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1. Egwugwu: appear as non-human, otherly creatures --> shows the different representations of Gods in Igbo society

2. Nwoye hears the hymn: Nwoye only knew of masculinity as violence; Christianity showed him a more 'feminine' version of strength (links to masculinity)

3. Mr Brown: first missionary/leader of church: "there are no other Gods less threatening" "something in it [the religion] after all" (links to positive dialogue during the burning of the church)

4. Mr Smith: religion as "black and white", Igbo as black, evil, polarisation, White missionaries see Igbo culture as inferior despite the all inclusive introduction, instead imposing their own violent system of law

5. Chielo, oracle: warns Okonkwo for speaking over her: "beware, ... of exchanging words with Agbala" Women as having power through spirituality and power. Masc vs Fem.

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'ambition' concepts

desire for power

the irreversible consequences of unchecked desire

moral restraint losing against desire

manipulation of desire

masculinity and gender concepts

violence as masculinity

subversion of gender roles

femininity and masculinity working as two halves of a whole

gender dominance

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Learner Portfolio Task: Mock IO Reflections.

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Learner Portfolio Task: Mock IO Reflections.

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Sleep as a symbol of safety

Act 1.3, Witch 1:

"I will drain him dry as hay:

Sleep shall neither night nor day

Hand upon his pent-house lid"

"hand upon his pent-house lid" --> upon Macbeth's eye:

prying his eyes open --> leaves Macbeth vulnerable, foreshadows his downfall and guilt/paranoia

closing his eyes --> false sense of security Macbeth feels from the witches (second) prophecy --> downfall

link to 'fair is foul and foul is fair'

paradoxical nature, how Macbeth is granted the prophecy (lie) that he is invincible/can't die --> appearance of sleep grants the feeling of safety, comfort, rest – however entering a situation with eyes closed prevents seeing deception, reality --> appearance vs reality

witches grant the prophecy Macbeth wants/desires, but in reality entering the situation with his eyes closed leads to his deception, equivocation

Sleep as a sign of conscience (guilt/innocence)

Act 1.7, Macbeth:

"When we have mark'd with blood those sleepy two

Of his own chamber and used their very daggers"

objectification of 'sleepy two' --> sleepy as allowing them to be taken advantage of by Macbeth

sleep represented as conscience of the innocent

reference to motif of blood – guilt

framing the two innocent guards

Sleep as a symbol of vulnerability/weakness

Act 1.7, Lady Macbeth:

"When in swinish sleep

Their drenched natures lie as in death,

What cannot you and I perform upon

The unguarded Duncan?"

swinish - greedy, hoggish, lazy --> Lady M condemns sleep, she d

Metaphor: 'lie as in death' – drunken sleep, the guards in a state of unconsciousness/sleep to the point they are almost dead, which results in the vulnerability of Duncan (the guards meant to protect Duncan leave him vulnerable due to sleep)

sleep as a sign of Duncan being unguarded

Lady Macbeth believes she can 'perform' these violent acts in a state of sleep --> sleep allows her to break the GCoB, therefore deceive

sleep renders the guards insignificant/unimportant

she feels she can perform these acts without consequence under the guise of them being asleep

she sees consciousness as an obstacle for her to get her desires

she can't commit acts when people are awake, as she will feel guilt

consciousness, if they are awake, there is someone there to witness her and hold her accountable

strategic: she doesn't want to be incriminated

unchecked power: people have to be asleep for them to commit acts as it absolves them from responsibility/guilt

they could use sleep to make the witches' prophecy seem natural - in sleep, to operate under deception, under the guise of appearance vs reality (natural, GCoB, vs intervention)

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"So foul and fair a day I have not seen"

equivocation - dramatic device; he is already tied down to the witches' prophecy - fate

paradox

"Is that a dagger which i see before me, The handle towards my hand? Come, let me clutch thee"

motif of dagger: violence and bloodshed, ambition

fate

interrogative:

imperative 'come let me...' : commanding the supernatural - free will

Lady Macbeth: "Look like th’ innocent
flower, But be the serpent under ’t"

serpent: alludes to symbol of evil, temptation in Bible - agent of satan

Lady Macbeth's relationship with Macbeth

juxtaposition: flower, serpent

her downfall: her ambition led to her distruction, irony

fate vs free will, appearance vs reality 'flower' vs 'serpent

deception: appear flowery, mask ambitions

Macbeth's downfall: self deception, his outside appearance isnt truthful

Lady M encourages him to have that duplicitous personality: outside appear noble, inside be ambitious

2.2

blood: his guilt, crimes, sins

water: takes away guilt - lack of responsibility/consequence

purity, will wash away violence, moral corruption

Lady Macbeth:

"My hands are of your color, but I shame
To wear a heart so white."

'your color' - partnership

white: cowardice

Lady M: "A little water clears us of this deed."

an understatement

Macbeth juxtaposes this: "Will all great Neptune’s ocean wash this blood" - he understands the consequences of breaking the GCoB

Lady Macbeth doesn't yet understand the consequences, that they broke the GCoB

"deed"

she sees it as mundane, fate playing out

striking imagery between red and white - stained with the blood of a king

image of white being tarnished with blood red

allusion to Julius Caesar: bathe their hands in the blood of Caesar

Lady M: "Come towards my woman's breasts and take my milk for gall"

she asks for the ability of nurturing and breastfeeding to be taken away

she is against nature, supernatural being

"Yet i do fear they nature; it is too full of th' milk of human kindness."

insult to Macbeth's loyalty to the king

milk is used as a motif in macbeth, symbolising nurture, caring, loyalty - that Lady Macbeth should have, that they should have towards king duncan

"Will all great Neptune's ocean wash this blood clean from my hands"

hyperbole; Macbeth exaggerates to show his internal guilt

how the blood will stain his hands, permanent

motif of blood: guilt

water: cleansing

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INVERNESS - MACBETH'S CASTLE

site of King Duncan's murder - act 2

Macbeth's castle before he moves to the royal palace

to be a place of hospitality, but is site of murder

appearance vs reality: setting as weapon of deception; commits evil acts in darkness

Lady Macbeth: welcoming host

setting reflects Macbeth's deep desire, ambition, deception, moral corruption

castle becomes a symbol

FORRES - DUNCAN'S CASTLE

macbeth and banquo encounter the witches on their way to forres

initially a symbol of order; duncan's seat of power

duncan goes to macbeth's castle instead of summoning macbeth to forres; his trust for macbeth

macbeths new seat of power; becomes a setting of guilt and paranoia (sees banquo's ghost)

at the banquet --> increased suspicion

FIFE - MACDUFF'S CASTLE

where Lady Macduff and her children are murdered

initiates Macduff's desire for revenge

symbolises peace/innocence before corruption - the consequence of regicide/disturbing GCoB on society

Macbeth's tyranny, paranoia --> murder of innocent family

BIRNAM WOOD - THE FOREST NEAR DUNSINANE HILL

witches prophecy: he will not be defeated until Birnam Wood comes to dunsinane Hill

the fulfillment of a prophecy and foreshadowing/becomes the downfall of macbeth

he interprets the prophecy as impossible/he is invincible

but the use of the wood for camouflage is his downfall

place of prophecy and downfall; appearance vs reality, deception

DUNSINANE HILL - THE HILL ON WHICH MACBETH'S CASTLE STANDS

Macbeth travels to dunsinane hill because it is fortified; he believes he will be safe because of the witches' prophecy

fate, final setting before his downfall

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How does Shakespeare present Macbeth as a tragic hero?"

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How does Shakespeare present Macbeth as a tragic hero?"

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What: Shakespeare uses the soliloquy to reveal Macbeth’s destructive inner conflict, charting his psychological decline and tragic transformation from a valiant warrior into a morally corrupt tyrant, that, in the end, is consumed by nihilism.

In Act 1 Scene 3, Macbeth's soliloquy, prior to and after hearing the witches' prophecy, shifts from the natural iambic pentameter "So foul and fair a day I have not seen" to the irregular meter and imperative, "Stay, you imperfect speakers". The initial iambic pentameter presents Macbeth's conscience as controlled, despite the equivocation "foul and fair". Through employing both techniques, Shakespeare possibly portrays Macbeth's initial response towards the supernatural as rational; although equivocation is reference to the witches and supernatural beings, the iambic pentameter portrays Macbeth's response as ordinary. However, his rhythm is disrupted immediately after hearing the witches' prophecy, and Macbeth speaks in imperatives, revealing his disorientation, his ambition, and Macbeth's tragic hamartia. Furthermore, in Act 1 Scene 7, the equivocation and use of pentameter “If it were done when ’tis done…” emphasises Macbeth's inner turmoil, when he contemplates killing Duncan. By Act 5 Scene 5, Shakespeare’s use of nihilistic imagery and metatheatre: “Life’s but a walking shadow, a poor player…”, exposes Macbeth’s anagnorisis; his recognition of the pointlessness of his ambition existence. Throughout these key moments, Shakespeare's use of rhythm, imagery of darkness, and self-reflective tone chart his tragic descent from noble heroism to existential despair.

Ultimatelhy, through solliloquy, Shakespeare exposes Macbeth's inner conflict and the corruption of his ambition upon his morals. The shift in rhythmic structure, and use of equivocation acts as insights into his mental state, and is a record of Macbeths downfall from a noble hero to his tragic downfall. Through his psychological decline, Shakespeare warns his audience of the destruction of morals due to unchecked ambition.

