them a target.

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The comparison of the Lone and Pasha families highlights the author Kamila Shamsie's key ideas about the conflict between Muslim and British identity, the impact of a father's legacy, and the pressures of assimilation versus cultural preservation. The Lone family, through Karamat's ambition, embodies the attempt at complete integration, while the Pasha family's struggle to retain their Pakistan heritage demonstrates the challenges faced by many Muslims.

Isma and Eamonn's relationship appears to be a genuine connection built on intellectual curiosity and an unknown unconscious feeling towards each other. Despite Isma's initial contempt for Eamonn's father, their friendship develops in a way that bypasses their familial and political differences, at least on the surface. Their conversations reveal a shared ground, particularly Eamonn's frustration with his father, and suggests a genuine although a complicated bond.

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In what ways does Willy Loman’s pursuit of success reflect James Truslow Adams’ warning about the dangers of worshipping material wealth?

Willy Loman's obsessive focus on being well-liked and wealthy mirrors James Truslow Adam's warning because it replaces the pursuit of genuine happiness and fulfillment with material wealth. Willy's downfall is rooted in his shallow understanding of the American Dream, where wealth and popularity become the sole measures of a successful life, leading to self-delusion, failed relationships, and ultimately his tragic death.

What role does social mobility play in both the play and Churchwell's historical understanding of the American Dream?

Does Willy Loman’s failure illustrate Lippmann’s critique of the American Dream as a delusion of "endless progress"? Why or why not?

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How willing are you to believe that Aneeka truly loves Eamonn?

It is convincing that Aneeka loves Eamonn, though her actions are complicated by her need to save her brother, Parvaiz, by using Eamonn's influence. Her initial motive is clear that she wants to seduces him to help Parvaiz. However, the emotional connection deepens beyond the original intent, making it believable that her feelings for Eamonn develop into genuine love, to the point where she considers marrying him and is devastated when he is unable to help her brother.

What is it that is convincing to you, or what is it that makes you think she is only trying to save Parvaiz?

She takes control of her own body such that in a specific act of defiance against Eamonn and others who see her as a pawn, she chooses to take control of her own sexuality in her own way. She interprets Islam as a way of being in control of her body and sexuality, which she sees as a way of taking back control and to ultimately save Parvaiz from the ISIS.

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Up to this point in the novel (end of Chapter 5) how has Shamsie developed and used the motif of sounds/soundscapes to either contribute to your understanding of a character/characters, or to develop an idea/theme/concept?

In Home Fire, Shamsie uses sounds to highlight the Pasha family's vulnerability and the pervasive, isolating threat of the extremist ideology that influences them. Early in the novel, the "silence" of a "closed-off" home is contrasted with the "cacophony" of the external world, creating a sense of the family's isolation and the oppressive atmosphere they live under. Parvaiz's internal conflict is revealed through sounds, and the lack of sound becomes symbolic of his impending estrangement.

Isma, who has raised her siblings, initially represents stability and order. The sounds associated with her life represent the normal existence she tries to maintain for her family. However, these sounds can also be seen as the sounds of a life defined by a quiet and oppressive duty to her family, as discussed by Pearson qualifications.

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In Home Fire, Aneeka's chapter is deliberately interrupted with a variety of narrative styles such as news reports, interviews, and social media posts to reflect how her personal grief becomes a public spectacle. Kamila Shamsie uses this fragmentation to demonstrate how Aneeka losses a chance to control her story when the media and government are involved. Shamsie uses this to criticise the contemporary world of sensationalism, and how the political and social systems use the tragedy of the individual for a political debate.

The disjointed story also recalls the emotional confusion and sorrow of Aneeka after the death of Parvaiz. The same way that the reader is floundering due to how Aneeka cannot see the truth and discern what is real in the cacophony of opposing ideas and misrepresentations. Her voice is broken and this shows the helplessness she is facing both the political control and the judgment of the people. The mixture of various narrative types helps Shamsie to underline such themes of the novel as identity, belonging, and the loss of agency in the world where individual suffering is always subjected to judgment.

(Antigone theory in the book)