Day: February 8, 2024

Introduction: “How It Feels to Be Colored Me”: Racial Discrimination

Comparing herself to a brown spot among white dots, Zora Neale Hurston, in her essay “How It Feels to Be Colored Me,” beautifully describes her quest for feminine identity through her keen sense of belonging to a colored background. Zora was an innocent child who didn’t recognize her colored identity until the age of thirteen, when she left her village of Eatonville for Jacksonville to study. It was there that she underwent “a sea change” (Hurston 902) upon realizing her colored background, which became a source of pride and feminine identity for her. Her vivid language, figurative expressions, metaphorical racial awareness, and use of colloquialisms draw the audience into her world as a playful girl, always aware of the white tourists but not letting discrimination affect her deeply.

Her sense of being a human being overshadowed her racial identity, and she became “everybody’s Zora,” feeling no inherent difference from others. Despite undergoing this transformation, she never felt she was “tragically colored” and remained as much a part of the world, dancing wildly to jazz tunes as she did in her childhood. Hurston’s strong sense of identity and self-pride led her to a keen awareness of her colored background, her sense of being different, and her natural inclination towards humanity, evident in her childhood and her love for jazz music.

Color and “How It Feels to Be Colored Me”

Zora was acutely aware of her colored background, a reminder at every step of her life. From an unconscious awareness in childhood to a conscious sense during her school years, her familiarity with her identity was evident. She stated that her town was “exclusively colored,” indicating her belonging to a separate race in a town where no other race resided (Hurston 138). However, she also expressed pleasure in tourists, paralleling herself with both Southerners and Northerners, affirming her belongingness to her village.

When she left for Jacksonville for studies, she became even more conscious of her colored background. However, she realized it was not the same as before, understanding that “the world is to the strong regardless of a little pigmentation more or less” (139). She recognized her power and abilities, reinforcing her identity and self-pride.

Difference and “How It Feels to Be Colored Me”

Despite this, her sense of being different persisted throughout her life. In childhood, she felt it when white visitors came to their town. Similarly, when she left for school, the feeling of being different accompanied her. There were always reminders of her colored background, emphasizing her distinctiveness from others. She often demonstrated this by embracing primal humanity through wild dancing to jazz, expressing a passion that connects her to her ancestors.

Her statement, “At certain times, I have no race, I am me” (141), metaphorically suggests that she transcends racial boundaries and belongs to humanity as a whole. She transcends her individuality, becoming a universal metaphorical figure beyond her colored identity. This realization brings her immense pleasure and allows her to maintain composure even in the face of discrimination, as she expresses, “I feel discriminated against” (142), without succumbing to anger.

Zora and “How It Feels to Be Colored Me”

Zora’s inherent humanity and her longing to reconnect with her ancestral roots are prominent themes throughout her essay. She expresses a deep desire to return to her past, from which emerges the “cosmic Zora,” a figure belonging not to any particular race but to humanity as a whole (141). She feels her race not only within herself but also in the broader context of humanity, as she states, “Besides the waters of Hudson, I feel my race” (141), implying that her race encompasses all of humanity.

Zora adeptly balances her colored background, recognizing that when a white person is among people of color, or vice versa, the contrast is sharp. This observation underscores her belief that humanity is the same regardless of race. She emphasizes that the world belongs to the strong, as she has previously stated, and therefore, she advocates for humanity over racial distinctions.

Conclusion: “How It Feels to Be Colored Me”

In short, Zora elegantly portrays her colored background within the broader context of humanity, taking pride in her uniqueness and potential to stand out among white individuals if given the opportunity or ability. She does not feel ashamed of her differences or the contrasting treatment she receives. Instead, she views her unique status as advantageous, believing that any success or recognition she achieves would bring her double credit and make her the center of attention.

Works Cited: “How It Feels to Be Colored Me”

1. Hurston, Zora Neal. “How It Feels to Be Colored Me.” n. d. Web. 25 Oct. 2021.< http://xroads.virginia.edu/~ma01/grand-jean/hurston/chapters/how.html>

Relevant Questions about”How It Feels to Be Colored Me”

1. How does Zora Neale Hurston’s essay “How It Feels to Be Colored Me” explore themes of identity and belonging?
2. What literary techniques does Hurston employ in “How It Feels to Be Colored Me” to convey her experiences and perspectives on race and society?
3. How does Hurston’s portrayal of her childhood experiences in Eatonville contrast with her experiences in Jacksonville, and what does this reveal about her evolving understanding of race and identity?

Introduction: Postmodernism in “The North China Lover”

Postmodernism in The North China Lover, a novel by Marguerite Duras, is evident through its deconstruction of traditional narrative structures and its exploration of fragmented identities in a rapidly changing world. She once said during an interview with Salman Rushdie, “I swear it. I swear all of it. I have never lied in a book. Or in my life” (Rushdie and Garton Ash). In the comments, Salman Rushdie and Timothy Garton Ash write that “she was ostracized for her reckless teenage affair with an older Chinese millionaire,” which explains why her novel seems autobiographical. Upon closer examination, this love affair in Vietnam bears a strong resemblance to a love affair of the creator, Duras. It is even more clearly autobiographical, as it serves not only as a cultural document but also as a social and economic critique, transcending all literary boundaries in the modern world. Despite being the voice of a bold feminist attitude toward patriarchal dominance, this fictional biography bears traces of her earlier fictions, which are also biographical in nature.

Techniques of Postmodernism in “The North China Lover”

In “The North China Lover,” Duras employs several innovative techniques, including the use of an easy-to-understand third-person voice to narrate the entire story. She seamlessly integrates various fictional techniques into a single work, often referred to as weaving personal fiction into history. Writing about this aspect of her fiction, Naoki Sakai argues that it is remarkable how Duras “dealt with the work of the unconscious in her own historical memory, in which the affiliation of fascism and colonialism was unambiguously given in clear fictional terms” (179). This creative approach is a prime example of the qualities of postmodern fiction. Moreover, Duras demonstrates not only intertextuality, self-reflectivity, and subjectivism but also transgression beyond accepted norms in this novel.