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NOBLE BIRTH/STATUS

Act 1.2: Macbeth introduced as a noble soldier through word of sergeant: "brave Macbeth (well he deserves that name)", "Like Valor’s minion"

M then gains title of Thane of Cawdor - ironic/foreshadowing? as the previous holder of this title was "that most disloyal traitor"

HAMARTIA - fatal flaw

Macbeth's ambition and hubris leads to a moral weakness

Soliloquies: Sh. presents Macbeth's internal conflicts throughout, inviting the audience to experience first-hand Macbeth's internal monologue, and the shifting attitude towards the witches' prophecies

e.g. 1.4,

1.7: Macbeth contemplates killing Duncan "If it were done when ’tis done, then ’twere well
It were done quickly."

the use of pentameter, equivocation expresses Macbeth's inner turmoil to the audience through auditory language patterns

1.3: "So foul and fair a day I have not seen" initially iambic pentameter (natural), noble, controlled, represents measured thoughts - but also equivocation

ironic? 'foul and fair' - equivocation, paradox, like the witches - not met yet --> foreshadowing/fate - his hamartia is his being tied down to fate?

1.3: then iambic rhythm is disrupted: "Stay, you imperfect speakers, tell me more!"

irregular meter + imperative illustrates a break in composure, revealing Macbeth's inner ambition, curiosity to the audience

Macbeth's hamartia is also triggered by Lady Macbeth - who is more ambitious - imperative, dominant

often similarly equivocates like the witches --> instability of morals - especially for Macbeth

HUBRIS - excessive pride

1.4: Macbeth views Malcom's appointed title of Prince as an obstacle to his own fate "The Prince of Cumberland! That is a step
On which I must fall down or else o’erleap,
For in my way it lies. Stars, hide your fires;
Let not light see my black and deep desires.
The eye wink at the hand, yet let that be
Which the eye fears, when it is done, to see."

Because of his appointment of Thane of Cawdor, Macbeth believes in the witches' prophecies, and feels challenged when Malcolm becomes an 'obstacle'

4.1: "the power of man, for none of woman born Shall harm Macbeth"

iambic (pentameter)? almost

regular rhythm --> assuredness of the witches, adds weight and validity to their prophecy

slightly irregular (pentameter plus trimeter), 'power' is trochaic --> deception

Macbeth's Hubris comes from his overconfidence in the witches' prophecies

PERIPETEIA - climax, sudden reversal of fate

2.2: Macbeth kills duncan

"I have done the deed"

" Whence is that
knocking?
How is ’t with me when every noise appalls me?
..."

Macbeth is overcome with fear and guilt, turning point; he realises the irreversible nature of his actions and he spirals into paranoia, more killing

ANAGNORISIS - Macbeth's realisation

Act 5.5: "Life's but a walking shadow, a poor player That struts and frets his hour upon the stage..." --> metatheatre - Macbeth displays self awareness, ~ breaking fourth wall through reference to 'player' and 'stage'

"I pull in resolution and begin To doubt th' equivocation of the fiend, That lies like truth..."

Macbeth's realisation in the lies of the witches' prophecy/beginning to doubt them --> pointlessness in his ambition, followed by the acceptance of his consequences as it is too late

Macbeth falls into nihilism, audience feel pity for Macbeth - his ambition, life, etc were meaningless

CATHARSIS - audience made to feel pity/fear for Macbeth, then emotional purging

Authorial intent: audience made to fear the consequences of excessive ambition, fear of committing regicide

DEATH/DOWNFALL

Macbeth's death at the hands of Macduff --> restores moral balance and order in Scotland

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BQ: In what ways do the witches manipulate Macbeth's ambition to blur the boundary between destiny and choice?

fate vs free will

the witches are never described as 'wtiches'

but refer to eachother as 'weird sisters'

weird: having power/to control fate

from old english word wyrd 'fate, chance, fortune; destiny' - 'that which comes'

old norse 'wert' 'to turn, to wind' 'wer' - 'to turn, bend'

etymology of the witches --> changing/bend the course of Macbeth's destiny/path

through setting off his desire for ambition

witches are an interpretation of the three fates?

how much influence do the witches have on Macbeth?

are they the agents of fate?

or is it Macbeth's choice?

Shakespeare's intent?

Act 1.3

"So foul and fair a day I have not seen"

'foul is fair, and fair is foul'

fate or destiny, M hasn't met the witches yet, but alludes to their language

"all hail Macbeth, hail to ..." x 3

Banquo:

"The instruments of darkness tell us truths,

win us with honest trifles, to betray's

in deepest consequence"

Banquo doubts, thinks the prophecy will lead to downfall in the end

Macbeth

"stay you imperfect speakers"

imperative, paradox

Act 3.5 - interjection of Hecate

allusion to Greek mythology

Hecate:

"loves for his own ends, not for you"

Macbeth's ambitions were his own, (free will), not for the witches/fate

"Hath been but for a wayward son"

'son' - being guided --> manipulation of Macbeth by witches,

"As by the strength of their illusion

Shall draw him on to his confusion"

rhyming scheme

1-5

Hecate speaks in similar language spoken by Lady Macbeth, both manipulative forces upon Macbeth

he cannot leave all of his downfall to his own choices

Act 4.1

"I conjure you", "answer me"

imperative, commanding

free will - Macbeth's own overconfidennce/hubris

"thought..." "though..." x4

supernatural imagery

shows GCoB being destroyed, Macbeth still wants to pursue ultimate power

"Macbeth, Macbeth, Macbeth: beware Macduff"

repetition: echoes, chants --> supernatural rhythm

the nature of prophecies themselves foreshadow Macbeth's downfall

as in Jacobean era, the supernatural is deemed 'evil', punishable by God

"none of woman born Shall harm Macbeth"

the witches build upon Macbeth's hubris, leading him to think he is undefeatable

the first prophecies allow Macbeth to test the reliability of the prophecies, yet the next prophecies equivocate

the motif of the bloodied child could represent Macbeth's insecurity in hereditary reign

could also symbolise Macduff's birth - born from caesarian

these images/prophecies are more manipulative, a show of the witches' meddling in fate/destiny

"I will be satisfied. Deny me this, And an eternal curse fall on you – let me know."

Macbeth's hubris - excessive ambition and pride

his pride contributes to his own downfall

apparitions:

1. bloodied head

2. bloody child

3. Birnham wood

Act 5.5

Evidence for fate vs free will:

fate (witches choice)

free will (macbeth's choice)

authorial purpose:

conflict between destiny and free will

Macbeth's use of asides and solliloquys

give insight into his internal desires and secrets - esp after hearing prophecies

internally he knows his actions are in response to his own desires

when he shows interests in witches prophecies, he wants to portray the idea that this is fate speaking to him – but in his solliloquys, it is revealed these are his own desires

appearances vs realities

why does he try to hide his desires?

this is a message about unchecked ambition Macbeth hides behind idea of fate and destiny --> corruption

so his real downfall could be his own self deception

does believing in fate/supernatural make u an evil person, as it leads you to not take responsibility for your actions? have something to blame, no responsibility & no one to check you for your power

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MUST TALK ABOUT (throughout whole BOW)

style

form

tone

make sure to know the BOW inside and out IN RELATION TO the GI

GI is a FRAMEWORK to view all of your BOW through

to introduce ideas

exploratory in nature

NOT a theme to discuss two extracts through

an interpretation you have made of the body of work

which you view through this framework to INVESTIGATE the BOW

not just viewing GI through two examples, view it as an interpretation of entire text, extracts are strongest places where you see the GI

GI is an organising principle - something to go back and link ideas back to

not just a statement about theme, an overall interpretation

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Soliloquy: an act of speaking one's thoughts aloud when by oneself or regardless of any hearers

Aside: a brief remark or comment that a character makes to the audience, which other characters on stage are not meant to hear.

Act 1 Scene 3 - an Aside

after the witches' prophecies

first introduction into the dichotomy of Macbeth's conflict and hamartia

"two truths are told" - predestiny - 'truth'

presents himself as someone who knows this will be his destined will

"As happy prologues to the swelling act"

prologues, act --> as playwriting; Macbeth sees this as his role, as a character to play

does he believe he is a character that will arrive at the same narrative ending? that has to fulfill the plot?

"Cannot be ill, cannot be good" - a paradox

Macbeth is not sure whether he should fulfill his prophecy/listen to the attraction of the prophecy

"whose horrid image doth unfix my hair" - equivocation

"horrid image" euphemism - an image that terrifies me

"Against the use of nature" - understands how God will react to his plan --> he doesn't say it aloud

Macbeth is a moral character here, and understands the consequences of breaking natural order - but his own hamartia begins to corrupt his judgement

"if chance will have me king, why chance may crown me" - sense of hope

at this point, Macbeth believes that fate will take its course without his intervention

the meter does not follow iambic pentameter - it ends on a feminine, this ends his sentiment with ambiguity - contrasting his statement with his tone

will Macbeth follow his moral judgement, or will his ambition/hamartia corrupt it?

