Thursday, December 18, 2014

Memento Questions

1. In an interview, Nolan stated that the character’s memory disorder creates an interesting problem surrounding his identity, namely in the way he must go about reconciling who he was in the past (which he remembers) with his present circumstances, which he only partly grasps. In what sense does human identity depend on the reconciliation of these two periods in life?

            Human identity is dependent on the reconciliation of what you have done in the past, what you are currently doing, and what you will do in the future. Mores specifically, it is determined by your perception and portrayal of these experiences for you can mislead others, and yourself, about your past, present, and future. One must take into account these three periods in life when trying to create a synopsis of a person, but they must take into account that time warps perception and therefore not take any time period at face value without further investigation. 

2. Lenny states, “The world doesn’t disappear when you close your eyes, does it? My actions still have meaning, even if I can’t remember them. My wife deserves vengeance, and it doesn’t make any difference whether I know about it.” In what way do Leonard’s actions have meaning?  How could his actions be seen as meaningless?  Finally, determine whether you agree with Leonard’s assertion or not and justify your opinion.

            Leonard’s actions have great meaning for those they affect for in his quest for vengeance for his wife he is used to enact vengeance for others and inevitably ruins the lives of others in the process. His actions could be seen as meaningless if you are looking at it from the point that Leonard himself will never be able to remember all of his trespasses and see the effect of his actions, and will never be able to remember the satisfaction of killing his wife’s assailant. For the most part I agree with Leonard’s assertion, the universe will inevitable go on without any of us and our actions will always have tangible ramifications even if we don’t know what they are, but I disagree on the point that vengeance is a slippery slope which has turned him into the evil he sought out to end, therefore I would argue that his wife deserved justice rather than vengeance which he could have attained by arresting the rapier rather than murdering him and becoming a monster himself.

3. Lenny argues that memories are unreliable and, thus, his condition has no real impact on his ability to discover truth. “Memory’s not perfect. It’s not even that good.” What methods does Leonard use to arrive at the truth?  Specifically, what devices serve the purpose of his memory and is his method reliable?  Why or why not?

            Lenny is correct in the assertion that memories are unreliable his claim that his condition has no real impact on his ability to discover truth is a reach. Yes, facts are more reliable that memories but when facts can be warped by lack of memories to verify them truth is misconstrued, his condition allows himself and others to fabricate facts and feign memories. Leonard arrives at this truth out of necessity, he needs to believe that his way is substantial enough to live a meaningful life in order to feel constantly fulfilled by his never ending quest to find his wife’s offender. Lenny’s copious notes and tattoos serves the purpose of his memory, but this method not reliable because if they are not detailed enough, or he is prevented from writing his notes, or he of someone else creates false notes, than he is relying of false or incomplete “memories” and facts, leading him to incorrect conclusions.

4. When Lenny jots down Teddy’s license number, he asks: “Do I lie to myself to be happy? In your case, Teddy... yes, I will.” Does Lenny really know how he has been used by Teddy?  Does he really care that he has been used for such a troubling purpose? Also consider what alternative Lenny did have to keep Teddy from continually using him as a killing machine.  Be specific in your response.

            No, Lenny can never truly be aware how long Teddy has been using him, and this is why Teddy picked him as his agent to surpass the legalities of the law, he can’t remember his trespasses and he can easily be manipulated to take out a new target. Lenny is troubled by the fact that he has been used to murder other John Gs but does not seem to care that much because he himself then goes onto create a new John G, Teddy, in order to again fulfill his lust for vengeance. Lenny’s alternative to prevent Teddy from continually using him as a killing machine was to get a tattoo on himself stating what Teddy truly was and what he had made him do, allowing him to avoid being used by Teddy in the future.

5. Most murder mysteries seem to construct their meaning by putting together clues and facts.  In this film, facts seem to lead to more confusion; they are often proven wrong or misleading in some way.  In other words, meaning is being taken apart instead of put together.  What does this suggest about the meaning of this mystery?  Secondly, in what other ways does the film defy the conventions of the mystery genre?

            This suggests that the meaning of this mystery is found in the deconstruction of what makes up an investigation of unreliable and bias facts, it is a story of the obsessive effect that a lust of vengeance creates and of fact warping ability of people who take advantage of others. The film also defies the conventions of the mystery genre from the reversed retelling format and its lack of a clean resolution.