Intertextuality and Postmodernism in “The North China Lover”

Intertextuality refers to creating a relationship between one text and another written in a similar manner earlier, forming an “interwoven fabric of literary history” (Sharma and Chaudhary 24). It involves referencing another work or even a fairytale. Sharma and Chaudhary argue that pastiche, or the use of pasted elements together to create a piece of work, is also a feature of postmodern literature (195). Throughout her fictional works, Duras intertwines several texts into one, incorporating numerous memories of her childhood into her narratives. The story appears simple, focusing on a girl, her mother, and her brothers living in a French colony in relative poverty after their father leaves them. Despite this adversity, Duras managed to study in France and graduate from a university in Paris, mirroring the protagonist’s fondness for storytelling: “She is telling the story of her life,” while “The Chinese (old man) listens from far off, distractedly” (Duras 88). This reflects her own romance with the Chinese millionaire, who is unable to fully engage with her stories due to her youth. Moreover, the protagonist’s departure from Vietnam for France parallels Duras’s own experiences. As Duras witnessed historical events firsthand, her fictions are autobiographical in the sense that they depict what she observed as a child, perhaps reflecting a subjective attempt by the writer to portray herself in her own fiction. However, intertextuality in Duras’s work extends beyond these elements.

Another intertextual parallel in Duras’s work is between her own family dynamics and those depicted in her novel, as well as the motifs and themes present throughout the narrative. Throughout her life, she sought love from adults despite strict family norms and traditions, a theme reflected in The North China Lover. The images of patriarchal dominance prevalent in the novel are mirrored through the characters of Pierre and his brother, akin to her own father and brother. Oppression and dominance are qualities she sought to reflect from her own experiences. The motifs also highlight connections between The Lover and The North China Lover. Charles Forsdick and David Murphy note in their book, Francophone Postcolonial Studies: A Critical Introduction, that the motif of the river is common in both novels. They suggest that the texts are linked thematically, embodying flux, desires, and transgression, with the symbolic associations of the Mekong River best understood through intertextual association with The Lover. Despite The North China Lover being written seven years later, Forsdick and Murphy argue that the story remains largely the same, albeit reworked slightly. However, Aleksandra Tryniecka proposes another hypothesis, suggesting that Duras aimed to present an alternative to traditional generic models by incorporating multiple texts within the same narrative to enhance reader engagement. While other writers have explored themes of childhood and love in their fiction, Duras seeks to demonstrate that these themes can be approached differently. The protagonist in The North China Lover faces social confusion upon migrating from Vietnam to France and exhibits rebellion in a traditional setting. However, this rebellion only exacerbates the protagonist’s loneliness, a reflection of the author’s own experiences.

Author and Postmodernism in “The North China Lover”

In this context, it is plausible that the life of the author and the text become interchangeable, blurring the distinction between the two to a significant extent. C. K. Sample argues that in The North China Lover, Duras deliberately plays with her identity as both an author and a female figure, blurring the lines between her life and that of her characters. Sample suggests that “Throughout the text, Duras manipulates intertextuality to blur the lines—the lines between autobiography, fiction, among author, character, and narrator” (280), indicating her intentional approach. Duras is explicit about what she has not done in her previous novel, The Lover (280). Moreover, the hybridization of the story and the setting is a crucial aspect to consider. While it is expected that a biographical novel would share the same setting as its author’s life, Duras employs concise and direct sentences to signify shifts in setting within the story, such as “From Annam. From the islands…” (Duras 99). This technique sharply introduces a new setting without the need for a lengthy transition, reminiscent of cinematic techniques. Exploring further parallels between the real-life character and the character created by Duras, namely the child, adds depth to the analysis.

Pastiche and Postmodernism in “The North China Lover”

It is reasonable to assert that the created character resembles more of a pastiche than a fully developed character. Duras clearly articulates in the narrative what she may never have expressed in conversations or interviews. She introduces the child by describing her as “alone in the picture,” observing the unknown nakedness of the man’s body with poetic language reminiscent of the cut-and-paste technique of Photoshop (creating photos through photoshop) (Duras 69). This image reflects Duras’s own desires, including the realization that loving a person more than twice her age will lead to Chinese isolation, which she believes will make her wiser (Duras 59). This desire is expressed in interwoven terms, indicating a preference for Chinese isolation over French amalgamation in the social fabric. Furthermore, Duras employs a filmic or cinematic description technique, replacing one picture with another and sequencing them rapidly, creating a unique narrative style that is both abrupt and poetic, with a fast pace but sluggish movement.

In its intertextual setting, a crucial aspect is the subject of “self-absence” (Todd 11), which serves as more than just a reason for the book itself. Ruby Todd argues that this novel is a revisitation of Duras’s previous work, The Lover, acting as a catalyst for the narrative and possessing the same intensity and myth. Todd suggests that both books are “mere fragments of the limitless ones simultaneously present within the author’s imagination and memory,” imbuing a sense of myth and “multivalency,” or the weaving of multiple texts into one (8). While Duras may have refused to comment on whether the Chinese lover in The North China Lover is the same as in The Lover, Todd contends that the storyline is identical, expressing similar desires, experiences, wild emotions, and dissatisfaction (8). In essence, both texts are interwoven into one, showcasing the postmodern feature of intertextuality.

Metafiction and Postmodernism in “The North China Lover”

It is also appropriate to categorize The North China Lover as a “historiographic metafiction” (Hutcheon 3), as it incorporates both history and fiction. In this context, a writer faces dual responsibilities: one tethering them to their native land and the other to their adopted one. Duras adeptly constructs her story against a broader historical backdrop, setting the novel in French colonial Indochina or Vietnam, where she spent much of her childhood. Her birth into a French family in a colonial setting, her education journey from Paris back home, and her romantic involvement with an older Chinese millionaire unfold against this rich historical canvas.

Speaking on historiographic metafiction, Linda Hutcheon contends that while it is accurate to recognize the intertwining of history and art to produce fiction, the challenges it presents are significant and may not be easily navigated by the average reader. Hutcheon argues that this convergence of historical context and fictional narrative is “limitless,” presenting challenges in terms of closure and singular, centralized meanings. Duras successfully navigates these challenges by seamlessly integrating history into her autobiographical love story. Having lived in the elite neighborhood of Lycee de Saigon in Vietnam before departing for France, Duras mirrors the journey of her protagonist, who leaves Vietnam for France during the same historical period, experiencing similar events and historical developments.