Act 1 Scene 4

after King Duncan announces his son, Malcolm, will be the heir to the throne

primogenetive - to pass down power, dynastic succession

not always common in monarchies at that time; had strategic decisions on who would take the throne (cousin, relative)

so Shakespeare goes against this idea

Political propaganda - James I wanted an heir/successor of his own (Elizabeth I did not have one)- Shakespeare signals he has the same ideology

Motifs - stars and light

recurring motifs symbolise ideas of honesty, virtue, integrity

"Stars, hide your fires" - Macbeth asks fate to strip him from his values of honesty (stated by Duncan previously)

the first call to ask for 'darkness' to conceal his true ambitions

previously: 'signs of nobleness, like stars, shall shine' - Duncan

"Deep" - beneath the surface, concealed, extends beyond the surface - Macbeth is not what he seems

"The eye wink at the hand; yet let that be || Which the eye fears, when it is done to see"

let my eyes not see what my hands are doing; dysfunction/conflict between Macbeth's morality and ambitions

he knows this is wrong/against nature

"stars, hide your fires" alludes to the fact that he knows he isn't worthy of this position

conversation has changed from 'the idea of regicide haunts me' to 'as long as i dont consciously think about what im doing, i can do the action of regicide'

as long as my deep ambitions are hidden

shift in conversation: against nature, knew the consequences of regicide -->

Act 1, Scene 7

consequence: the quick speed of it will make it acceptable

that he should do his actions quicker to avoid those consequences

"We still have judgement here" - he admits/worries about the punishment in both this life an the afterlife

"plague" - sickness, corruption, haunt

Macbeth recognises that this bloodshed can open the door to savagery and brutality, which will come back to him "to plague the inventor"

"poisoned chalice" - extended metaphor for sickness and corruption

"even handed justice" - acknowledges that he is at the same risk

"Duncan Hath borne his faculties so meek, hath been so clear in his great office, that his virtues will please like angels" - Duncan's lack of corruption will be celebrated in heaven

Macbeth already condemning himself to Hell, by acknowledging that Duncan will ascend to heaven

certain that this will happen

"I have no spur to prick the sides of my intent, but only vaulting ambition, which o'erleaps itself and falls on the other"

more clarity and assuredness of what he has to do

Act 2 Scene 1

symbol of the dagger - to discuss fate and free will

in this soliloquy, we see Macbeth's perepeteia - leading to his downfall

"Duncan, for it is a knell || that summons thee to heaven or to hell"

"is this a dagger which i see before me" - points to Duncan's chamber room, foreshadows his forthcoming crime - tension between fate and free will

goes against iambic pentameter - 11 syllables

fate: opportunity is presented to him

free will: his choice to act upon his free will to decide to do it

however Macbeth may not have a choice in his own destiny - fate will always triumph others' free will

could be a hallucination from witches/figment of Macbeth's own desire

dagger already in his hand, pointing to Duncan's chamber - it will always end this way

hallucination? does he have control/have choice

"come, let me clutch thee" - imperative, but begging it to come towards him?

"I go, and it is done" - imperative 'i go' command

I go, and it is done. The bell invites me.
Hear it not, Duncan, for it is a knell
That summons thee to heaven or to hell.

Macbeth contemplates his own demise

'thee' you - himself or duncan

this death bell might summon himself to heaven or hell

he will commit this act whether there is a punishment or not

'Nature seems dead' - nature won't punish him, he doesn't think he will have consequence

warn people of the consequences of regicide

through Macbeth's psyche

Nature seems dead, and wicked dreams abuse
The curtained sleep. Witchcraft celebrates
Pale Hecate’s off’rings, and withered murder,
Alarumed by his sentinel, the wolf,

semantic field of supernatural - opposite of natural, chain of being

wrong, against nature, warning

reminds us this is a political play

"Thou marshal’st me the way that I was going,
And such an instrument I was to use."

'marshal'st' - guides, ushers/dragged, taken, not by free will

but also 'i was going' - dychotomy between fate and free will

reference to 'is this a dagger i see before me'

fate vs free will? Macbeth is willing without the need for symbols of fate

how much of Macbeth's own actions are what leads him to his own ending?

volta, turning point - at 'while i threat, he lives'

'though marshal'st me' - suggest Macbeth has a point where he decides to do this, but is still 'marshalled - taken along

by the end, he is conscious, clear and ready to commit this act

"Words to the heat of deeds too cold breath gives."

intention/desire is 'hot'

i myself am too cowardly 'cold'

then "I go, and it is done. The bell invites me."

the death bell invites me, i will commit this act regardless of if i am summoned to heaven or hell

i must act now before i go cold and cowardly

this is arguably the volta - the shift/ultimate point where his decision is solidified

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Act 3, Scene 1

"To be thus is nothing,
But to be safely thus. Our fears in Banquo
Stick deep"

shift from someone of great ambition to someone of paranoia

he wants everlasting power - more

reference to King James I: fear of having no successor as Queen Elizabeth didn't

change in Macbeth: from a moral, loyal general who considers the prophecy --> sheds himself of guilt, follows the prophecy (because of witches or his ambition?) --> he asks for more (his hubris?) more greedy, pride

considers killing his own best friend

Aristotle's Tragedy: Macbeth's hubris is showing here - instead of being content, he goes above and beyond the fate that has been decided, asking for more control

"fruitless crown", "barren scepter"

"Thence to be wrenched with an unlineal hand,
No son of mine succeeding."

These discuss Macbeth's corrupted conscience; fear of having no one to take over his lineage

"And put a barren scepter in my grip,
Thence to be wrenched with an unlineal hand,"

iambic pentameter - masculine, no equivocation

suggests Macbeth's assured nature

demonstrates Macbeth's deep desires to now keep the throne/power beyond his own death - the "eternal jewel" - metaphor for his soul to be kept as king

His hubris - to ask for more than what fate has given him

Act 5, Scene 3

"This push
Will cheer me ever or disseat me now."

this upcoming battle with decide my fate

declarative creates neutrality to his tone

fate will decide his outcome

"I have lived long enough. My way of life
Is fall’n into the sere, the yellow leaf,"

Macbeth says he doesn't have love, honor, friends

Macbeth is succumbing to his own fate rather than free will, not going against his fate anymore

neutral tone: no desire to change, acceptance

Macbeth starts to fall into nihilism (world is meaningless)

Act 5, Scene 5 - Nihilism

Aristotle's Tragedy: audience have a sense of catharsis - relief when Tragic hero has their downfall and problems are resolved

does the audience feel pity/relief?

"She should have died hereafter."

lady Macbeth as symbolism of Macbeth's ambition

his acceptance, no denial towards hearing of her death --> symbolises the death of his ambition, his acceptance of fate and loss of purpose

"Out, out, brief candle!"

urgency, desire to die? Macbeth has no more ambition/purpose for living

"brief candle" - life is short, meaningless

"Life’s but a walking shadow,"

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"two truths are told"

equivocation - the use of ambiguous language to mislead, most famously by the witches who use double-meaning prophecies that lead Macbeth to his downfall

using ambiguous language to be deliberately misleading or to avoid a direct lie

one truth where he kills duncan, one truth where he doesnt

third truth will come true?

discusses moral conflict through Macbeth

authorial intent: warning, associates Macbeth with equivocators

at this time, gunpowder plot - accused of equivocation

"Cannot be ill, cannot be good."

resembles the incantation-like rhythm that witches use

things aren't what they seem - what the witches support

witches portrayed as supernatural beings, not what they seem

Macbeth emulates equivocation and this supernatural atmosphere/meter of the witches

intent: supernatural meter likens Macbeth to supernatural --> agent of Satan, someone against the GCoB

Shakespeare reinforces this idea, not to go agains the GCoB, not to commit regicide

"Is this a dagger which I see before me"

fate vs free will

interrogative - questions

followed by 'come, let me clutch thee" - imperative

interrogative followed by imperative --> decision made

intent: Shakespeare references fate vs free will, to warn against succumbing to ambition?

warning about fraternising to the supernatural

King James' book of demonology, against engaging with witchcraft/supernatural

warning not to consider; Macbeth becomes fated to his downfall because of engaging with the supernatural

link to TFA: societal structure shifts - to do something outside of the expectation leads heroes to their own tragic downfall

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WC Feedback on GI's

some are too broad, the concepts in your GI need further explanation

some GI's would be difficult to discuss in your bodies of work

think about word choice: specific but broad enough to suit BOWs

specific to maintain focus

revisit BOWs and reconstruct GI

argue for GI - how ... leads to ...

Make topic statements general, global, use key words from the GI

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Jacobean Great Chain of Being

women are sub category of 'man'

power = subordinate

women should not be ambitious – unless its about their men

women act with their husbands' power, safety, recognition, in mind

women banned from jobs (acting)

physically and emotionally/mentally weaker; needed a man to look after them

no female tragic hero

Aristotelian tragic hero: noble/royal, brave, strong/brawny, selfless/modest, skilled (fighting/soldier) --> respect for hierarchy

most of these opposite to Shakespearean presentation of women: can be noble, selfless, but always subordinate to their husbands (don't have their own names), subordinate in their attitudes towards men

women show respect to men, men sometimes quite dismissive

husband's downfalls: not listening

women's "power" = rhetorical, done through convincing/words, not action/imperative

Lady Macbeth breaks (almost) all of the Elizabethan and Jacobean tropes towards women

doesn't allow ceiling to stop her from enacting her own ambition

set in medieval era; women not in power

has immense rhetorical power

mentally stronger than Macbeth – brave while Macbeth gets scared

'puppetmaster'

disregards hierarchy; pushes Macbeth into committing regicide

not selfless nor modest

Lady Macbeth 'wears the trousers'

Act 1 Scene 5

While Macbeth uses questioning, Lady Macbeth uses declaratives

she views the prophecy as a promise

she declares something will happen, if it doesn't, her world will end

"yet do I fear thy nature" --> she fears Macbeth is not 'man' enough to kill

"too full o' the milk of human kindness" --> her husband is too feminine

kindness is feminine

"unsex me here" --> remove my feminine qualities, make me more like a man

not saying I don't want to be female, she is saying she wants to be sexless: have the ability to be brave

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Iambic Pentameter:

10 syllables

5 'feet' (2 syllables)

unstressed followed by stressed syllable

sounds natural

sometimes memorable

Trochaic Tetrameter:

8 syllables total

stressed followed by unstressed syllable

four feet of trochees (one stressed syllable followed by ONE unstressed syllable

unnatural

Witches in Macbeth speak in incomplete trochaic tetrameter (7 syllables instead of 8) - spell/incantation rhythm

supernatural, beyond the natural

Shakespeare opens show with this to show witches are different/not 'normal'

trochaic meter is the opposite of iambic meter (most of the play is iambic)

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What were the beliefs and ideas of those in Shakespeare's society?

