It is true that anyone who cares about a child’s well-being would wish to protect that child from potential harm. If a child were to approach a hot stove, a responsible parent would place him or her at a safe distance from the heat source. Government or special interest groups would not even think to intervene in that scenario. So, why should they arbitrarily decide what is best for my children concerning the books they read?
John Stuart Mill, author of a classic essay entitled On Liberty remarked, “…the peculiar evil of silencing the expression of an opinion is, that it is robbing the human race; posterity as well as the existing generation; those who dissent from the opinion, still more than those who hold it. If the opinion is right, they are deprived of the opportunity of exchanging error for truth: if wrong, they lose, what is almost as great a benefit, the clearer perception and livelier impression of truth, produced by its collision with error.”
According to the A.L.A, the Office of Intellectual Freedom has listed the top three reasons for banning or censoring books:
• the material was considered to be “sexually explicit”
• the material contained “offensive language”
• the material was “unsuited to any age group”
These reasons would certainly warrant due cause for censorship with regard to shielding our children from potential cognitive damage at an early age. The debate concerning this issue is not whether or not literature should be censored; rather the real inquiry determines who has the right to censor the offensive literature.
I would then pose this question with regard to book banning or censorship in America: Should certain literary classics become banned or censored in the U.S. due to content which is considered by members of today’s society to be damaging, offensive, and/or controversial? And does this ultimately violate the author’s 1st amendment rights?
I would like to begin by making the following purely opinion-based assessments:
First, banning or censoring literary works should not be dictated by the governing body or general public. Second, parents and teachers should take personal responsibility in previewing literature that may be potentially cognitively damaging to the children before allowing them to read the material. And finally, without the use of fact-based literature, the realistic portrayal of historical events may not be made available to those who might gain better insight into past lifestyles or events through reading. “Many firsthand accounts of the American Civil War were written by men who had fought in it, but few eyewitnesses give us so keen a sense of actual life on the battlefront as the author of The Red Badge of Courage, Stephen Crane, who was born after the war was over” (Kennedy 3). Although images may be considered damaging and harmful to some, others may wish to educate their children through the use of ‘raw’ truth. Even fictional historically-based novels provide slices of historical fact, which is helpful in developing a clearer picture and a better understanding of eras long past. We often learn from the mistakes made by others in hind-sight. Sometimes history is not at all attractive and is often quite repulsive. However, is there any way to improve upon the mistakes of the past if we are not adequately informed while reviewing the details of those errors? Or maybe we could learn a thing or two from past accomplishments as well. Exactly who has the right to make that determination?
I find particular agreement with the American Library Association as the Library Bill of Rights declares, “Librarians and governing bodies should maintain that parents—and only parents—have the right and the responsibility to restrict the access of their children—and only their children—to library resources.” As a mother of two young children (with a son who is a “literary sponge”), I feel that it is my right and responsibility to take the time to preview the literature that my children plan to read. I may not have the opportunity to read each and every book beforehand, but I can perform my own independent research using reliable resources to consider the content of the text. My determination at that point will be predicated upon my desire to “censor” my children’s literature, not according to some organization, government, or group with which I am not even remotely associated or perhaps may not particularly agree with. With regard to a survey I conducted at the privately owned school where I work, the results depicted a unanymous support for the right of parents and teachers to determine censorship where literature is concerned. Some of the additional comments provided by my co-workers are posted in my previous blog.
Books such as Harry Potter, Gone With the Wind, Tom Sawyer, Huckleberry Finn, The Red Badge of Courage, among many other classic literary works have been challenged by religious organizations and independent groups for years. According to an article by Amanda Cockrell published in the Journal of American Culture, the focus of censorship today has switched from issues regarding sex to the occult. J.K. Rowling, author of the Harry Potter series, has been accused of indoctrinating children using “Satanism and witchcraft” (Cockrell 2006). Should we keep her from writing simply because some individuals or groups dislike the influence of her stories? How many children who previously loathed reading will pick up a Harry Potter book and perhaps gain a new appreciation for a seemingly endangered pastime? What happened to J.K. Rowling’s First Amendment rights? What happened to my right to determine whether or not my children may be exposed to her creative musings? My children are well grounded in religion and I have no concerns whatsoever that due to the writings of J.K. Rowling they will go out and join the occult. Afterall, it is purely fiction!
I would like to locate more evidence to substantiate the opposing argument to this issue as there is seemingly very little to be had. Perhaps there is more to consider regarding the censorship process that I am not privy to or currently aware of. I am open to gaining further insight into the reason behind this ongoing heated debate. I would invite all to issue any response, concerning agreement or disagreement, to my remarks in order to facilitate a continuing provocative debate concerning my topic inquiry.