Thus, the challenge posed to the reader by this metafictional narrative is effectively addressed when both the author and the character are understood through the same lens. Concerning the historical setting, the novel vividly portrays the violent upheavals and patriarchal dominance of the era, reflecting the prevalent oppression of feminine perspectives in both public and private spheres.

Narrative and Postmodernism in “The North China Lover”

The narrative of the entire novel is self-reflective and subjective, evoking a sense of reminiscence akin to the author recalling her own past. This autobiographical account is characterized by a simplicity of language that invites reflection. Todd characterizes this narrative style as reflective rather than linear, identifying it as a hallmark of postmodern literary fiction. He suggests that this narrative approach bypasses linearity, instead embracing a fragmented, stop-start structure reflective of the narrator’s process of remembering. Scenes unfold not in chronological order but as a reflection of the narrator’s memory retrieval. For instance, when the child muses, “Doing nothing is a profession. It’s very hard,” it reflects the author’s own contemplation on idleness (130).

Indeed, the narrative itself serves as a self-reflective retrospective, mirroring the author’s dissatisfaction with conventional autobiographical structures as explored in her previous work, The Lover. Duras goes beyond traditional autobiography, embracing a narrative approach that prioritizes personal truth over verifiable reality. Ladimer observes that Duras’s rejection of conventional structures allows for a more introspective and self-reflective exploration of her past. This technique often manifests in the form of flashbacks, contributing to the narrative’s rudimentary or fragmentary nature.

While The North China Lover presents itself as a compelling narrative, it is characterized by temporal distortion, including fragmentation and a nonlinear narrative structure. As Sharma and Chaudhary suggest, this nonlinear approach, typical of postmodern fiction, often serves to convey irony, although Duras’s intentions in this regard remain ambiguous in the novel (196). The narrative’s fragmentation appears to be intricately linked to self-reflection, as evidenced by moments where the protagonist transitions abruptly between topics, such as discussing Chinese diamonds before returning to dialogue with her former lover, followed by moments of silence.

Taylor’s analysis underscores the visual and fragmented nature of Duras’s storytelling, drawing parallels with her previous work, The Lover, which he describes as poetic, cinematic, and fragmented (Taylor). This fragmentation, akin to cinematic techniques, serves to heighten the narrative’s visual impact. Despite being fragments of the same story, these disjointed elements contribute to a narrative that unfolds nonsequentially, deviating from the structure of a conventional novel. The intermittent silences interspersed throughout the fragmentation serve to deepen the sense of self-reflection, allowing moments of contemplation.

Kemper’s observations further emphasize the challenging nature of adapting Duras’s fragmented narrative for the stage. His acknowledgment of director Stillman’s efforts to translate the sensory and fragmented essence of the novel to the theatrical realm underscores the significance of fragmentation as a defining feature of Duras’s narrative technique (Kemper).

Fragmentation and Postmodernism in “The North China Lover”

In a postmodern interpretation, Felix Guattari sheds light on the use of fragmentation in literature, suggesting that it signifies the fragmentation of the self-image, a consequence of the devaluation of life’s meaning (12). Viewed through this lens, The North China Lover emerges as a reflection of Duras’s own struggles, perhaps stemming from a sense of dissatisfaction within her strict familial environment. Guattari’s assertion that the representation of the self becomes confused and contradictory resonates with the fragmented narrative style employed by Duras (12). It’s conceivable that Duras found it challenging to convey her story through a linear narrative, opting instead for a fragmented, self-reflective approach.

Expanding on this perspective, Guattari emphasizes the importance of moving towards co-management in the production of subjectivity (12). Here, subjectivity aligns closely with self-reflection, suggesting that the author’s primary motivation lies in her own life experiences. Duras’s insistence on writing about herself, as she often expressed in interviews, underscores her belief that her own life provided the most compelling material for her narratives.

In this context, it is significant to recognize Duras’s bold attempt to challenge social norms and familial traditions by engaging in a relationship with a significantly older man and subsequently documenting her love affair through various stories. Her actions align with the principles of postfeminism, as described by Judith Butler in Gender Trouble: Feminism and the Subversion of Identity. Butler posits that women’s gender identity emerges in defiance of patriarchal norms and societal expectations (31). Duras’s outspokenness and defiance, despite existing within a rigid family structure and normative society, underscore her willingness to transgress these boundaries through her fiction.

Drawing on Butler’s interpretation of Lacanian theory, which emphasizes the formation of identity through societal norms and traditions, it becomes evident that Duras’s protagonist, the child, grapples with the constraints imposed by her familial and cultural context. Her dialogue with her mother reflects the internalization of societal norms, as evidenced by her mother’s hypothetical reaction to her relationship with the Chinese man (Duras 137). Despite this, the child boldly challenges these norms, symbolically breaking free from the constraints of the symbolic order.

Moreover, the child’s defiance of societal expectations extends to her willingness to flout legal restrictions, as indicated by her willingness to marry the old Chinese man despite legal prohibitions (Duras 138). This bold assertion of her sexual autonomy and agency underscores her empowerment in navigating societal constraints. In essence, Duras’s portrayal of the child’s defiance serves as a testament to the empowerment of her gender identity and the assertion of her autonomy in the face of societal expectations and legal restrictions.

Femininity and Postmodernism in “The North China Lover”

In the Lacanian framework, Duras’s portrayal of transgression extends beyond mere feminism, delving into the realm of symbolic order. As noted by Forsdick and Murphy, the very title of the novel signifies a crossing of moral and ethnic boundaries, which are fundamental elements of the Lacanian symbolic order (259). The scandalous nature of the affair between the protagonist and her Chinese lover is compounded by their differences in age, class, and ethnicity, challenging societal norms and expectations (259). This transgression disrupts the established social hierarchy and ethnic divisions, reflecting the protagonist’s defiance of the symbolic order. Ladimer further elucidates this transgressive act, highlighting its occurrence within the context of a forbidden and perilous environment, symbolized by the metaphorical “dangerous jungle” and the protagonist’s interactions with Vietnamese children (116). The dynamic of interracial relations adds another layer of complexity to the protagonist’s defiance of societal norms, particularly in the face of a rigid social order represented by the concept of the “mother.” In essence, Duras’s exploration of transgression in The North China Lover transcends traditional feminist narratives, embodying a postmodern sensibility that challenges not only gender norms but also the broader symbolic order governing societal conventions and ethnic boundaries.