Jacobean period:

christianity, religion, supernatural

loyalty to king James I - first king to rule both Scotland and England

women were domestic

political shift from Elizabeth I: stable, long reign, no successor

decades of one monarch, changing to a new monarch --> fears of stability

Lady Macbeth is inspired by Elizabeth I

King James I - 1st of his line

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Compare how Donnelly and Duffy are exploring the themes of work and motherhood through their texts, ‘Call me in the Morning’ and ‘Work’.

Focus on:
- How is each text presenting the female experience of work and motherhood

- The author’s wider message

- The varied techniques employed to convey their meaning

work

gradual transition from mother of a domestic household, increases gradually into supernatural imagery; mother of the entire universe

motherhood as universal, inescapable?

use of end stops - fragmented, 'choppy' rhythm/pacing of women's work; trudging, exhausting, sweeping

however use of internal rhyme, asyndetic listing and some enjambment - endlessness of work

call me in the morning

asyndetic listing - multiple chores/roles of a mother

"working long hours" as part of asyndetic list - fast pace - equal weighting; womanhood is balancing both work and motherhood simultaneously/restlessly

In the cartoon 'Call me in the Morning', by Liza Donnelly, the theme of work and motherhood is revealed to merge and overlap into one overwhelming lifestyle of responsibilities. Similarly, in the poem 'Work', Carol Ann Duffy explores the overwhelming expectations towards women through the portrayal of work and motherhood as an endless, never-ending cycle, highlighting the overlapping double-sided lifestyles of women. In 'Call me in the Morning', Donnelly illustrates the highly demanding lifestyle of a mother, through the use of asyndetic listing to portray the simultaneous relationship between work and motherhood. Through listing "working long hours, cleaning, cooking,..." asyndetically, Donnelly attaches equal weight towards demands from both work and motherhood, merging the two separate identities into a single, tireless lifestyle of multitasking and balancing several demands. In the poem 'Work', Duffy similarly reveals the exhausting impact of work and motherhood on women; although the use of end stops provide a slow, steady pacing - especially at the first few stanzas - through utilising and maintaining this technique throughout the entirety of the poem, Duffy provides a rhythmic nature towards work. When paired with internal rhyming and asyndetic listing - and as the context of the women's labour is expanded from personal to universal - this pacing is transformed from a 'dream' like rhythm, into a fragmented, 'trudging' and exhausted rhythm, unable to end until death. Ultimately, while Donnelly portrays the themes of work and motherhood as a stacking of demands, resulting in the merging of different lifestyles into one confused identity, Duffy reveals these demands towards women to be an endless cycle, gradually becoming more demanding and depended on by more. Additionally, while Donnelly portrays these struggles as 'causes' - which can be avoided and consulted, as portrayed through the illustration of a hospital - Duffy, instead, portrays work and motherhood as inescapable; the demands of women increase and become more exhausting, only stopping once dead. Ultimately, both Carol Ann Duffy and Liza Donnelly reveal the wider message that women's labour far exceeds what is humanly possible, and the normalisation of women's work expectations results in the under-appreciation of women's contributions towards society.

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‘The poem presents the argument that the ‘righteous’ rage of an individual woman is, in fact, a force of nature.’

This poem presents the power of voice through the narrative focus on an individual woman, who discovers the forceful ability of her own voice. The poem presents the 'righteous' rage of this woman, through imagery of natural disasters pit against war and conflicts, representing the anger and frustration towards the representation of violence by media. Despite this, through the use of exaggerated imagery, the poem implies a lack of tangible change caused by women's voices.

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The root of Duffy’s conceit within this poem is the idea that a woman ‘grows’ taller and taller until she reaches the stars and planets.

What could this represent? What is ‘growing taller?’

Power?

Voice?

Ability?

Padlet Response: make a clear claim and support with evidence from the poem.
Challenge: Can you refer to context (writer positioning) or concepts (patriarchy, feminine writing, global issues)

growing taller - growing in status and recognition, ability

however not necessarily growing in terms of voice/power because of patriarchy - talented females shunned

Duffy's conceit of a woman growing taller and taller is a metaphor for a woman increasing her status and recognition. Despite her status, this growth does not assure the woman's power and influence, as Duffy criticises the oppressive nature of patriarchal society towards women's voice. The tall woman is 'bigger than any man', and therefore 'whooped' by men. While

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Fields of Inquiry: The Woman who Shopped

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Fields of Inquiry: The Woman who Shopped

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Beliefs, values, education

value on material things, women also objectified/commodified

GI: The effect of capitalism on societal values

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1. beliefs, values, education

2. culture, identity, community

What aspect of the FOIs does 'The Diet' explore?

1. values placed on women by society, belief of thinness as beauty + for attraction, education of role of women in society - to look pretty

2. influence of gender on identity

Global issues

1. The effect of beauty standards on women's identity/

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1. beliefs, values, education

2. culture, identity, community

What aspect of the FOIs does 'The Diet' explore?

1. values placed on women by society, belief of thinness as beauty + for attraction, education of role of women in society - to look pretty

2. influence of gender on identity

Global issues

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8 stanzas

7 lines

7-12 syllables + 2-5 in the last line

enjambment throughout

internal rhyme, no end rhyme

free verse

third person

How do any of these relate to the nature of the poem?

no end rhyme + use of enjambment - as end rhymes and pauses at the end of lines indicate a break, rest --> links to rapid, overwhelming, uncontrollable nature of the poem/diet

enjambment - suspense, anticlimactic nature - disappointment

free verse - unpredictable, inconsistency of the diet

third person - objectivity, critical perspective, sense of judgement - replicates nature of vanity, social image and appearance in dieting

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A: Understanding and Interpretation (3/5)

demonstrate knowledge IN RELATION to the question

show interpretation of key ideas in the question

e.g. identify what the weaknesses and strengths are in each of the texts

B1: Analysis and evaluation (2/5)

ANALYSE in detail the authorial choices rather than listing

organise discussion around central ideas/techniques

B2: Comparative analysis (2/5)

make connections and comparisons between two texts through more than one link

D: Language (4/5)

use transitions to provide clarity to arguments

maintain accuracy, range, sophistication of language

(was good for this paper 2)

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Understanding and interpretation of 'gender' in TFA

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Understanding and interpretation of 'gender' in TFA

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In what ways is the assertion that TFA illustrates the rigid gender roles of men as strong, dominant and violent and women as weak and submissive in the Igbo society a shallow interpretation of the text?

counter argument:

men more dominant by roles/titles, labour

women more dominant spiritually

in what ways are women presented with agency, valued and worshipped

how far is okonkwo's perception of masculinity as representation of the wider society's views on gender

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Criteria A - Knowledge, Understanding and Interpretation

Show understanding of the work in relation to the question

1. understand the question well. Deconstruct the q & draw out main concepts

2. interpret the main concepts in relation to the text

think more divergently, not too literally - think about the concepts in the question

make text work for the question - not other way around

argue with relevance to the question

use key terms from question throughout discussion

Criteria B - Analysis and Evaluation

1. support ideas with specific evidence; don't describe, draw out particular choices/features/techniques/styles

2. develop explanations - explain link between evidence and conclusion

avoid THIS = THAT

instead, deconstruct the effect of the authorial choices in shaping meaning - explain the HOW/effect --> make argument convincing

zoom in: focus on stylistic choice --> find specific evidence --> analyse effect --> connect to argument

3. meaningfully connect texts - consider the comparisons you can draw out - go beyond the obvious

Superficial connections:

both use symbols

the protagonist in both texts is important

both authors do something to convey a deeper meaning

Instead:

how are different symbols use to create a similar effect or convey a similar theme

how do readers perceive the protagonist in a similar way

what similar techniques are used in the construction of the protagonist

how is the protagonist used to develop a similar message or theme

Criteria C -

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A: Understanding and Interpretation (3)

Link my analysis back to the meaning of the text, and demonstrate an exploration of the subtle messages.

B: Analysis and Evaluation (4)

Use the analysis to identify author's significant choices/intent

C: Focus and Organisation (3)

Improve time management to conclude argument

D: Language (4)

Increase precision of technical terminology

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With reference to Nike advertisements, have attitudes towards women in sport changed over time? How is this reflected in Nike advertising campaigns?

Over time, attitudes towards women in sport have changed quite significantly, as reflected by Nike's advertising campaigns.

