Punter explores the transitional change that gothic literature had underwent in correlation with societies alterations, the change of the late 18 hundreds in other words the French revolution had certainly assisted gothic literature in becoming more prominent during the 18^th and 19^th centuries, no longer in France was bourgeois romantic narratives-so favoured by the aristocrats- ideal or at all relatable, thus replacing the predominant romantic period, this transformations is seen through the change in writers works - who are known for their romantic novella ‘s- opting for the darker root of literature, a great example of this would be of Robert Louis Stevenson who rose to fame with his treasure island, yet later on the 19^th century preferred a more Gothic turn in the case of ‘the strange case of Dr.Jackylle and Mr. Hyde . According to Punter the resurface of gothic literature and architecture, marks the progressive change of society to the newly re-emergence of the Gothic ‘in contrast to the classical mode revered in the earlier part of the 18^th century’. Punter gives the basic form of key ingredients that make up the gothic structure, that we are all familiar with, one of them being the feminist aspect in which the snow child has no control over her own self yet the count has seemed to favour her and thus commutes his wife’s possessions onto the girl; a power struggle plays out between the countess as she fears the count’s interest in the girl and thus feels threatened  she fears her she herself and her worldly livelihood would be replaced with the girl and thus orders her about to regain some of her lost stature. Though traditional Gothic literature has some elements of melodrama; carter as expressed by punter has seemed to move from that direction all together and focuses on the raw essence of gothic itself without a combination of other genres.

moena 

The Gothic

Please read the article by David Punter about the Gothic here

Then, please add a comment, making a specific reference to both the article and at least one of the stories from 'The Bloody Chamber' that you have read. You may also wish to consider other critical material you have encountered.

Could you please also write down the 6 key words/phrases Punter lists for "Why is the Gothic?" and bring them to our next lesson (Tuesday 26th June).


Nussbaum

The Bishop Orders His Tomb

Reminiscing his life as he lies on his deathbed surrounded by his ‘nephews’, the Bishop gives his specific instructions of how his tomb should be built when he dies. Continually emphasising his wish to surpass Gandalf, the Bishop appears to swing between the contradictions of trust he has in his ‘nephews’ and his specific desires for his tomb.


Attitudes towards death and the afterlife
The Bishop’s orders for his tomb contradict his faith in his religion after death. Revealing his designs, the Bishop displays he has been preparing his tomb for a long period of his life, especially with the hiding of the ‘lapis lazuli’ in which he requests a treasure hunt for the ‘nephews’ to seek. His contradiction of his own religious beliefs arises because, as a Catholic, his focus would be naturally assumed to lie in spending the last of his mortal life gaining entry to his eternal life in Heaven: rather than spending his years obsessing with aesthetes to immortalise himself in the art of his tomb.


Attitudes towards others
Throughout the poem, the Bishop’s faith in his ‘nephews’ swings between a state of trust and paranoia. On the one hand he trusts his ‘nephew’s’ compassion, and believes they will build his tomb exactly as he wishes with a “slab of basalt”, “nine columns” and Tully’s “Choice Latin”. On the other hand, he gives himself the doubt that his ‘nephews’ want him gone, that they will not bother with his last wishes, even celebrate his passing, and Gandalf will get the better hand in the very end. Either way, in the Bishop’s situation, he relies on his ‘nephews’ to do his biddings after his death. The attitudes that remain constant throughout the poem are the Bishop’s bitter emotions towards Gandalf and his “fair” woman: both of whom have already passed away.


Immortalisation through art
Like Robert Browning’s other poems such as My Last Duchess and Fra Lippo Lippi, the Bishop’s designs for his tomb creates a permanent hold on this world so that he may, in a sense, live forever in memory. However, his contradictions to his own religion and belief reflect his loosening grip on reality and the world as his decaying speech unravels his mental stability. Now, he wants Ulpian instead of Tully, “antique black” rather than basalt and, at the very end of the poem, he backtracks to his “fair” woman in line 5.

Key ideas
Browning seems to explore two main ideas from this poem: death and art. He portrays the steady downfall of a man as his days near death, where he has lost his power and stability to paranoia and confusion. He is no longer able to distinguish religious references and cannot settle his orders clearly, and so highlights that everyone is equal in death. The other is art: the permanence that may remain in the world even after death to symbolise the presence of a person once alive. The Bishop uses the last of his power and influence over his ‘nephews’ to carry out his one last wish, which most dominantly appears to be remembered for eternity.

