A Look at Literature
“A Look at Literature” is a project portfolio that serves as a dynamic showcase of some of my ongoing explorations and engagements with theory and literature. Through carefully curated snapshots, it highlights the diverse range of projects you've completed or are currently immersed in, each offering a unique perspective on the intersection of theory and literature.
Edgar Allan Poe's Gothic narratives, including "The Tell-Tale Heart," "The Fall of the House of Usher," and "The Pit and the Pendulum," alongside Charlotte Perkins Gilman's "The Yellow Wallpaper," delve into the complexities of human psychology within the Gothic tradition. While both Gilman and Poe explore similar themes, Gilman, influenced by Poe but writing in the "Female Gothic" tradition, offers a commentary on patriarchy and the oppression of women. Through a gynocritical lens, Gilman scrutinizes her protagonist's descent into madness and the societal constraints on women. In "The Yellow Wallpaper," the protagonist's fixation on the wallpaper symbolizes her entrapment and underscores the extent of her madness induced by patriarchal influence. Similarly, Poe's protagonists, as seen in "The Tell-Tale Heart," exhibit obsessive behavior towards objects, leading to their descent into madness. These fixations, whether on an eye or the wallpaper, drive the characters toward their downfall, highlighting the destructive power of obsession and contributing to their psychological unraveling.
"V for Vendetta" stands as a profound exploration of the perils of fascism and oppressive regimes, weaving a narrative that exposes the vulnerabilities of society exploited by authoritarian rule. Set against the backdrop of a dystopian England in 2020, the film follows the enigmatic figure of V, whose quest for vengeance against the tyrannical Chancellor Sutler catalyzes an uprising against oppression. Through V's symbolic defiance and rallying cry for individual freedom, the film critiques the manipulation of fear by governments to maintain control and strip away civil liberties. Moreover, "V for Vendetta" challenges traditional cinematic narratives by engaging audiences in critical reflection on political integrity and the dangers of unchecked power. "V for Vendetta" offers a thought-provoking exploration of political philosophy, particularly through the lens of Thomas Hobbes' Leviathan. Hobbes posits that government power is justified by the consent of the people and that it is human nature to fear death above all else. This idea resonates deeply within the film's narrative, as Chancellor Sutler's authoritarian regime capitalizes on fear to maintain control over the populace. The government promises security in exchange for obedience, echoing Hobbes' assertion that individuals would willingly relinquish certain freedoms for the sake of safety. Indeed, the parallels between Hobbes' theory and Sutler's rule are striking, as both posit that a strong central authority is necessary to prevent society from descending into chaos. However, "V for Vendetta" challenges this notion by presenting a nuanced critique of authoritarianism. While Hobbes argues that government power is derived from the consent of the governed, the film suggests that such consent may be manufactured through manipulation and coercion. V's rebellion against the oppressive regime symbolizes the assertion of individual agency and the rejection of unjust authority, even in the face of overwhelming fear.
Representations of deafness in literature, historically fraught with negative stereotypes, reflect broader societal attitudes toward communication, subjectivity, and access to knowledge. Ilya Kaminsky's Deaf Republic challenges these depictions by portraying deafness not as a hindrance but as a source of autonomy, rebellion, and strength in the fictional town of Vasenka. Kaminsky's narrative poetry defies ableist notions by critiquing the pathology paradigm of disability, aiming to dismantle socially constructed boundaries between "normative" and "non-normative" bodies. Oralism, which historically marginalized signed language, perpetuated the ableist myth favoring speech and hearing as the "norm," thus undermining the validity of Deaf identities and culture. Kaminsky's narrative serves as a powerful critique of the rhetoric surrounding disability, challenging the notion of silence as an absence and demanding a reevaluation of language regarding Deaf culture and identity. Through Deaf Republic, Kaminsky bridges the gap between hearing and Deaf individuals, deconstructing cultural assumptions and advocating for a more inclusive understanding of deafness within society. By foregrounding the political and social dimensions of sound and silence, Kaminsky's work illuminates the mechanisms through which power operates, offering a nuanced exploration of the interplay between dominant cultural norms and individual agency.
J.D. Salinger’s The Catcher in the Rye follows the sixteen-year-old Holden Caulfield’s two-day escape in New York after his expulsion from prep school in the post-World War II era. Holden’s impulsiveness, depression, and inability to function in the real world are clear signs of his failing mental health and anxiety related to entering the adult world. However, twentieth-century critics of the novel, such as Jane Edwards and Peter Seng, fail to recognize the theme of mental health in the novel when defending against its censorship and, instead, solely focus on Holden’s actions. While the defense against immorality in the novel quells the concerns of parents, it fails to address the importance of the novel by merely delving into Holden’s image rather than his psyche. During this post-World War II era, mental health was especially subjected to negative judgment and stigmatization, leading these critics to focus on Holden’s naivety and morality concerning religion, which were socially acceptable topics to discuss. However, as advocacy and education for mental health have improved with the turn of the twenty-first century, scholars such as Aiden Chambers and Benjamin Priest have reevaluated Salinger’s novel from a psychological perspective when defending its presence in schools, showing not only how trauma has impacted Holden’s development, but how society has progressed towards the destigmatization of mental Health.