One early catalyst to the shift in attitudes towards women in sport was the inclusion of the women's 3000m and marathon during the 1984 Olympic Games. This rejected the belief of women as being physically inferior to/less capable than men. Nike embraces and promotes the shift in attitude through developing a women's version of the popular 'Waffle Trainer', and their second shoe ever named after an athlete was after female basketball team captain Sheryl Swoopes in the 1990s. The support for women in sport was further reinforced during the 2000s, where when criticism and offensive remarks were directed towards the Rutger's women's basketball team, Nike's advertisment, alongside the Athlete campaign supported the feminist movement, and challenged gender stereotypes.

Ultimately, attitudes towards women in sport have become more supportive, with further characteristics of 'hard work and the underdog mentality' becoming popularised throughout other sportswear brands besides Nike.

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Focalisation: the perspective through which a narrative is presented. It refers to how information is restricted, or shared, in storytelling.

Zero focalisation: omniscient narrator - has access to the internal thoughts of ALL characters - see and are given access to all information

Internal focalisation: narrator knows as much as the focal character - character filters information via narrator to the reader - perspective of focal character

External focalisation: narrator knows less than the characters - camera like; follows actions from the outside, has no access to their thoughts

Things Fall Apart

Internal focalisation of Okonkwo's perspective - the dominant focalisation

Not solely internally focalised; zero focalisation as internal focalisation shifts to other characters - granted access to perspectives of other characters in certain parts of the novel

Ending of Part 1 - Obierika

reveal complexity of Igbo traditions

ending; changes tone to foreshadow future themes of moral and cultural crises

Obierika as a foil to Okonkwo - provides different insight on Igbo culture - progressive thinking

internal narration highlights tension between internal actions and cultural expectation - Obierika's critical perspective

Ending of Part 2 - warnings from 'one of the oldest members of the Umunna'

What does the reader gain from this part ending?

a warning, foreshadowing on the future events - the ability of 'younger generations' to counter/manage the missionaries

the loss of 'kinship' - falling apart

Why not simply use the narrator?

uses the status of a village elder - to symbolise wisdom - reinforces/stresses on the weight of his words --> forshadowing

As the protagonist, why not focalise through Okonkwo’s perspective?

using an elder highlights the difference in generations - the theme of past and future - foreshadowing

foreshadow's Okonkwo's tragic ending - hubris prevents him from gratitude towards motherland (f), while his pursuit of masculine traits persists (large feast)

both endings of part 1 and part 2 foreshadow 'falling apart'

Ending of Part 3 - District Commissioner

shift in focalisation to district commissioner

shifts to the perspective of an outsider, a 'stranger'

purpose: provides a broad, less informed, 'zoomed-out' overview of the 'falling apart' of Igbo society --> to highlight the insignificance of these events in the eyes of the colonial powers --> irony

author's tone towards commissioner; irony

author uses internal focalisation to provide access to the commissioner's thoughts - his focus on turning the tragic downfall of Okonkwo into a mere chapter or paragraph - ignorance

commissioner is presented as self centred, maintains his image

contrast in tone between perspectives of Igbo members and the commissioner; from emotional, catastrophic tone of Obierika to the monotone, indifferent tone of the commissioner

theme developed in final paragraph:

effects of tragedy

power and authority

social and political commentary (allusion to 'The Pacification of the Primitive Tribes of the Lower Niger)

politics, power, justice

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Whole class feedback

Criteria A - Knowledge, Understanding and Interpretation

specific references (quotes) over general statements (descriptions)

select relevant quotations to strengthen argument

show interpretation of ideas introduced by the question

thematic questions: beyond presence of the idea; PRESENTATION of the idea + relationship to AUTHORIAL PURPOSE

Criteria B - Analysis and Evaluation

describing and paraphrasing --> analysing and evaluating

focus on authorial choices and methods (language, technique, style)

zoom-in - close analysis of examples

connect texts through insightful elements - explicitly

Criteria C - Focus and Organisation

focus on central idea and literary element

outline in topic sentences; mini thesis (what + how)

link specific discussions to main argument (thesis) throughout the paragraph

argument must be derived from question

understand the question

Criteria D - Language

use precise analytical verbs

accuracy

clarity through concision

academic voice

technical vocabulary

Targets for annual exam

focus on weakest criterion: B

less descriptive, more analytical; focus on the authorial choices & construction of the text

connect the text through more nuanced concepts rather than general similarities

improve time management

consistently reference the thesis throughout paragraphs

improve precision of analytical language to increase clarity

revise knowledge of the text to increase efficiency/time management, relation and ease of interpretation of quotations to the question

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How does Achebe present this climactic moment, at the end of part 1, for both Okonkwo and the Umuofia community?

At the end of part 1, in Chapter 14, Achebe introduces a buildup of tension in a progressive manner, through the use of onomatopoeia to introduce a fast paced rhythm, developing a sense of anxiety and suspense. This tone allows Achebe to slowly reveal information, from the death of Ezeudu to the accidental death of his teenage son - as well as the Igbo traditions and beliefs surrounding death. Achebe reveals

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How does Achebe develop the characterisation of Ekwefi?

Ekwefi is initially introduced during the incident where she is beaten by her husband, Okonkwo. The reactions and atmosphere presented reveal the place of women in Igbo society, and there is even an initial impression of Ekwefi as a stereotypical, submissive woman, as she is solely the wife of Okonkwo. Despite this, through further exploration of her character, Achebe reveals an aggressive, 'fighter' side to her character, highlighted by her love for wrestling. Achebe even states how 'Okonkwo had won her heart' by 'throwing the Cat', revealing the need for a woman to be 'earned', further proved as Okonkwo was initially 'too poor to pay her bride-price'. Simultaneously, Achebe implies the system of placing a value on and pricing of women, an almost dehumanising concept.

Achebe reveals Ekwefi's struggle, and reveals her numerous miscarriages. She is arguably presented as a character who is fated to suffer, as she even goes to extents of naming her children 'death, I implore you', although 'Death took no notice'. Achebe represents helplessness against a greater being, and Ekwefi's destiny, her succumbing to fate. Furthermore, because of the patriarchal views of Igbo society, Ekwefi, among all women, is expected to play the role of a birthgiver and mother, hence she has no choice but to continuously try to successfully have a child, as that is her only purpose as a woman in society.

Alternatively, Ekwefi is also portrayed to have free will, especially when compared to other women in Igbo society. Achebe develops Ekwefi's headstrong personality, revealing she is the only one of Okonkwo's wives to have 'the audacity to bang on his door.' Achebe highlights her behaviour as unusual and breaking the expectations of women, and with the place of women in Igbo society taken into consideration, Ekwefi arguably has free will as 'she ran away from her husband' to be with Okonkwo Ekwefi may succumb to fate against against greater beings like Death, but makes her own choices against her patriarchal society and against men.

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Fate vs Free will: a philosophical debate regarding whether our lives are determined by destiny or if individuals have the power to make their own choices.

central to many narratives, particularly in epic literature, where characters often grapple with their predetermined paths versus their ability to choose their actions and shape their futures

deities/supernatural forces: control human destinies - represent influence of fate

individual moral choices and consequences: emphased by free will

epic narratives explore how characters' choices lead to different outcomes --> impact of free will against a backdrop of fate

modern literatures engages with fate vs free will - reflecting contemporary concerns about personal autonomy vs societal expectations

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The concept of a tragic hero originated from ancient Greek literature. Protagonists in Classical Greek Tragedy are imperfect, with characteristics that make them relatable, inviting sympathy from their audience. However, tragic heroes all experience a tragic downfall, starting from a noble and respected character who later experiences a major turn of events, normally a product of a fatal flaw in judgement or character. Examples of conventional Greek Tragedies include Medea and Oedipus, while modernised examples include works by Shakespeare.

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Further Reflection - Okonkwo as a Tragic Hero

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Further Reflection - Okonkwo as a Tragic Hero

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To what extent can Okonkwo be considered a tragic hero?

okonkwo's character echoes what he heard from society - e.g. uses women as an insult "knew how to kill a man's spirit"

so he is a tragic hero as he is wounded by his experiences --> he learned to value the opinions of his society from an early age --> this could arguably be his fatal flaw - his need to play a character to fit in with society/his fear of being like his father (a woman, as stated by the society)

so okonkwo is a tragic hero not just through his arrogance gained from his quick rise to nobility, but also through him being wounded by experience (remarks from society --> hate for his father), starting a chain reaction of flaws and blindness --> his downfall

Initially, I thought Okonkwo could be considered a tragic hero through the representation of his internal struggle, and through his hubris and hamartia. After discussion in class, I realise the structure of a tragic hero is applied since the start of the novel, where we are introduced to Okonkwo's relationship with his father.

We explored extracts from early on in the novel, detailing Okonkwo's relationship and opinions on his father, and his development of misogyny and hyper-masculinity is revealed to be heavily influenced by his early-life experiences. Analysing early extracts in the book, most of the descriptions include quotes stated neither by Okonkwo or his father, rather by other members of the Igbo society. From this, it can be inferred that Okonkwo places heavy importance on societal expectations, and consequently his character is centred around masculinity, and the fear of not conforming to the expectations of Igbo society.

Okonkwo's characterisation as a tragic hero can be seen not just through his hubris, but also through the experiences he goes through, which ultimately initiate the chain of events and Okonkwo's hamartia.