Emma

Desdemona - Act 4 Scene 2

ACT 4 SCENE 2

Othello’s downfall has begun; yet its true beginning starts when the other characters understand the change that Othello has undergone. Act 4 scene 2 is dominated by Desdemona, her image or personality has shaped itself so as to not tread on Othello’s temper. Shakespeare uses his characters to underline Othello’s downfall by expressing a slight difference in their speech or behaviour. One of the characters being Desdemona, whose change of nature towards Othello empathises the shear foreboding that lingers in her subconscious.

Her gentle character has become even more subtle and tender so as to please her “lord” rather than let Othello “stick the smallest opinion on my [her] least misuse”. Her speech carries a more formal tone; one which addresses a higher power or superior ranking. “My lord, what is your will?” Desdemona’s language is seen to have become more submissive to her husband, this change in tone is perhaps due to Othello’s change of character and the apprehension she gets from his exterior; her complete submission is also down to the fact that she simply does not want to provoke Othello’s already potent fury.

Shakespeare alters Desdemona’s language to render the imbalance of their marriage into awareness; from beginning as equals; there’s now a shift of power- Othello having gained most of it- where now Desdemona is trying to survive the hidden wrath of Othello’s jealous resentment towards her. Her language shows this alteration in power “I hope my noble lord esteems me honest”; this new formality with Othello has derived from the fact that Desdemona is aware that he has endured a huge transformation or ‘rebirth’.

Othello’s language has further reinforced her judgment of his conversion; before Othello’s revival he would simply refer to Desdemona as “O, my fair warrior”- note that he calls her a warrior a term which wouldn’t be used for Women as they are seen as inferior to men or incapable- his speech expresses how Othello sees Desdemona as his equal; in strength of mind and in strength of heart. But subsequent to his regeneration he now perceives her to be an “imprudent strumpet!” “You mistress.....whore”. His language has provided further confirmation of his demise.
Shakespeare shrewdly accentuates the protagonist’s downfall not only through their change in nature but also through the representation of the other characters. This achieves the final stage of Othello’s downfall as his reputation is now tarnished as a result of his rebirth; which has now equipped him with a new abhorrence towards humanity. Desdemona is conscious not only of his change but also of the extent of his corruption.


>Moena<

Desdemona - Act 3 Scene 4

Throughout Act 3 Scene 4, Desdemona has significance in emphasising Othello’s tragedy from before his breakdown and after his rebirth. Her role is mainly to be a tool for Iago to manipulate Othello’s tragedy; however as an individual character she is a reminder for the audience of Othello as a general of Venice before his breakdown in Act 3.

As a character that seems to have little contact with Iago, she begins to use language of “jealous creatures” and “monster”, a motif of Iago’s “green-eyed monster” in describing jealousy shows that his manipulation has extended even to Desdemona to emphasise his ability to change characters’ perceptions. Also, her lying to Othello about the losing handkerchief is an illustration of the deceit and dishonesty that Iago uses for manipulation, emphasising Othello’s tragedy as Desdemona reflects his rebirth into Iago’s ideals.

However, despite a slight change in language, Desdemona’s character does not change much to what the audience see her as in Act 1. Unlike some other characters, Desdemona still appreciates her sentimental values over materialistic values. Referring to the handkerchief, “I had rather have lost my purse full of crusadoes”, contradicting Iago’s value of money and possession to remind the audience of Othello’s original ideals. Also, “my lord is not my lord” highlights that Othello is a changed man and that she does not recognise his attitudes. Therefore, Desdemona’s role in emphasising Othello’s tragedy is to contrast his character before and after his rebirth.

During Desdemona and Othello’s conversation in Act 3 Scene 4, fragmented verse is used to quicken the pace of speech. Specifically, lines 47-52 “Lend me thy handkerchief/Here my lord/ That which I gave you/ I have it not about me/ Not?/ No faith, my lord” where the two finish each other’s lines off, the speed of dialogue becomes rapid to increase tension and foreshadows an eruption of emotions after such a build-up. Therefore, Desdemona emphasises Othello’s tragedy as she highlights his loss of patience with her in comparison to their easy-flow of conversations before his breakdown.

The handkerchief is significant in this scene for its symbolism as a turning point in the play. As Desdemona loses the handkerchief, Othello is made more suspicious as she tells him “I say it is not lost”, firstly causing him to lose his patience at her rejection of bringing it to him but also, as she persistently talks of Cassio, ignorantly leads Othello to the conclusion that she has given it to Cassio (not lost). Therefore, Desdemona’s role in emphasising Othello’s tragedy in Act 3 Scene 4 is to add tension to Othello’s already-suspicious mind, building up to the doubt and loathing he develops of his wife from jealousy.