Throughout my life as a disabled person, I've grappled with the inseparability of my identity from my body, refusing to conform to societal norms that dictate femininity through physical performance. Much like Lucy Grealy, who reflects on her own experiences of "disfigurement" as an Irish immigrant, I've found resonance in her exploration of the intersection between femininity, disability, and cultural expectations. Grealy's autobiographical account prompts a reevaluation of societal constructions of the female body as inferior, challenging patriarchal oppression intertwined with able-bodied culture's emphasis on physical conformity. By juxtaposing Grealy's narrative milestones with my own experiences of femininity and disability, particularly during formative years marked by physical difference, this autoethnographic analysis seeks to unravel the complexities of how patriarchal oppression affects young women with disabilities. In aligning with the objectives of Feminist Disability Studies, which aims to disrupt stereotypes and challenge assumptions about disability, this examination delves into the lived experiences of women with disabilities, highlighting the intricate relationships between bodies and selves. Grealy's assertion of being reduced to her outward bodily difference echoes my own struggles with rapid onset scoliosis diagnosis and the cultural pressures to conform physically while navigating social and familial expectations. By juxtaposing our diverse embodied experiences, we illuminate the multidimensionality of embodiment and its profound impact on individual perceptions of self and societal interactions.
This research delves into William Faulkner's seminal work, "A Rose for Emily," offering a nuanced exploration of its thematic depth and interpretive complexity. Centered around the enduring influence of parental authority on individual identity, Faulkner's narrative unfolds as a poignant examination of Emily's entrapment within the shadow of her father's dominance. Drawing from Faulkner's own elucidation in "The Meaning of 'A Rose for Emily,'" the research navigates the intricacies of Emily's internal strife and external conflicts, intricately woven with societal pressures and the inexorable march of progress. Through a kaleidoscopic lens, Faulkner's portrayal of Emily emerges as a prism refracting manifold interpretations, from the personal to the societal, inviting readers to traverse the liminal spaces between tradition and modernity. Emily is not only the product of her authoritarian father and his tragically deliberate act of crushing his daughter's dreams of finding love, but she is also a representation of traditional ideals that can no longer survive in modern society and thus must join other historical relics of the past in death.
Darwin, in "The Descent of Man," challenges the traditional division between humans and animals, asserting that moral conduct is inherited and shaped by social approval. He contends that despite the differences in cultural and moral norms between human societies and animal species, social virtues are crucial for social cohesion. Darwin's evolutionary framework reinterprets the Moral Sense Theory, suggesting that morality is rooted in biological descent and shaped by social instincts honed through natural selection. He underscores the shared evolutionary history of humans and animals, emphasizing humanity's primitive origins and the continuity of moral behavior across species. Darwin's observation of moral dilemmas in human society highlights the innate instincts guiding ethical action, which parallels those observed in animals. While acknowledging the influence of societal structures like religion and habit on human morality, Darwin argues that social instincts derived from natural selection form the basis of the moral sense. Thus, his perspective of ethical naturalism asserts that moral terms and properties are grounded in facts about the natural world, including human beings.
Octavia Butler's "Clay's Ark," a prequel in the Patternist series, the origin of a microbe virus leading to the evolution of Claysarks raises profound questions about humanity, personhood, and post-humanism. Butler's narrative engages in a debate between humanism and the acceptance of a post-human world, challenging fixed notions of personhood and the marginalization of bodies falling outside the realm of 'normalcy.' Through characters like Jacob and Eli, who bridge human and non-human boundaries, Butler destabilizes traditional human-animal distinctions, advocating for a reevaluation of hierarchical structures rooted in humanism. Characters like Blake exemplify the violence and ableism inherent in humanist ideology, prompting reflection on the ethical implications of defining personhood based on perceived humanity. By deconstructing hierarchies and prejudices, Butler invites readers to reconsider the ontological divide between the 'human' and the 'animal,' urging a critical examination of the power dynamics that perpetuate systemic oppression. Traditionally central to the supposition of ‘humanism’ lies the white male; a universal standard, praised for their rationality, authority, autonomy, and agency. But, who has deemed this category of ‘human’ as the center of the universe, worthy of both the power and privilege to dictate the personhood of the ‘Other?’ More importantly, what is humanism’s basis for the ethical exclusion of the ‘Other?’
In Annie Dillard's reflective narrative "Total Eclipse," she vividly describes her experience of witnessing a solar eclipse alongside her husband in 1979. Beyond merely recounting the event, Dillard delves into the profound impact of the eclipse on her understanding of mortality and human perception. Initially disorienting and even unsettling, the eclipse becomes a catalyst for deeper introspection, revealing insights about the transience of life and the challenge of adequately expressing profound experiences. Dillard juxtaposes the eclipse's physical darkness with its metaphorical implications, likening it to death's engulfing obscurity and the subsequent fading of memories. Through her contemplations, she suggests that while language and memory may fall short in fully capturing such extraordinary phenomena, they remain essential tools for engaging with and making sense of the world. This theme of the limitations of human comprehension and expression underscores the essay's exploration of the intersection between natural phenomena, human experience, and the quest for meaning in the face of mortality.