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1. creating a logical cohesive argument: ground discussion in all overall interpretation - begin discussion by making a claim before beginning close analysis of methods

2. reaching greater depth of analysis: linking analysis to wider ideas - how can you evaluate text according to literary theory (e.g. tragic hero, archetypes)

ACTION

How does Achebe construct the protagonist, Okonkwo?

Argument:

Achebe constructs Okonkwo's hypermasculine character through revealing his place within Igbo society, and the respective perception of his character by both himself and by other individuals in the society.

Wider ideas:

Achebe also constructs the protagonist as a tragic hero:

1. Hamartia: his hate towards women/his father - refusal to depend on women - seen during his exile - his fatal flaw/blindness

2. (Not) born into nobility: although not born into nobility, his 'brusqueness" separates him so far from his past that we are led to believe he somehow meets the requirements of a tragic hero (he reached nobility suddenly)

3. Wounded by experience: 'Okonkwo knew how to kill a man's spirit" - link to his past, hate for his father (agbala/woman) early on --> echoes insults that hurt him to other men

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How does Achebe construct the protagonist, Okonkwo?

Extract 1 - Chapter 2, Page 12 (Megan/Xin)

"Okonkwo ruled"..."found to resemble his father"

Extract 2 - Chapter 2, Page 13 (Zhuofan/Nakshatra)

"Even as a little boy"..."and another was idleness"

Alienation of Okonkwo from his family

Okonkwo's own interpretation of his society (equates masculinity with power) - hypermasculinity

Agbala - "not only another name for a woman, it could also mean a man who had taken no title"

His father was agbala

Sons hating father in both generations (Unoka --> Okonkwo --> Nwoye) - cyclical nature of a broken father-son relationship

Achebe's intention - relating to context of Igbo society

"Okonkwo was ruled by one passion" - Okonkwo's Hamartia/blindness - leads to him being hypermasculine

Extract 3 - Chapter 4, Page 25 (Bri/Jess)

"looking at a king's mouth"..."Okonkwo knew how to kill a man's spirit"

presents themes of authority and power - through revealing the ideal of masculinity vs femininity in Igbo society

"king" vs "mother" - a strong man should never depend on a woman --> Okonkwo's interpretation & he values masculinity/hates women

his Hamartia - link to his exile - refusal to depend on women (motherland) --> inability to grow/his blindness

Tragic hero - although not born into nobility, his 'brusqueness" separates him so far from his past that we are led to believe he somehow meets the requirements of a tragic hero (he reached nobility suddenly)

Tragic hero - wounded by experience: 'Okonkwo knew how to kill a man's spirit" - link to his past, hate for his father (agbala/woman) early on --> echoes insults that hurt him to other men

Extract 4 - Chapter 4, Page 23/24 (Albert/Oliver)

"Do you think you are cutting up yams for cooking?"..."Amadiora will break your head for you!"

tension between father and son

oppressive atmosphere that Okonkwo's family lives under

Okonkwo's authoritative tone - through threats, personal anecdote (imposes own tragic experience on his son)

"yams" - a man's crop - symbolism of masculinity/imagery - reinforces pressure of young igbo men to fit in with masculine roles

cyclical nature of father-son hate

Tragic hero - Hamartia: the overcompensation of masculinity --> mistreating his family members, need to prove his self worth, internal fear of being like his father

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To what extent can Okonkwo be considered a tragic hero?

The character of Okonkwo is - to an extent - portrayed as a tragic hero. Although he isn't born into a noble family, he achieves a high status and recognition through his own hard work and discipline. It is from his struggle that he develops an arrogant demeanor (hubris), and it is this stubbornness that results in his blindness towards his own flaws.

Although his construction isn't of a conventional Greek Tragic Hero, many of his characteristics reveal the genre of Tragedy in the novel.

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In Chapter 7-8, Okonkwo is revealed to have room for love, as shown through his growth in fondness for Ikemefuna. Despite this, his obsession with pertaining to masculinity is proven as a fatal flaw, as he is unable to accept his emotional characteristic, causing him to act rashly out of fear of weakness. There is a constant conflict between his personal emotions and his perception of his society's expectations, which consequently leads to his misjudgement and killing of Ikemefuna.

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How has fear of being like his father shaped Okonkwo’s identity?

Okonkwo is revealed to fear being like his father, Unoka, and this sense of fear is revealed to be the dominating factor of his life. This is proven early on in the novel, as Achebe reveals how "Okonkwo was ruled by one passion - to hate everything that his father Unoka had loved". Throughout this quote, Achebe creates a juxtaposition between 'passion' and being 'ruled', implying the recurring themes of dreams and desires versus constraint or limits. Through introducing these two contrasting themes, Achebe reveals a sense of internal conflict within Okonkwo's character, proving how Okonkwo is controlled by his fear of being like his father, rather than his personal passions.

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Romeo and Juliet adheres to the conventions of tragedy through the progression of conflicts and downfall of the protagonists as a result of their passion. However, it deviates from form through breaking the three unity rule, as well as having both characters presented as protagonists.

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Analysis: How does Achebe characterise Okonkwo? What links can be made to Aristotle’s ‘Poetics’?

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Analysis: How does Achebe characterise Okonkwo? What links can be made to Aristotle’s ‘Poetics’?

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In chapter 5-6

Okonkwo’s dialogue can be characterised as domineering and the biggest presence in the room.

Significant actions that reveal his character are his aggressive beating and words to his wives and children. His shooting of the gun shows his impulsive nature, driven by his extreme ego, anger and vulnerability.

From his thoughts we can infer that he is egotistical and his vulnerable masculinity is shown, as he is unable to keep calm during the feast. He is constantly conflicted between his personal emotions and the expectations of society, as can be inferred through his relationship with Ezinma; he is fond of her, but shows it rarely due to his and the society’s ideals towards masculinity.

The narrator describes him as successful but stubborn and headstrong, as well as unstable, unable to control hid temper and becoming controlled by it.

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Summarise Achebe’s purpose in writing ‘Things Fall Apart’.

Achebe wrote 'Things Fall Apart' as a way of responding to and breaking racist stigmas around African culture and people, as produced by novels such as 'Heart of Darknness' by Joseph Conrad. The message behind Achebe's novel is to re-educate about and reintroduce African culture, challenging the perspective towards this culture as 'primitive' and uncivilised. As a result, Achebe likely intended for 'Things Fall apart' to have a transformative effect on his viewer's perception, and his work targets a Western audience - not excluding readers from around the world - or specifically consumers of Western media and literature.

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What effect do you think ‘The Scramble for Africa’ had on the lives of people, their families and their communities?

The Scramble for Africa included the destruction and recomposition of land, as well as the influence of religion and beliefs. As a result, African people would have not only suffered conflict from external sources and the colonial powers, but would have also experienced the effect of internal conflict within their own people and families, due to the spread of ideals.

What might the natives have experienced?

The natives would have experienced violence and the rapid destruction and disregard of tradition and their own cultural ways, as well as their environment, as their resources were taken.

What are some of the cultural implications of colonialism?

Their own cultures and religions would have been suppressed and the superiority of Western ideals taught

In what way would life change for people under imperial rule?

Restriction and degradation of ideals, people and communities torn apart.

What explicit links can we draw between this text and ‘Things Fall Apart’?

Both texts highlight the impact of Western colonialism on the lives and culture of the people of Africa.

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What is the significance of the following proverb in chapter 1, Things Fall Apart?

“Our elders say that the sun will shine on those who stand before it shines on those who kneel under them.”

The proverb is said by Unoka in a mocking tone towards Okoye. He implies that Okoye shouldn't be pushing for his smaller debt when Unoka has yet to pay off his larger ones. This shows the contrast between Okonkwo and his father, and reveals Okonkwo's ambition to be the one standing, unlike his father.

KEY TERMS

Colonisation - to establish control and power over indigenous people of a region, through 'settling in'

Post-colonisation - the period in an area after colonialism

Imperialism - the extension of power through colonisation or military force

Coup - when a government suddenly takes power through violence

Missionaries - people who travel to another country to promote and convert people to their faith.

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Both ‘The Premier of Smooth’ by R.J Reynolds Tobacco Company, 1990 and ‘Joe Chemo’ by Scott Plous, 1996, use intertextual devices of allusion and satire, as they reference the brand Camel through its mascot.

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simple style

iconic - uses caricature to identify political leaders

subjective - represents his view and critical opinions on politics and leaders, not factual but appeals to audience through techniques presenting his attitude (irony, mockery, satire, humour)

both specific and universal - depending on the context of the cartoon (Syria/global)

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What is Ferzat's purpose and intent behind his satirical cartoons?

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What is Ferzat's purpose and intent behind his satirical cartoons?