Holly and Emma

Iago - Act 4 Scene 1 (a)

Iago seems to be commanding Othello's imagination to conjure up images of infidelity early in this scene. "Lie with her? Lie on her? We say lie on her when they belie her. Lie with her! Zounds, that's fulsome! Handkerchief- Confessions- handkerchief!" Most of this is exclamatory, reinforcing Othello's shock and disbelief. We soon see that his sentences become incomplete and incoherent through repetition which indicates a breakdown. He is barely in control of his senses- thus, Othello has a fit. Iago enjoys his power of watching the Moor suffer. It is ironic that Iago call his poisonous influence "medicine" and it is cruel that Iago should tell Othello to "bear your fortune like a man" while torturing him with thoughts of those who make other men cuckolds every night. He intends to attack Othello's manhood.

Furthermore, we see that Othello is reduced to asking questions instead of commanding. "How shall I murder him, Iago?" He is in Iago's control despite the fact it is difficult for Othello to submit to his ensign's view. He gives in as his shocking words "I will chop her into messes! Cuckold me!" highlight egotism and savagery- Iago has turned Othello into the stereotype of a primitive black man described in Act 1 Scene 1. Othello initially intends to poison Desdemona; this proves that he has adopted Iago's characteristics. Iago then persuades him to strangle Desdemona which is much more aggressive and physical. The act of strangling someone intense and takes a lot of nerve to do it. Disturbing as it seems, Othello agrees to this. Iago is successful in his objectives throughout this scene.

When Cassio enters the scene we see that Othello uses "asides" which represents an alienation; Othello has been removed and eavesdrops on Iago and Cassio's conversations which makes him seem almost like an outsider. Iago's deliberate innuendos within this conversation agitate Othello- he is now torn between his wife's sweetness and her treachery.

By Yusuf and Joseph.

Othello - Act 3 Scene 3

Act 3 Scene 3 is the pivotal scene in Othello. It begins with Othello feeling in control and content with his marriage; it ends with him on his knees, believing his wife to be a whore and ready to murder the person who was previously his personal choice for second in command.

In our lessons on Act 3 Scene 3, we focussed on various elements to see how the scene functions.

1) Tipping Points - We discussed how the Scene and various aspects of the Scene can be viewed as a tipping point - the moment at which there is a change of state, at which an inbalance is caused - in a variety of ways: in Othello's own way of behaving; in how Iago's previous mindset becomes reflected (or balanced) in Othello's and then descends further; in how something insignificant can prove the final addition that makes the whole 'balance' of a conflict change; in how several key events which will help form the tragedy happen for the first time in this Scene.
2) Dialogic Form and Function - We looked at the FORM of adjacency pairs (where speech operates as turn-taking, with the previous speech makes clear the expected response from the next speaker) and non-sequiturs (breaking from the expected form by introducing something completely unexpected) as part of communication between two people. We also looked at four FUNCTIONS of speech - Declaratives (deliver information), Interrogatives (request information), Imperatives (direct to a course of action), Exclamatories (express emotion, not fully formed information). We used these to track Iago and Othello's dialogue to see how they express themselves, how it changes, and the interplay between the two characters
3) Intentioning - Acting works around objectives (what a character wants) and motivation (why they want it). Intentioning replaces the actual communication with what the character is trying to achieve through it. We used this technique to track how Iago & Othello communicate with each other.
4) Imagery - From the imagery that Iago has been using in the first half of the play, we identified the worldview that he has from the use of this imagery. As we observe Iago's manipulation of Othello to tragic effect, we noted how examples of Iago's imagery start to appear in his speech.
5) Key Words - We compared and contrasted Iago & Othello's 2 conversations in the Scene, noting the frequency of words and how they change and considering the importance of "thinking" turning into "seeing".
6) Stagecraft - We looked in particular at the 2 elements of stage direction which end Iago & Othello's conversation together, considering intepretations and how the emphasise Othello's tragic downfall.
7) Influences - To evaluate the character of Othello and consider his culpability for his own tragedy, we charted the information he is given access to (regardless of the intention behind it). From this, we discussed how and why Othello reaches the conclusions he does, and to what extent we sympathise with him.


Please feel free to make an insightful, intelligent, fully thought out comment on any of these areas, and please feel compelled to make one by the end of this week.

The following people need to do this (names removed when a suitably fantastic comment is added):
 

Sadia

Saher

Latia

Lucy

Breshna

Moena

Mr. Nussbaum