Fiction and Postmodernism in “The North China Lover”

In short, The North China Lover transcends traditional notions of fiction by embracing the features of postmodernism. With its intertextual richness and autobiographical elements seamlessly woven into the narrative, the novel blurs the lines between reality and fiction. It serves as both a sequel to the author’s earlier work, The Lover, and a prime example of Linda Hutcheon’s historiographic metafiction, blending history and fiction in a unique manner. The temporal distortion inherent in the narrative, coupled with its fragmented structure and pastiche-like quality, contributes to a sense of fluidity and complexity. Duras’s self-reflective mode of storytelling adds another layer of depth, blurring the boundaries between author and character. This defiance of traditional narrative conventions is underscored by the protagonist’s strong feministic character and her bold rejection of societal norms and patriarchal dominance. “The North China Lover” stands as a testament to Duras’s postmodern sensibility, encapsulating the multifaceted nature of contemporary literature. Its exploration of intertextuality, metafiction, and postfeminist themes renders it a quintessential example of postmodern fiction, offering a rich tapestry of narrative possibilities ripe for adaptation into other forms of media.

Works Cited: Postmodernism in “The North China Lover”

1. Butler, Judith. Gender Trouble: Feminism and Subversion of Identity. Routledge, 2003.
2. Duras, Marguerite. The North China Lover. New Press, 1992.
3. Forsdick, Charles, and David Murphy. Francophone Postcolonial Studies: A Critical Introduction, Routledge, 2003.
4. Guattari, Felix. Chaosmosis; An Ethico-Aesthetic Paradigm. Indiana University Press, 1995.
5. Hutcheon, Linda. “Historiographic Metafiction: Parody and The Intertextuality of History.” TSPACE, https://tspace.library.utoronto.ca/bitstream/1807/10252/1/TSpace0167.pdf. Accessed 22 Nov. 2016.
6. Kempber, Ben. “Cheap Goods in a Gorgeous Gown.” Chicago Theatre and Concert Reviews, 7 Oct. 2013, http://www.chicagotheatrereview.com/2013/10/07/. Accessed 22 Nov. 2023.
7. Ladimer, Bethany. “Wartime Writings, or the Imaginary Lover of Marguerite Duras.” Studies in 20^th & 21^st Century Literature, vol. 33, no. 1, 1 Jan. 2009, pp. 103-117. http://dx.doi.org/10.4148/2334-4415.1694
8. Naoki, Sakai. “The West—A Dialogic Prescription or Proscription?” Social Identities, vol. 11, no. 3, May 2005, pp. 177-195. http://www.tandfonline.com/doi/abs/10.1080/13504630500256910?journalCode=csid20
9. Rushdie, Salman, and Timothy Garton Ash. “Marguerite Duras’s The Lover: But, but, but … did it really happen?” Stanford University, 4 May 2014. http://bookhaven.stanford.edu/2014/05/marguerite-durass-the-lover-but-but-but-did-it-really-happen/
10. Sample III, C. K. “Life And Text As Spectacle: Sacrificial Repetitions In Duras’s The North China Lover.” Literature Film Quarterly, vol. 32, no. 4, 2004, pp. 279-287. Academic Search Complete, http://connection.ebscohost.com/c/articles/15525910/life-text-as-spectacle-sacrificial-repetitions-durass-north-china-lover.
11. Sharma, Ramen, and Dr. Preety Chaudhary. “Common Themes and Techniques of Postmodern Literature of Shakespeare.” International Journal of Education Planning & Administration, vol. 1, no. 2, 2011, pp. 188-198. https://www.ripublication.com/ijepa/ijepav1n2_11.pdf.
12. Taylor, John. “Fuse Book Review: From France with ‘L’Amour’—A Neglected Volume by Marguerite Duras.” The Art Fuse, 9 Jul. 2013, http://artsfuse.org/86023/fuse-book-review-from-france-with-lamour-a-neglected-volume-by-marguerite-duras/. Accessed 22 Nov. 2016.
13. Todd, Ruby. “Writing Absence: A Case Study of Duras’s The North China Lover.” Deakin University,  http://www.aawp.dreamhosters.com/wp-content/uploads/2015/03/Todd2013.pdf Accessed 22 Nov. 2016.
14. Tryneicka, Aleksandra. “The Bildungsroman Revisited: J. D. Salinger’s ‘The Catcher in The Rye’ and M. Duras, ‘The Lover’ and ‘The North China Lover’: An Intertextual Study of the Genre.” International Journal of Arts and Sciences, vol. 8, no. 7, 2015. http://www.universitypublications.net/ijas/0807/html/V5G104.xml

Relevant Questions about Postmodernism in “The North China Lover”

1. How does Postmodernism in “The North China Lover” manifest through its narrative style and structure?
2. In what ways does the novel challenge conventional notions of identity and reality, reflecting Postmodernism in “The North China Lover”?
3. How does Duras employ intertextuality and metafiction in “The North China Lover” to engage with Postmodernism in “The North China Lover

Introduction: The Exit Through the Gift Shop: Review

Directed and narrated by Banksy himself, “Exit Through the Gift Shop” is an excellent documentary within a documentary. It tells the story of a Frenchman, Thierry Guetta, who owns an antique clothing shop and meets his street artist cousin, Space Invader, and begins filming him and his other artist friends. Soon, this meeting brings Shepard Fairey into the documentary, with Guetta filming him, and Guetta desires to turn it into a documentary featuring various other artists. Guetta and Banksy meet in Los Angeles to collaborate on a street art documentary, but encountering different challenges, Banksy ends up detained by Disneyland police for deploying a Gitmo doll there. Following the hype generated by “Barely Legal,” Banksy deems several recordings of Guetta useless, prompting him to shoot it himself, while Guetta transforms into Mr. Brainwash to film a show he only publicizes and does not record. The final moment of recording brings him huge success. Not only is the theme of “Exit Through the Gift Shop” intriguing, but also its cinematic techniques and mysterious art atmosphere have made it a memorable documentary.