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purpose: to advocate for and break the boundaries of freedom of expression in Syria

by mocking/satirising Syrian leaders, he criticises bureaucracy, corruption, hypocrisy in the government and the wealthy elite

intent: to criticise the Syrian government, mocking repression and corruption throughout Syria and the Middle East

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Satirical cartoons

(also called editorial/political cartoons)

Purpose

to critique, ridicule, satirise

usually topical; the artist comments on current events

artist may want to draw attention to the actions of an individual (politicians, celebrities, people in the public eye)

Structure: sometimes single panels, sometimes written as comic strips

Caricature

people are simplified/distorted/exaggerated for effect in satirical cartoons

a single feature of a person is sometimes enlarged/exaggerated; synecdoche

the person referenced must be recognisable

Irony

a person's action contradicts their words

situational irony: one's actions produce an opposite effect to those stated

satirical cartoons like to draw attention to hypocrisy

Symbolism

stand for meanings other than themselves, may relate to ideas outside the text

cartoons rely on visuals to convey meaning

Allusion

reference to something outside a text

success of allusions depend on the reader recognising the reference

Tone

reveals attitude of writer towards their subject matter

satirical cartoons can be pointed, sarcastic, angry, caustic, scathing, humorous, rueful, etc

Bias

an unfair prejudice towards/against a particular person/group of people

expression of artist's opinion

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Politics, power, justice

forced migration, leaving home

conflict and violence, danger drives people out of their homes

power imbalance: governments decisions impact the lives of civilians

Global issue:

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Global Issues: culture, identity, community

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Global Issues: culture, identity, community

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BQ: How is the decision to send Marji away connected to her gender?

the control of the state over women

the resultant lack of identity and individualism

Global issue: Gender inequality restricts women from developing as individuals

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How is Niloufar's story connected to the decision to send Marjane abroad?

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How is Niloufar's story connected to the decision to send Marjane abroad?

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Niloufar's story influenced the decision to send Marji abroad, due to the parallel between these characters, impacting Marji's parents' decision. In chapter 15, Niloufar is introduced as a communist and a rebel, who was forced to go into hiding. The news of her execution and abuse would have been eye-opening to Marji's parents, as Marji is similarly a very rebellious and courageous character, and had even looked up to Niloufar. As a result, the story of Niloufar may have been a warning of the fate Marji would have suffered, especially if she were to remain in Iran.

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How does revisionist history occur after the Shah leaves? Support your answer with reference to panels from Ch6.

After the Shah is overthrown, revisionist history is seen to occur through the sudden and drastic change in political standings of Iranian society. In Chapter 6 of Persepolis, students are told to 'tear out all the photos of the Shah' from their books, wiping out his influence from education of Iranian history.

What is Satrapi's intent in depicting 'revisionist history'?

Satrapi intends to criticise the revisionist attitude towards Iranian history.

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"Mourners try to reach the coffin carrying the corpse of Majid Ghorbankhani, who died three years earlier in Khan Tuman during the Syrian conflict, to earn blessings." (Photo by Kaveh Rostamkhani)

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What insights do these photographs offer into martyrdom in Iranian culture?

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What insights do these photographs offer into martyrdom in Iranian culture?

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culture of Iran: seen as honourable; disrespectful from Western perspective

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"A sheep is sacrificed in honour of Alireza Akbari as his corpse is carried through the Fallah neighborhood of Tehran on Thursday April 18th, 2019 in celebration and mourning of his martyrdom. Alireza Akbari died in Syria four years earlier serving the Fatemioun brigade, a military unit connected to the Islamic Revolutionary Guards in which Afghan citizens serve. Many of its members are refugees residing in Iran." (Photo by Kaveh Rostamkhani)

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What insights do these photographs offer into martyrdom in Iranian culture?

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What insights do these photographs offer into martyrdom in Iranian culture?

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the need for a sacrifice depicts the significance of martyrdom in Iranian society

contrast of bloody image with deep religious/honourable symbolism

martyrs held at a very high regard

composition of knife foregrounding sheep

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Rostamkhani

In Shiite Islam, martyrdom is a religious motif. Since the founding of the Islamic Republic of Iran in 1979, martyrdom has played a significant role in shaping the cultural identity of Iran. It is constantly present throughout their education and environments, with martyrs given the portrayal of a sacrifice for the suffering of the entirety of the Iranian population. As a result, martyrdom is symbolic of the conflict and religious identity of Iran.

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Martyrdom, a religious motif deeply rooted in Shiite Islam, has played a central role in the process of cultural identity establishment ever since the foundation of the Islamic Republic of Iran in 1979. A majority of streets in every Iranian town are named after martyrs. During primary school, pupils are taught about the heroism of martyrdom. Their education includes visiting sites and collective mourning for martyrs' sacrifices.

The sites of the First Gulf War, officially termed the "Holy Defense," have been turned into memorial theme parks. It is part of the Iranian collective memory that once children crawled there in mine fields. Now, people visit these parks on sponsored trips to pay tribute to martyrdom.

Four decades after the foundation of the Islamic Republic, Iran is engaged alongside Shiite allies in conflicts around the Persian Gulf and the Levant. Fatalities produced by these conflicts form a new generation of martyrs. Symbolized by red tulips, new martyrs sustain a state narrative of hailing sacrifice to justify hardships for the population. One that claims the Shiite theme of an everlasting battle between "the just against the corrupt" and promises martyrs an eternal place in paradise. Thus, constant conflict, martial aesthetics and martyrdom build the core of a state identity narrative in the Islamic Republic of Iran.

Photographer's Note

Documentary Photography is a powerful tool to scrutinize The human condition. After years of studying and working as a photojournalist in Europe, I have turned my main focus on my native geography. I think we - media professionals - need to tell more nuanced stories beyond the dramatised and sensationalist dichotomous clichés of the Middle East that have been present in Western Media. They might not be as easy to publish, but they are more important in order to further the understanding of the world.

In my photography I try not to judge my subjects but rather to dig deep, learn and understand what drives them and narrate that through visuals. I might have a strong personal opinion on certain issues, but as a professional I hold it back and let the audience make their own opinion through my narration.

In January this year, following the US-led drone assassination of the Iranian Revolutionary Guards' Major General Qasem Soleimani, the Middle East was at the brink of another war. How quickly posters depicting the new prominent martyr were distributed and installed throughout the whole country has been very telling about the significance of martyrdom for the state.

Working on the subject since early 2019, I had to travel far to the former battlefields of the Iran-Iraq War. Every spring, thousands of pilgrims go there on partly sponsored spiritual and commemorative trips. The reading is that the earth consecrated with the blood of those children, brethren, sisters, mothers and fathers who lost their lives in the war is holy.

Despite personally not sharing the same sorrow, it has been quite touching to witness women clad in black chadors kneeling and praying at the border of the country where they most likely lost a relative. Such tender moments give life to the idea of the memory of landscape - a visual concept that I decided to substantially integrate in this project. The essay "May Tulips Grow from Your Blood" addresses an omnipresent theme in today's Iran. Deeply intertwined with the narrative of power and Shia Islam, understanding this cult helps the comprehension of the Iranian politics since the 1979 revolution.
Kaveh Rostamkhani (b. 1989) started his career in photojournalism with an internship at AFP in Berlin. He has studied communication design in Hannover, Germany and Documentary Photography in Newport, Wales. Kaveh has worked with AFP, Der Spiegel, Harper's Magazine, IRIN News, Neue Zürcher Zeitung, NRC Handelsblad, Politiken, Stern, Süddeutsche Zeitung and Die Tageszeitung among others and has been a contract photographer with the Finnish daily Helsingin Sanomat since 2013. You can see more of his work at www.kaveh-rk.net

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'May tulips grow from your blood': Of martyrdom and identity in Iran | The GroundTruth Project

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Martyrdom, a religious motif deeply rooted in Shiite Islam, has played a central role in the process of cultural identity establishment ever since the foundation of the Islamic Republic of Iran in 1979. A majority of streets in every Iranian town are named after martyrs.

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Why does Satrapi describe the key as a ‘a plastic key painted gold’?

Zoom-in to the language choices.

In chapter 13, Satrapi describes the key as 'a plastic key painted in gold'. Her use of language creates a sense of irony, through contrasting symbolism between plastic - a cheap material used for mass manufacturing and - and a key, which has symbolisms of exclusivity and direction or opportunity. The juxtaposition between exclusivity and mass production is used by Satrapi to imply the misleading intention of the key, as it is intended for a target audience of the mass of poorer Iranians, while also appealing through selling points of opportunity and a pathway to the elite/exclusive higher class.

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Fidel Castro (1926 - 2016)

Cuban prime minister 1959 - 1976

president 1976 - 2008

Cuba became communist state

Marxist-Leninist

first secretary of Communist Party of Cuba 1965-2011

Che Guevara (1928 - 1967)

communist figure in Cuban Revolution (1956-1959)

guerilla leader in South America

executed by Bolivian army

martyred hero

icon of leftist radicalism and anti-imperialism

Leon Trotsky (1879-1940)

communist

leader in Russian October Revolution 1917

commissar of foreign affairs and war in Soviet Union 1917-1924

Stalin's victory --> Trotsky removed from all positions of power, exiled 1929

leader of anti-Stalinist opposition until assasination

Rene Descartes (1596 - 1650)

French mathematician, scientist, philosopher

Karl Marx (1818 - 1883)

revolutionary, sociologist, historian, economist

published Communist Manifesto 1848

Das Kapital

one of the writings forming Marxism

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A range of graphological features are used in the poster for 'BLACKkKLANSMAN' in order to portray contrast and the conflicting relationship between and within identity. This is immediately evident in the literary feature of the title 'BLACKkKLANSMAN', taking direct reference to the Ku Klux Klan - an American black hate group. The typographical and colour detail of white bordering the black letters creates symbolism of the struggle of black identity during the context of America under the 'white supremacist' ideal; the text possibly implies and represents notions of internalised racism, further strengthened by the text 'infiltrate hate.', expressing the creeping or infiltration of racist ideals into internal beliefs. Ironically, the poster also includes images of an afro comb, and a raised fist, symbolising African American identity and pride. Subsequently, it could give another meaning towards the textual feature 'infiltrate', and the black American behind the KKK hood, suggesting his role as spy and as part of a resistance, rather than a victim to the KKK context presented.