6. At the end of the story, Lenny has been betrayed by his “facts” and by the people around him. With these losses in mind, consider what this story says about how our identities are shaped.   Who are we really, beyond our basic human relationships and our memory?  What makes Leonard the person that he really is?  What makes you the person that you are?
           
            Beyond our basic human relationship and our memory we aren’t really anything, because these are the facets that form a person. Others might argue that people are centralized about a soul that determines who they are and is independent of their human relationships and memories, but this is such an intangible idea and it is unreliable supported by beliefs rather than facts. Leonard is the person he really is because of the past he has fabricated for himself and the quest for vengeance it has created, his lack of short-term memories have created a heightened reliance and trust in his long-term memories which are in fact unreliable due to his own distortion of them. I am the person I am because of my upbringing and personal history, which have allowed me to create a moral code from which to live by.

7. How is the narrative of the film structured?  Why are some sequences in black and white and some in color?  How does the structure of the narrative reflect Lenny’s state of mind?  How does it affect the feelings and suspense of the audience?

            The narrative film is structured so that you are going one seen at a time further into the past, starting from Teddy’s murder and ending with the Lenny’s conception of the facts that led him to commit Teddy’s murder. The main timeline scenes in color are separated by snippets of a separate earlier scene in black and white that provide backstory and explanation for Lenny’s perception of his past and his current condition. The structure mirrors Lenny’s state of mind due to its disorganization and fragmented nature, which causes it to be harder to interpret and keep the facts strait for. This structure creates feelings of confusion and suspense in the audience because its scattered nature forces the audience to really pay attention in an attempt to follow along with all of its twists and turns, and subsequently causes them to become more invested as the story goes on and therefore more effected by the suspense of discovering the truth about Lenny and the explanations for his actions shown at the beginning of the movie. 

Thursday, December 11, 2014

'The Metamorphosis', by Franz Kafka: Guide Questions

1.     What is the defining characteristic of Gregor’s life prior to his metamorphosis?  What is the defining characteristic of his life after the metamorphosis?  At what point does Gregor lose his identity?  Is it before he changes?  Is it when he dies?
            Prior to his metamorphosis the defining characteristic of Gregor’s life is his job, post his metamorphosis though his defining characteristic was his beetle appearance. Gregor looses his identity when he consents to spend all of his time working tirelessly for a job in order to pay of his family’s debt. By focusing his entire life around supporting his family he is simply his family’s meal ticket and he lacks his own identity, arguably it isn’t until he changes that he is able to reflect on himself and begin to reform a personal identity.

2.     Is Gregor Samsa's transformation into an insect merely an extension of his life before?  If so, how?
            I wouldn’t call Gregor Samsa's transformation into an insect merely an extension of his life before due to the fact that prior to his transformation he was his job, which supported his entire family, post his transformation he was a bug, but he was able to explorer his independence. I would even go to far to say his life after his transformation, although short, was better than his life leading up to his metamorphosis, because at least he is relieved from bearing the weight of his entries family’s debt on his shoulders alone.

3.     What is the structure of Kafka’s story?  What is the climax?  What is the significance of structuring the story in this way?

4.     Discuss the central events in each of the three sections of the story. In what ways do these events suggest that the weakening of Gregor results in the strengthening of the family as a whole? Finally, what makes this prospect so unsettling for the reader?

5.     How does the apparent disjunction between tone and event create humor in The Metamorphosis?  To answer this, consider the tone- the author’s attitude toward Gregor’s metamorphosis- first. Then look at the dark humor of the situations described. What makes the scenes uncomfortably funny?
            Comedy can be found in Gregor’s reaction to his metamorphosis, initially he is in disbelief of his transformation and he believes that he is just imagining it. Gregor tries to rationalize his predicament countless times to himself so that he doesn’t have to come to terms with his situation. Simply the fact that he turns into a big bug is enough to make the story comic. The dark humor of the situations described in his family’s reactions to his transformation is uncomfortable funny due to his families’ misguided assumptions and actions to combat Gregor’s condition.

6.     What is the importance of the final scene in the story, the family's trip to the country? Why is it written so lyrically in comparison to the rest of the text?  What is so disturbing about the implications of the ending?
            This ending shows Gregor’s family lack of compassion and love for their son as a person, rather than simply a meal ticket and a zombie to work and pay off their debts, is bluntly displayed though their quickness to go on a “family” trip to the country right after Gregor’s death. Disturbingly, this ending implies that they will now turn to Grete to find a husband and marry in order to create another source of monetary input in order to allow them to resume to their sloth like lifestyle.