Major Theme

The major theme of the documentary is the question of authenticity in art and what constitutes authentic art. With his affinity for graffiti art, Banksy attempts to demonstrate that street art is indeed a legitimate form of artistic expression. However, he unexpectedly collaborates with Guetta, suggesting that even the act of filming can be considered an art form. Guetta’s persistent filming, as expressed by the narrator’s statement, “I’d keep filming, keep filming, keep filming. I was filming and filming myself filming me” (“Exit Through the Gift Shop”), leads to the creation of a documentary within a documentary, and so forth.

This layering of filmmaking within the narrative raises a profound question about the authenticity of the movie itself, as it becomes a central element of entertainment and creativity. Banksy prompts us to reflect on the parallel between the audience’s experience of viewing art within art and the identification of what is authentic and enjoyable, culminating in Guetta’s eventual success.

Cinematic Techniques

As for cinematic techniques, Banksy not only relies on the editing skills of Chris King and Tom Fulford, who adeptly portray Banksy in his iconic hoodie, but also provides direction for the synchronization of Geof Barrow’s music with Rhys Ifans’ narration. The use of the camera is meticulously aligned with the unpredictable nature of the narrative, mirroring the artistic styles of Guetta and Banksy themselves. Close-up shots are employed skillfully to create a sense of intimacy with the characters, drawing viewers closer to the action. Visuals take precedence over narrative, with street art being showcased prominently. The narration is impactful, utilizing repetition and concise, memorable language. These camera techniques prioritize visual storytelling, engaging viewers visually rather than solely through dialogue. Additionally, the costumes and the interplay of darkness and light contribute to the documentary’s artistic allure, resulting in a masterful production that could only have been crafted by Banksy.

Mystery in  The Exit Through the Gift Shop

The mystery of “Exit Through the Gift Shop” does not solely lie in its cinematic techniques but in ا unique way, the documentary has been filmed and refilmed, as the narrative itself asserts. Three major elements contribute to its memorability: the posture of interviewees as they face the camera, with Banksy notably looking toward the right side; the compelling narrative element, skillfully delivered by Rhys Ifans; and the use of footage. These three elements collectively provide insight into the life of an artist and the nature of art itself. The documentary suggests that art is inherently authentic, and the life of an artist even more so. However, it also portrays artists as unique, strange, and eccentric individuals whose creativity thrives when they find recognition, a theme amply demonstrated in “Exit Through the Gift Shop.”

Conclusion: The Exit Through the Gift Shop

In short, “Exit Through the Gift Shop” stands out as my favorite documentary due to its uplifting portrayal of the life of an artist and the eventual recognition they receive. The skilled use of visuals and narrative keeps viewers engaged, particularly as they witness the creation of a documentary within a documentary. This layered approach leaves viewers eagerly anticipating the positive outcome for the artist. I highly recommend watching it at least once for its unique and captivating storytelling.

Works Cited

1. Goldstein, Lauren. “Exit Through the Gift Shop.” Reflections 12.1 (2012).
2. Preece, Chloe. “Media Review: A Banksy Film. Exit through the Gift Shop.” (2012): 436-439.

Relevant Questions about The Exit Through the Gift Shop

1. How does “Exit Through the Gift Shop” explore the relationship between commercialization and authenticity in the world of street art?
2. In what ways does the documentary challenge conventional notions of artistic talent and success, particularly within the context of the street art movement?
3. How does “Exit Through the Gift Shop” blur the lines between documentary filmmaking and artistic expression, and what impact does this have on the viewer’s perception of the narrative?

Introduction: Humor and Tradition in Spokane

Following the Harlem Renaissance, Alexei’s stories present the best view of the African Americans in terms of their traditions, humor and tradition in Spokane Tribe. “Big Mom was the spiritual leader of the Spokane Tribe,” a character Sherman Alexie presents in his collection “Lone Ranger and Tonto Fistfight in Heaven,” which is populated with “real Indians” who embody humor, down-to-earth realism, and a love for life’s funny side. Whether portraying Thomas Builds-the-Fire or Jimmy, Alexie’s characters all share a deep appreciation for fun and humor. However, another secret aspect of their lives, reflective of their tribal culture, is their reverence for tradition, whether expressed through humor or their relationship with substances. Sherman Alexie skillfully captures not only their traditions and humor but also the unique characteristics of Spokane life.

Alexei’s Characters and Humor and Tradition in Spokane

In Sherman Alexie’s narratives, his characters consistently uphold their traditions, regardless of the role these traditions play in their lives. Thomas Builds-the-Fire, for instance, deeply cherishes Spokane tribal cultural life, while even characters like Norma refuse to succumb to life’s tragedies, finding solace in humor, such as making light of her tumors. Their passion for dance, ceremonies, and storytelling underscores the significance of preserving Spokane lifestyle. This commitment to tradition reflects a profound connection with their lives, regardless of marital status, exemplified in the quote, “you have to realize that laughter saved Norma and me from pain, too” (“A Drug Called Tradition” by Sherman Alexie). These names they carry, likened to “India wear their names like a pair of bad shoes,” signify their way of life. This devotion to tradition serves as the central theme in both “A Drug Called Tradition” and “An Approximate Size of My Favorite Tumor,” where Norma and Jimmy Many Horses navigate similar situations, with Norma seeking escape as Jimmy’s humor takes a darker turn. The influence of Spokane tradition subtly infiltrates their lives, as seen in the visions experienced by Victor and his comrades after consuming mushrooms, which ultimately find comfort in Big Mom’s wisdom, an integral part of their tradition.