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The graphic novel 'Persepolis' opens during The Iranian Revolution, where strict dress codes such as veils for women and long sleeves for men are imposed on the population.

As the novel progresses, gender inequality has a greater impact on Marji's life; she becomes more aware of how unrealistic her childhood dreams were.

The Iranian government's control over women's freedom impacts Marji's personal life and maturity, as despite being told to stand up for herself as a woman, she is more aware of her place in Iranian society and resorts to smaller rebellious acts.

Marji's rebellious and outspoken personality results in her getting expelled from school, and with her parents revealing the extent to which the state will treat women, she is sent abroad with hopes of her becoming a free, independent woman.

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CH 8-9 Moscow & The Sheep - Marji's Heroes

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CH 8-9 Moscow & The Sheep - Marji's Heroes

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Turning Points

In Chapter 9, the impact of surrounding conflicts and traumatic events on Marji are revealed through a chain of sudden and drastic events. This is especially evident in page 70-71 of Persepolis, as news of Uncle Anoosh's death is revealed in a splash panel of a newspaper; with the addition of a borderless detail, Satrapi mimics a headline and title of an article. In doing so, Satrapi suggests a major event in Marji's life, and her reaction to this change is depicted in the following panels. Marji is initially depicted through emanata to have an emotional and sad response, however the zoom-out transition to the next panel reveals the icon of God, and illustrates the religious influence on Marji. The composition of the last two panels on the page encapsulate a sense of finality, as the transition from a side to front shot reveals the gravity of the situation to Marji. Satrapi establishes this as a turning point, as Marji's emotions are what drive her to fully shut out her belief in god.

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The Story of Niloufar - Ch 15: The Passport

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The Story of Niloufar - Ch 15: The Passport

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Marji's personality at the end of 'A Story of a Childhood'

rebellious

empathetic

strong

courageous

independent

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In 'A Battery Shelled' by Wyndham Lewis, the environment of war is depicted through the use of graphological elements. The literary element in the title relays the main setting of the work to the viewer, a 'shelled battery' relating to the manufacture of bombs and weaponry and the world wars. Images of smoke are repetitive in the piece, with its twisted, geometric form surrounding numerous soldiers symbolising a lost, 'maze-like' experience of disorientation. The low contrast in colour throughout the work signifies one singular atmosphere, likely implying a sense of suffocation. Composition and contrast highlights officers foregrounding the scenario of hard work and suffering, representing ideas of disconnect and power imbalance.

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Text

'The story of a childhood' - ordinary, common experience - almost mysterious as it is a vague description

Typography

Traditional, 'washed-out' font - suggests a more historical context, or possibly unfortunate experiences

Colour

bold red colour contrasts with blue icon surrounding girl - sense of isolation

Image

Hijab, prayer rug - sets religious environment/context

Symbol

Upside down flower - inverted cross

Layout

Girl positioned in centre of the page - protagonist

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Childhood during Iranian Revolution (January 1978)

Left-leaning liberal parents, rebellious family line

removal of Shah 1979 - victory for revolutionaries, communists executed

Islamic regime grows

Marjane's educational background & parent's beliefs encourage her disapproval of current situation

September 1980 Iran-Irag war

teenage years in Austria

guilt of her behaviour while her parents endure war

mid 1980s Europe - Iranians portrayed as the enemy

she engages in drug use (marijuana)

becomes homeless at 18

develops bronchitis

return to Iran

two failed suicide attempts

studies graphic arts

female models must wear chador, obscuring figure

throws parties as rebellion

1991 engagement with Reza, 1993 divorce

September 1994, she moves to France

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CH 14: The Wine - Repression & Rebellion

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CH 14: The Wine - Repression & Rebellion

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How is Satrapi's presentation of cultural repression and rebellion similar or different to Colvin's presentation of the same themes in her articles?

Satrapi

tells the story of the consequence of rebellion

makes a character out of these experiences, comical

Colvin

creates a collection of individual experiences & ways of rebellion

humanises her subjects

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1. How would you describe the tone of the introduction?

Throughout the introduction to Persepolis, Satrapi creates a slightly ironic tone, describing the history of Iran and especially commenting on invaders in a critical manner.

2. What insights does it give us into the perspective of Satrapi on Iran's history?

The critical tone towards foreign invaders in the introduction suggests Satrapi's patriarchal view and pride towards her country, and therefore indicates her discontent with the historical events Iran had gone through.

3. What can you predict about her message and attitude based on the introduction?

Satrapi also mentions the impression left on Iran towards the rest of the world as a result of history, and therefore would likely use Persepolis to oppose Iranian stereotypes.

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How would you characterise Satrapi's style of illustration?

In Persepolis, Satrapi's style is fairly simplistic and iconic, with a slight level of detail in some panels illustrating a group of people. However, she often switches from light realism and identification of characters to illustrating large crowds as single tools for symbolism. Her style ranges from universal to specific depending on the scenes depicted.

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How does the chapter 'The Wine' present repression in Iran?

In 'The Wine', Satrapi presents repression and its impact on trust and dependency in social relationships. In Iran, the regime are the repressive force, restricting use of anything with Western influence; alcohol, parties, etc. Marji and her family are revealed to rebel, and this rebellion is reliant on dependency and trust in one another, as shown on page 106, panels 2, 3 and 4. The three consecutive snapshots are representation of a chain of events, and are symbolic or a demonstration of the response and role of community during times of repression. The first of these panels presents a power outage, with solely a black background and white text, and could have the possible implication of repression. The high graphic weight is seen to tone down throughout the panels, and Marji's father is even painted with white, symbolising hope and perseverance for the rest of the family. The use of graphic weight to create a gradual visibility of characters creates the image of light, further symbolising the need for trust in response to times of repression.

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BQ: How important is historical context to the reception of a text?

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BQ: How important is historical context to the reception of a text?

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These panels depict historical events in 1979. However, the context of reception is many years later.

How does your knowledge of post - revolutionary Iran impact your response to these panels and others in Ch6?

The Islamic Revolution of Iran refers to the overthrowing of the Shah, followed by the authority given to Khomeini. Because of my knowledge of his beliefs and way of ruling Iran, these panels appear quite ironic. The foreshadowing of future events is shown in the first panel above, as the dark implication behind the 'celebration' is illustrated with the strong graphic weight in the smiles of the crowd. These empty 'void-like' smiles paint an eery sense of unawareness of the characters, which the reader would be aware of due to knowledge of Iran's historical context. The empty smiles are referred to again in the second panel, however this time the characters display distraught expressions. By referring to and repeating the previous element, the audience would likely recognise the second panel as a realisation or marking point of the terror in Iran towards these characters. The use of graphic weight is also carried out in the third panel, as it is used to paint the image of a shadow. The shadow then branches out into a symbolic image of a devil, as mentioned in the literary speech bubble - strengthening the idea of irony and foreshadowing, as the statement said by the mom's character contrasts with the icon of a devil behind her.

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What insights do readers get about the protagonist from the narrative voice?

The text is 'voiced' and narrated by Marjane Satrapi herself. She relays an autobiographical theme, as the story consists of real events the author went through. Based off of this voice, the reader can expect authenticity and the author's perspective on a world event.

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representation - construction, portrayal of a subject

how media texts present individuals, social groups, places, events, issues

to analyse representation, consider choices made when presenting something

ideology

system of values and beliefs held by individuals, groups, cultures

shapes & challenges representations in media texts

can influence audience's perception of world

often there are systems of values and beliefs which shape everyday life

constitute a dominant ideology that receives general acceptance in a society and is supported by its elected governors and religious leaders

hegemony

the ideological. political, economic and cultural power that the dominant group has in a given society is referred to as hegemony

if a media text supports the dominant ideology it is referred to as a hegemonic text

a media text that challenges the dominant ideology of a society is considered counter hegemonic

genders

a socially constructed state of being male or female

not determined biologically but socially

social construct - representation of a person, place or thing, collectively created through the mass media

early advertising

early days - representation of men: strength, power, virility - stereotypes as leaders, breadwinners, warriors

1980s - the new man - steretype of a man who was happy to change nappies and wash dishes, celebraed by media

the metrosexual - 2000s - men who were confident in their masculinity - groomed using beauty products, tanned, followed latest fashions

lad culture - ideology of sexism and male aggression had not gone away - 90s - emergence of a counter 'lad' culture - publications features scantily clad female models and encouraged men to bond over sport and booze

21st century - boys and girls of 21st century are bending gender labels - starting to be reflected in media - advertisers are expanding traditional narrow representations to appeal to the changing nature of modern audiences

Prevailing dominance and aggression

stoicism and carefully considered emotional reactions

male physicality is a source of male power

when men and women are in same advertisements; always focuses on masculine dominance and female submissiveness - focus on sexual relationships

"boys don't cry" - boys shouldn't feel sad/have vulnerability

implies boys should be strong/can't express themselves

teaches boys to suppress emotions

toxic masculinity - ideas about the way that men should behave that are seen as harmful, for example the idea that men should not cry or admit weakness

encourages suppressing of specific 'vulnerable' emotions, while allowing anger/aggression

develops hatred/evasion of feminism