7.     What is the significance of Gregor's reaction to his sister's violin performance?
            The significance of Gregor’s reaction to his sister’s violin performance was that it was a very animalistic reaction, as if he was a moth drawn to a flame, unable to escape gravitating toward it. His plan to have his sister “voluntarily” live with him in his room and only play violin for him, because no one else appreciated her talent, was creepy and disturbing desire. His view on their close relationship exemplified at this time by his wish to send her to the conservatory and his plan for them spending all their time together, becomes significant and ironic when later on it is discovered that she doesn’t believe that this creature is Gregor and she proposes to the family to get rid of him.

8.     How is starvation developed as a theme in the story?  What is the “unknown nourishment” that is alluded to on page 49?  Consider also the role of food and starvation in the story as a whole.

9.     Briefly discuss your own personal response to the essential question, why does Gregor turn into a bug?  What causes his transformation?

10. **Briefly consider the following theories regarding Gregor’s transformation.  Which of the following makes the most sense in your view?  Write a short essay of around one page (double-spaced) in response to one of the following. Be sure your essay has quotations from the book.
a.      Gregor’s metamorphosis reflects the repression and guilt of the author.    Gregor’s alienation is an extension of the rage Kafka felt toward his own father.  Kafka felt alienated from family and from his own life because of his father.

b.     Gregor’s metamorphosis is a metaphor symbolizing the loss of his identity through his family.  Thus, it is both about the alienation of modern man, and a critical commentary of modern social, familial structures.

Up until Gregor metamorphoses into a beetle he is an identity less zombie who’s sole purpose in life is to work in order to support his entire family and pay off their debts. His transformation allows Gregor to see the true colors of his family members and realize the dependence on him they had adopted and coasted on for most of his life. Gregor’s change forces the other members of his family to pick up some of the weight in order to financially support the family as a whole, his father and sister both get jobs, which brings up the question of why they couldn’t have been working while Gregor was working and helped pay off the debt sooner which could have freed Gregor up to pursue a personal goal. As a bug, Gregor is able to, for the first time in forever, begin to dictate what he does and when he does it, allowing him to gain more independence and a greater sense of personal, rather than familial, identity. His metamorphosis into a beetle alienates him from his family, due to their disgust in his appearance, their poor communication abilities due to his garbled voice, and their general unwillingness to adapt or change. In modern social, familial structures there is often a hierarchy and an overall reputation that the members want to uphold, in Gregor’s family his father acts as the head and all of the family members care a great deal about their outward appearance to the public resulting in a great effort to keep Gregor’s condition under wraps. When their maid begs to be released of her duties she is aware of their desire to hide their deformed son so she, “made a solemn vow, without anyone asking her for it, not to give anything away to anyone.” (Page 26) Gregor’s family even goes so far as to try to suppress their knowledge of his transformation, having only Grete interact with him, and then only to feed him trash, whilst the rest of the family occupies themselves with sloth-like activities such as napping. Ultimately, Gregor’s family is the model of a dysfunctional family in which power and work are not distributed equally and differences and uniqueness is shammed and hidden away.



Incendiary Ids

The Strange Case of Dr. Jekyll and Mr. Hyde, Fight Club, and Strangers on a Train all explore the deadly consequences of letting your id run free. With the portrayal of various character’s id and ego in the stories you arrive at the question of the true nature of humans and how it differs due to a character’s society and their personal biases. A person’s id is not in its essence evil; it is merely the manifestation of that person’s suppressed natures, which is determined by their society and what is viewed as evil or scandalous, driven by their goals and aspirations. 