Humor and Tradition in Spokane

The second facet of these Indians’ lives is their penchant for humor and the tradition of eliciting laughter from one another. The opening of the story “A Drug Called Tradition” sets a humorous tone as Thomas throws a party, jokingly claiming to have obtained money from Washington Water Power. The narrative reflects, “we can all hear our ancestors laughing in the trees. But we never can tell whether they’re laughing at the Indians or the whites. I think they’re laughing at pretty much everybody” (“A Drug Called Tradition”), underscoring their affinity for humor. Even in moments of intoxication, Thomas displays his wit, quipping, “I can make my guitar sound like a drum. More than that, I can make any drum sound like a guitar” (5). Similarly, in “The Approximate Size of My Tumor,” humor serves as a coping mechanism, with Thomas remarking, “you have to realize that laughter saved Norma” (2) because she cannot forsake it. It’s explicitly stated that “Humor was an antiseptic that cleaned the deepest of personal wounds” (3), highlighting the therapeutic power of laughter within their community.

Coping Tragedy, Humor and Tradition in Spokane

Another hallmark of Spokane lifestyle is their tendency to confront tragedy with comedy, showcasing their zest for life and penchant for dark humor even in the face of suffering. Instances like Jimmy’s joke at his grandmother’s funeral, Raymond’s jest during his wedding, and other moments of laughter underscore their distinct Spokane traits. In “A Drug Called Tradition,” Victor and his companions exemplify this resilience, as they embrace levity amidst adversity, depicted as “Indian boys drinking Diet Pepsi and talking out Benjamin Lake” and later deciding to “be real Indians tonight” (4), a nod to their allegiance to traditional ways. This commitment is further emphasized by the assertion that “Maybe the smoke will talk in Spokane or English” (5), reflecting their familiarity and reverence for their native culture.

Conclusion: Humor and Tradition in Spokane

In short, Sherman Alexie skillfully portrays the essence of Spokane life. The Spokane people cherish their unique way of living, characterized by storytelling, laughter, humor, and the ability to find light even in the darkest of times, including moments of suffering and loss. This lifestyle persists regardless of marital status or life’s challenges. They dance to the rhythm of their existence, finding spiritual fulfillment in their traditions. This unwavering commitment to their way of life is evident in the journeys of characters like Norma, Thomas, Victor, and others, who always gravitate back to their roots, no matter what life throws their way.

Works Cited: Humor and Tradition in Spokane

1. Shermon, Alexie. Lone Ranger and Tonto Fistfight. Iconic Books. New York. 2012. Print.

Relevant Question about Humor and Tradition in Spokane

1. How does Sherman Alexie’s “Lone Ranger and Tonto Fistfight in Heaven” reflect the intersection of humor and tradition in Spokane?
2. In what ways do humor and tradition blend in Alexie’s portrayal of Spokane culture in “Lone Ranger and Tonto Fistfight in Heaven”?
3. Can you identify specific examples from “Lone Ranger and Tonto Fistfight in Heaven” where humor serves as a tool for preserving and transmitting cultural traditions among the Spokane people in Spokane?

Introduction: Renaissance and Early Modernism

Renaissance and Early Modernism are two intellectual literary terms that encompass entirely dichotomous notions and approaches, although they are sometimes used interchangeably. Both approaches contain nuanced yet divergent and powerful elements that shape the literary world at large. The Renaissance was a revolutionary movement that profoundly impacted the ideas and philosophies of 15th-century Europe and beyond. Its effects trickled across borders, influencing and sometimes liberating the thinking of writers, historians, philosophers, and critics.

Epistemological View of Renaissance and Early Modernism

From an epistemological standpoint, the term “Renaissance” originates from French and signifies a revival or rebirth. Essentially, it denotes the resurgence of ancient Greek culture, representing a cultural movement that places significant emphasis on individuals and humanism. While superficially focused on culture, art, music, and the like, a critical evaluation reveals that the movement also tends to highlight elitism.

Jacob Burckhardt was the first scholar to underscore the importance of the Renaissance in the development of human history. In his monograph “The Civilization of the Renaissance in Italy,” Burckhardt emphasized how the development of a ‘republican’ form of government followed the classical Greek and Roman systems.

According to Jerry Brotton, the term “Renaissance” emerged to signify a “profound and enduring upheaval and transformation” from 1400 to 1600. However, these advancements primarily benefited the rich and influential classes, rather than the bourgeois. Ironically, the term “the Renaissance” gained currency in the 19th century.

The Renaissance in Renaissance and Early Modernism

As previously mentioned, the Renaissance predominantly focused on the lives, choices, and issues of the rich and influential class. Consequently, it’s unsurprising that the concerns of the common public and those of women were largely absent from the writings produced during and after the Renaissance period. In fact, women were often depicted negatively and relegated to positions of evil or mere objects to placate male desires and whims (Burckhardt, 1860), thus further marginalizing and subjugating their roles and positions.

The Renaissance primarily centered around the culture, literature, and elitism of ancient Greeks and Romans. However, Marxist scholars sought to delve into the histories of labor and laborers, particularly in relation to class struggle. In addition to Marxists, feminist scholars critiqued Burckhardt’s focus on upper-class men. They argued that the development of the Renaissance reinforced societal divisions into “public” and “private” spheres, wherein women were typically confined to the “private” realm and denied a role in the “public” sphere.

Difference between Renaissance and Early Modernism

Contrary to the Renaissance, Early Modernism is primarily associated with the Annales School of Historians since the 1940s in France and later in England. The term “early modern” gained prominence in the 1970s with the publication of Peter Burke’s works such as “Popular Culture in Early Modern Europe” (1972) and Natalie Zemon Davis’ “Society and Culture in Early Modern France” (1975). However, the term gained significant traction in the United States with the publication of Stephen Greenblatt’s book “Renaissance Self-Fashioning: From More to Shakespeare” in 1980. This work, tinged with Marxism, challenges the relegation of women and critiques the economic disparities highlighted in Renaissance spirit.

Early Modernism encompasses the developments that occurred subsequent to the Renaissance while acknowledging the significance of the classical period. It places greater emphasis on the subsequent developments in modernity and encompasses modernism and postmodernism. According to Lee Marcus (1992), Early Modernism is more inclusive and therefore more appropriate. Marcus argues that Renaissance writings and culture were primarily sponsored by the economically advantaged class, resulting in idealized portrayals rather than accurate reflections.

Conclusion: Renaissance and Early Modernism

Indeed, early modernism heralded a notable departure from the Renaissance in terms of inclusivity and representation. Unlike the Renaissance, early modernism granted voice and visibility to the underprivileged and marginalized segments of society. It also provided opportunities for women writers, elevating their status from mere entertainers to significant contributors and pacifiers. In essence, early modernism emerged as a more inclusive movement, addressing a broader range of societal concerns and issues objectively. It embraced all segments of society and classes, reflecting a more diverse and representative narrative of its era.

Works Cited: Renaissance and Early Modernism

1. Marcus, L. S. (1992). (1992). Renaissance/Early Modern Studies. Redrawing the Boundaries: The Transformation of English and American Literary Studies, ed. Stephen Greenblat and Giles Gun, The Modern Language Association of American, New York, 41-63.
2. _____ (1995). Cyberspace Renaissance. English Literary Renaissance, 25(3), 388-401.
3. Brotton, J. (2006). The Renaissance: A Very Short Introduction. Oxford University Press, UK.
4. Hunt, J. (1999). The Renaissance, Routledge.

Relevant Questions about Renaissance and Early Modernism

1. How do Marcus’s works “Redrawing the Boundaries: The Transformation of English and American Literary Studies” and “Cyberspace Renaissance” contribute to our understanding of the Renaissance and Early Modernism?
2. In what ways does Brotton’s “The Renaissance: A Very Short Introduction” offer insights into the key characteristics and developments of the Renaissance and Early Modernism period?
3. How does Hunt’s “The Renaissance” provide a comprehensive overview of the cultural, intellectual, and artistic movements of the Renaissance and Early Modernism, and how does it compare to other scholarly works on the subject?

Introduction: Similarities and Differences Between Reed and Cofer

Similarities and differences between Reed and Cofer both have brought up an excellent topic regarding cultural affinities, multinational culture or monoculture, cultural superiority or stereotypical behavior, and labeling of some communities. Both authors make a serious attempt to highlight certain connections that contribute to the perpetuation of cultural identities and markers, which persist in the collective consciousness over time. Individuals belonging to specific cultures often internalize these markers and use them to navigate interactions with other cultural groups, feeling either pride or alienation based on the image associated with them. For instance, both Cofer and Reed emphasize the significant role of media in shaping and challenging these cultural boundaries, a shared perspective between them. While both writers delve into the complexities of culture, with Cofer focusing on individual experiences and Reed on collective cultural identity, there exists a nuanced difference in their approaches.

Similarities and Differences Between Reed and Cofer: First Argument

The initial argument posits that media and intellectual circles play a pivotal role in assigning names or identities to specific cultures, thereby shaping perceptions ingrained in people’s minds. These perceptions often lead individuals from other cultures to identify a particular culture based on the images portrayed by the media. For instance, while the United States is a diverse amalgamation of cultures, the media often presents it as a homogeneous Western civilization, a notion contested by Reed who highlights the multiplicity of cultures involved in shaping Europe. Reed critiques Robert Thompson’s characterization of this diversity as a “cultural bouillabaisse,” pointing out the inadequacy of such simplification. On an individual level, there is a growing preference for bilingualism in certain areas of the United States, reflecting evolving cultural identities. Cofer similarly addresses the impact of media on cultural perceptions, noting how the stereotype of “Maria” for Latina women as domestic workers has been perpetuated by media portrayals. She draws parallels to the creation of the “Mammy” figure from “Gone with the Wind,” emphasizing the role of media in shaping societal perceptions. Both authors underscore the influence of education, intellectual discourse, and media in constructing identities for cultural entities.

Similarities and Differences Between Reed and Cofer: Affiliation

The question of affiliation arises from the tendency of people from the same cultural background to maintain their specific cultural connections, such as Hispanic communities in Detroit or Chinese and Jewish communities in the United States. However, despite this, individuals also adapt and integrate with other cultural identities while living in the United States. This process can inadvertently reinforce the notion of white supremacy, as Reed suggests, by positioning the United States as a global hub for knowledge and information due to its diverse cultural makeup. Reed quotes a politician who posits that the United States’ uniqueness lies in its multitude of cultures, potentially leading to its dominance on the world stage.

However, Cofer highlights the persistence of mythical misconceptions, such as the portrayal of Latina women as promiscuous or criminal. She emphasizes how mixed cultural signals perpetuate stereotypes, which individuals carry with them regardless of their location. Despite this, Cofer believes that certain stereotypes can be challenged and overcome through education, as she has personally experienced.

Similarities and Differences Between Reed and Cofer: Alienation

The issue of alienation is addressed differently by Reed and Cofer in their works. Reed’s initial paragraphs highlight the apprehension among smaller cultural groups of facing alienation if they fail to maintain their cultural identities through symbols, signs, and food traditions. He points to references of western civilization and the influence of the Puritan past and educational systems as examples of this concern.

On the other hand, Cofer recounts a personal experience at the beginning of her article where she felt alienated during a trip to London. She recalls how she only retained a sense of “British control,” indicating her discomfort and lack of understanding in that environment. Additionally, Cofer narrates an incident involving an elderly woman mistaking her for a waitress, which led to feelings of alienation. She suggests that such instances of misunderstanding and miscommunication are exacerbated by media portrayals and certain societal behaviors.

Similarities and Differences Between Reed and Cofer

Reed and Cofer indeed share certain similarities in their overarching goals, despite approaching them from different perspectives. Both advocate for a form of cultural harmony, albeit through distinct means. Reed envisions the possibility of preserving diverse cultural identities within the United States while still fostering a unified national culture. He sees potential in leveraging the country’s multiculturalism to create a new, inclusive culture.

On the other hand, Cofer’s approach is more individual-centric. She emphasizes the role of education in challenging and dispelling stereotypes and misconceptions associated with certain cultural identities, particularly those perpetuated by the media. Through her own example, Cofer illustrates how education can empower individuals to shed inaccurate cultural labels and embrace a more authentic sense of self.

The key difference lies in their strategies for achieving cultural cohesion. While Reed leans towards collective efforts, advocating for a unified educational curriculum and media representation, Cofer focuses on individual empowerment, believing that change can be initiated and sustained through personal education and growth.