What is evil? For a thing that dictates revolting actions why is it so imaginary? Evil is a subjective term and relative to what society views as morally wrong, but how can the id represent something that isn’t constant, unless itself is dependent on circumstance? This also brings up the age old debate of nature verses nurture, questioning weather people are born evil or a forged into evil people by their experienced post-birth. Because every society has a different classification of what is “evil” each work has it’s own interpretation. Dr. Jekyll and Mr. Hyde is set in an era in which promiscuity and violence are the most scandalous acts imaginable. Similar to Jack the Ripper, Mr. Hyde’s spontaneous fits of rage, that often result in the injury or death of others, cause quite a disruption in his society. People who witness his treacherous and heartless acts, such as when he, “trampled calmly over the child's body and left her screaming on the ground,” or when he was, “trampling his victim under foot and hailing down a storm of blows, under which the bones were audibly shattered and the body jumped upon the roadway,” describe him as a horrendous madman; they can’t comprehend how he is able to commit such callus acts because they are so unacceptable in their society that the thought of anyone carrying out actions such as these is unfathomable. In Strangers on a Train their society views murder as evil, as Guy so playfully points out to Bruno, ““I may be old-fashioned, but I thought murder was against the law.” This society also stigmatizes failing a marriage by getting a divorce or separating, although it is legal it is taboo enough that, especially once Guy’s wife is pregnant, it would be less scandalous for her to die than for him to divorce her, leading to his and Bruno’s arrangement. Fight club is set more currently, in an era of increased violence creating a lack of sensitivity toward personal violence, which is replaced by a fear for belief-driven violence and terrorism. A society in which terrorism paranoia is so high that airport security officers check all vibrating bags for bombs when, as the one the narrator encounters states, “Nine times out of ten it's an electric razor, but every once in a while… it's a dildo,” and they rarely actually succeed in thwarting a terrorist attack. In each of these works the id characters chose to revolt to their society and lash out by committing the acts their society views as most evil. Mr. Hyde murders a man, Guy tries to divorce his pregnant wife and then Bruno kills her, and Tyler used liposuction fat soap bombs to attempt to blow up key economic buildings and crash the system of wealth-based privilege. All of these embodiments of id pull their acts of terror from what their society defines as evil in order to achieve the optimal response from their peers.

      Suppressed nature spawns revolt because once it rises to the surface and takes control it’ main goal is to fulfill it’s personal desires. The id only manifests from those who suppress their tendencies to commit acts defined by society as evil or scandalous. Each ego character’s focus of suppression is unique and ha s direct correlation to what their society considers evil. In Fight Club, the narrator suppress his hatred for anti-consumerism when initially obsessing over things as superficial as, “What kind of dining set defines me as a person?,” this results in his id’s, Tyler’s, choice to have his cult combat the high importance their society places on consumerism. You can see the contrast in the Narrator’s original verses Tyler’s later comments on consumerism; early on in the movie after the narrator’s condo burns down the narrator says, “Look, nobody takes this more seriously than me. That condo was my life, okay? I loved every stick of furniture in that place. That was not just a bunch of stuff that got destroyed, it was ME!” conversely later on in the movie Tyler says, “We're consumers. We are by-products of a lifestyle obsession. Murder, crime, poverty, these things don't concern me. What concerns me are celebrity magazines, television with 500 channels, some guy's name on my underwear. Rogaine, Viagra, Olestra.” In Dr. Jekyll and Mr. Hyde, Dr. Jekyll’s society is so suppressive in the way he is expected to look and act all the time that Mr. Hyde acts as his outlet to be free, this id become a place where he can let go mentally and physically and revolt against his repressive society. Jekyll’s need to transform into Hyde to escape his reality shows the negative effect of years of enduring this crushing need to conform to his society and hide his true desires, he explains that, “I found it hard to reconcile with my imperious desire to carry my head high, and wear a more than commonly grave countenance before the public. Hence it came about that I concealed my pleasures.“ In Strangers on a Train, Guy suppresses his desires to reach his political career at all costs, but Bruno acts a way to neglect societal laws and commit treacheries to ensure his future, such as the murder of his first wife and marriage to a second to improve his social status. Since Guy is also always in the public’s view and under their scrutiny, which his wife even uses against him when threatening to disclose she’s pregnant if he tries to divorce her, and Bruno acts as a voyager to allow Guy to get what he wants without ruing his public image and status, which Bruno is able to do because of his anonymity. Guy comments on how he believes that, “Everyone has somebody that they want to put out of the way,” and how, “My theory is that everyone is a potential murderer,” exemplifying his belief that the desire and willingness to commit murder is suppressed in everyone, and usually lies dormant through their lives due to the strength of society’s suppression of them. Although initially rendered inert by these suppressed desires imposed on their egos by their society, each id ultimately thrives from the character’s innate desire to revolt against this repression.

      The personal, and often selfish, goals of a character are what drive them to commit actions their egos and definitely superegos do not approve of. The id is very task-driven and a character’s objectives direct their id, so unknowingly an ego is fueling the id’s often-destructive fire. Since the goals of each character are unique their id’s interpret and try to fulfill them in different ways. In Fight Club the narrator suffers from insomnia and one of his goals is to break free from it, Tyler appears to solve this by taking over his nightly affairs and giving the narrator the feign of sleep. The narrator also has a suppressed goal to break away from his society’s consumer central culture and Tyler attempts this by creating the Fight club, organizing a cult, and becoming a terrorist. When the narrator says that they have gone to far and he wants out, Tyler puts it astutely, “What do you want? Wanna go back to the shit job, fuckin' condo world, watching sitcoms? Fuck you, I won't do it,” and the truth is the narrator doesn’t want to return to his life before Tyler, before Fight Club, because they gave him the outlet and purpose he desired. In Dr. Jekyll and Mr. Hyde, Dr. Jekyll initially wants to complete some sort of experiment on his theories on people’s split personalities, and Mr. Hyde is the product of these experiments and perpetuates the study further by refusing to stop the transformations due to his goal of survival. Jekyll’s idea for his transformation experiment originated from his realization that, “With every day, and from both sides of my intelligence, the moral and the intellectual, I thus drew steadily nearer to that truth by whose partial discovery I have been doomed to such a dreadful shipwreck: that man is not truly one, but truly two.” Wishing to explorer this duality of man further, Dr. Jekyll splits his personality and Mr. Hyde is born. Although Dr. Jekyll might have not been conscious to this goal initially he wanted to find a way to break free of his repressive society and Mr. Hyde acted as the outlet where he could fulfill this inner desire and be set free. In Strangers on a Train, Guy’s goal is to marry up and become a politician, which Bruno assures by killing his current wife, giving him the opportunity to remarry. His prospects for life are so apparent that Bruno, a complete stranger, is able to identify them and carry out actions to ensure they are fulfilled, as Guy explains to Anne, ““He read all about me in the newspapers and magazines. He knew about me, Miriam, and you. He told me that if he were to get rid of Miriam so I would be free to marry you, I should kill his father so he could be free of him.” Bruno is driven by his goal of getting Guy to murder his father for him and to in general forge a friendship with Guy. Overall, the level of similarity and overlap in the id’s and ego’s goals is what determines the success of a character. 

A character’s aspirations, often-physical ones, dictate how they view their id’s appearance. The id’s physical representation is interesting to take into account when diagnosing the character’s mission to break social restrictions or fulfill their own desires for societally acceptable attractiveness. In Fight Club, Tyler represents how the narrator wants to look and act, as Tyler explains to the narrator, “All the ways you wish you could be, that's me. I look like you wanna look, I fuck like you wanna fuck, I am smart, capable, and most importantly, I am free in all the ways that you are not.” Interestingly, his aspirations to look stereotypically attractive, exemplified by how he imagines Tyler looking, is constrained by the societal standards for appearance and contradicts his anarchist behavior. At first glance Hyde is off-putting and a seemingly unappealing front for Jekyll to use and present to the world. Jekyll describes Hyde as being, “much smaller, slighter and younger than Henry Jekyll,” having evil that, “had left on that body an imprint of deformity and decay,” and of being so revolting that, “none could come near to me at first without a visible misgiving of the flesh.” Jekyll contrasts these statements by explaining, “yet when I looked upon that ugly idol in the glass, I was conscious of no repugnance, rather of a leap of welcome.” For Jekyll, Hyde’s repulsive appearance affords Jekyll the opportunity to break out of his society’s strict formal dress and stringent expectations for overall appearance. In Strangers on a Train, Bruno is able to be brutally honest, flamboyant, violent, and other societally taboo characteristics, while Guy is restrained by the social status he wants to attain, and the level of conduct expected of that status. Bruno’s theory is that, “you should do everything before you die,” allowing him to take advantage of every opportunity to satisfy his desires, while Guy simply resorts to suppressing them. So even though Bruno might not represent how Guy aspires to look he does represent Guy’s desires of what suppressed characteristics he would be able to express publicly without fear of being outcaste. The physical representation of a character’s id exemplifies what outlet they are trying to reach with their id and what appearance will best achieve this goal.

Overall, every character has a id, superego, and ego duking it out inside of their brains, dictating their every action, but it is not until we get these separate mindsets displayed in different embodiments that we can truly see the depths of the character’s inner struggle between fulfilling the personal desires and goals and staying within the restraints of their society.