Similarities and Differences Between Reed and Cofer: Conclusion

In short, Reed and Cofer both address the challenge of cultural alienation within a diverse society, but they propose different paths towards cultural cohesion. Reed argues for the preservation of diverse cultural identities within a collective framework, advocating for the emergence of a new, inclusive culture in the United States. Conversely, Cofer promotes the idea of erasing common stereotypes and misconceptions through individual education to facilitate integration into a broader cultural understanding.

Despite their differing approaches, both authors ultimately aim to achieve a similar outcome: the creation of a harmonious cultural landscape where diverse identities are respected and understood. The notion of bilingualism, touched upon by Reed and emphasized by Cofer, emerges as a potential solution for merging different cultures while maintaining individual identities. Overall, their perspectives suggest that a combination of collective and individual efforts, along with linguistic and cultural flexibility, could foster a more cohesive and inclusive society.

Works Cited: Similarities and Differences Between Reed and Cofer

1. Cofer, Judith Oritz. “The Myth of the Latin Woman: / Just Met a Girl Named Maria”. QUIA. n. d. Web. 20 Nov. 2023.
2. Reed, Ishmael. “America: The Multinational Society”. New York Times. 23 June 1983. Newspaper Source. Web. 20 Nov. 2023.

Relevant Questions about Similarities and Differences Between Reed and Cofer

1. How do the “Similarities and Differences Between Reed and Cofer” manifest in their respective approaches to addressing issues of cultural identity and stereotypes in their works?
2. In what ways do the “Similarities and Differences Between Reed and Cofer” shape their explorations of America as a “multinational society” and the experiences of Latin women?
3. How do Reed and Cofer utilize different literary techniques or narrative strategies to convey their perspectives on cultural diversity and societal inclusion within the context of the “Similarities and Differences Between Reed and Cofer”?

Introduction: Is Don Quixote Simply Crazy or Heroic?

Although heroes mostly lead heroic lives and are universally recognized as such by those around them, the case of Don Quixote poses a question: “Is Don Quixote Simply Crazy or Heroic?” In fact, he aspires to be seen as a hero, a knight-errant, from the very beginning, yet fails to convince anyone he encounters of his heroic status until the end. It’s not merely due to his lack of a complete knightly appearance, but rather because he fails to adopt the mental characteristics of a true knight. He exists in a state where his attempt to become a knight places him in an incongruous and comical position. In reality, he behaves more like a person suffering from madness, detached from reality. His insanity stems from his extensive reading of chivalric literature, his delusion of being a knight, and his fixation on gaining knightly honor.

Knightly Romance: Is Don Quixote Simply Crazy or Heroic?

In the very first chapter, it is revealed that Don Quixote is “in the habit of reading books on chivalry with such pleasure and devotion” (Cervantes 2228), which later evolves into a consuming fantasy that he cannot resist embodying. This obsession not only deepens his “curiosity and infatuation” (2228), but also leads him to acquire armor, a sword, and a horse named “Rocinante,” all influenced by characters from books like “Palmerin of England” or “Amadis of Gaul” (2228). He even creates his beloved, whom he calls “Aldonza Lorenzo” (2229), despite being aware that he has not been “formally dubbed a knight” (2230). Additionally, following tradition, he secures a squire from his village and adopts the demeanor of a knight during his errands, often leading to humorous situations.

Defects: Is Don Quixote Simply Crazy or Heroic?

There is indeed a notable mental deficiency or defect in Don Quixote. Despite being aware that he lacks the entitlement to be called a knight, he adopts the demeanor nonetheless. For instance, he tells fleeing ladies that it is not “in accordance with the order of knighthood” (2231) for him to address them, despite knowing he isn’t a true knight. He persists in pretending to be a knight, even when faced with situations that should deter him, such as when he kneels before the innkeeper to arrange accommodations, causing the innkeeper to suspect his sanity (2234). When a fellow villager encounters him after a skirmish with a muleteer, he is astonished by Don Quixote’s nonsensical behavior (2243). However, Don Quixote continues to attribute his actions to his own mental deficiency until he fully realizes the extent of his delusion and resolves to cease his former madness (2246). His subsequent ridicule of his squire, Sancho, for not knowing the ordinances of chivalry further demonstrates his lack of sound judgment.

Obsession: Is Don Quixote Simply Crazy or Heroic?

As Don Quixote continues to repeat the same actions without learning from his experiences, it becomes evident that he is obsessed with attaining knightly honor. His insistence on kneeling before the innkeeper to adhere to proper protocol, as well as his use of chivalric language and speeches, highlight his refusal to acknowledge reality. Despite the confusion of the goatherds regarding his nonsensical talk of squires and knight-errants, he persists in trying to impress them with his false identity as a knight (2261). Even encounters such as his fights with muleteers and windmills fail to correct his behavior, as his obsession persists until the end.

In short, Don Quixote’s character gives rise to the concept of Quixotism, representing a person who acts irrationally and persists in their delusions despite knowing they are behaving madly. His Quixotic deeds often lead to humorous situations, such as mistaking windmills for “lawless giants” (2247). This demonstrates that Don Quixote is indeed afflicted by a form of madness, characterized by his obsessive pursuit of knightly honor despite its absurdity.

Works Cited: Is Don Quixote Simply Crazy or Heroic?

1. Cervantes, Miquael De. “Don Quixote.” Mack, Maynard. The Norton Anthology Of World Masterpieces. Eds. Bernard MW Knox, and John C. McGalliard. Vol. 2. New York: Norton, 1980.

Relevant Questions about Is Don Quixote Simply Crazy or Heroic?

1. Is Don Quixote Simply Crazy or Heroic? How does Miguel de Cervantes use irony and satire in “Don Quixote” to explore the line between madness and heroism in the character of Don Quixote?
2. Is Don Quixote Simply Crazy or Heroic? In what ways does Don Quixote’s perception of reality challenge societal norms and expectations, and how does this contribute to the debate over his sanity versus his heroism?
3. Is Don Quixote Simply Crazy or Heroic? Can Don Quixote’s actions be interpreted as a critique of the societal constructs of heroism and sanity, or are they simply the delusions of a madman? How do different characters in the novel perceive Don Quixote’s quest, and what does this reveal about their own beliefs and values?