Works Cited
American Library Association. “About Banned & Challenged Books” 2009. http://www.ala.org/ala/issuesadvocacy/banned/aboutbannedbooks/index.cfm
American Library Association. “Library Bill of Rights” (1996). http://www.ala.org/ala/aboutala/offices/oif/statementspols/statementsif/librarybillrights.cfm
Cockrell, Amanda. “Harry Potter and the Witch Hunters: A Social Context for the Attacks on Harry Potter” The Journal of American Cultures; March 2006.
Kennedy, X.J. and Gioia, Diana. Literature: An Introduction to Fiction, Poetry, Drama, and Writing. New York: Pearson-Longman, 2007. 3
Friday, November 20, 2009
Thursday, November 19, 2009
Blog Entry 22: Freestyle
I am interested to see the results from my upcoming Blog Party assignment. I performed a survey at work this week and found the results to be overwhelmingly one-sided. As I anonymously surveyed the staff at our school, it is evident that we all seem to agree very strongly with regards to the right of parents and teachers to monitor censorship concerning the books our children and students are allowed to read. Here are a few of the comments that were shared by the teaching staff in my survey.
"Isn't censorship a form of Communism? I do not want the government to censor what I can or cannot read."
"Material that is offensive to one person may not be offensive to others. Discretion should be allowed."
"The world's not a perfect place and the more my children are exposed to the realities of life (history), the better prepared they will be. No censorship!"
I thought that at least a few of the individuals I work with might have a differing opinion, especially considering their political views. However, this information supports the fact that the people I associate with in the Private School sector in particular still value our First Amendment rights, preserving freedom of speech. Interesting... ;o)
"Isn't censorship a form of Communism? I do not want the government to censor what I can or cannot read."
"Material that is offensive to one person may not be offensive to others. Discretion should be allowed."
"The world's not a perfect place and the more my children are exposed to the realities of life (history), the better prepared they will be. No censorship!"
I thought that at least a few of the individuals I work with might have a differing opinion, especially considering their political views. However, this information supports the fact that the people I associate with in the Private School sector in particular still value our First Amendment rights, preserving freedom of speech. Interesting... ;o)
Blog Entry 21: Scene Response
It is quite interesting to me how each interpretation of Othello clearly alters the entire mood of the same scene. I will attempt to include the various multiple comparisons that I found along with the contrasting elements that I observed in all three clips.
Othello 1952 began outside by the seashore, but since it was a black & white production I related it to a dull, grey setting. Once Othello and Iago move inside it becomes dank and even darker. The walls are made of hard stone and the room has a hollow echoing sound. Othello is a clearly disturbed, unsure, and stoic man who is dressed in battle armor. Iago is a cunning, predatory, evil-looking man who is not attractive by any measure. Iago is dressed in a dark-looking cape, indicating to the viewer that he is possibly up to sinister deeds. The music in the background provides and enhances the creepy, disturbing atmosphere. The dialogue seems rigid between the characters, as if they are not sure of one another. There is no flashback used. There is substantial use of shadow and darkness. The single item on the wall inside is a mirror, which Othello examines as he begins to realize his mounting rage. Occasional close-ups are used as well in this scene. The dialogue is practically word for word with Shakespeare’s play.
In the 1981 version of this same clip, the scene is starkly altered from the first. It takes place in a well-lit, airy room with a desk, white walls, and a nice tapestry hanging in the background. Othello is a quick-witted and whimsical tease who regularly taunts the more submissive, serious, and polished Iago. Othello is dressed well, but is slightly more casual looking than Iago. There is no background music. The dialogue delivered by Othello is cool in manner while Iago appears clearly nervous and uptight. I noticed that quite a bit of the actual dialogue is skipped over or altered in order to provide a more fluent understanding for the viewer. There is no flashback used in this clip. There is substantial use of close-up, however. There is little, if any, use of shadow. It was a little more understandable to me than the first.
The 1995 version of this scene is a refreshing change from the other two, in my opinion. Othello is painted as a cool, sure, seemingly well-controlled individual. He is clearly of black decent, which lends more validity to the racial implication to which Shakespeare alludes in the play. Iago and Othello are equally outfitted in casual leather attire. Othello wears a vest while Iago wears a less casual overcoat. The scene begins out in a courtyard where the encounter between the two is of a light tone and familiar nature. The conversation soon moves to a darker-looking weapons room where Othello, being somewhat of a personally collected while threatening individual, begins to assemble a weapon. The room itself is intimidating, equipped with hundreds of weapons of all kinds. Iago is more of a physical “touchy” friend to Othello. He is definitely a more familiar, trusting, and honest-looking man than the Iagos used in the previous clips. He has no trouble speaking his mind. The music in the background changes with the altered content of the dialogue. The dialogue is delivered with fluency by both characters as the gestures made while speaking prove helpful in obtaining a clearer understanding of the words. Many of the original words of the play are skipped over. They are perhaps not necessary in order to get the point across. The cinematographer offers a great number of close-ups in this clip. The use of flashback is substantial as well. There is a clearly disturbing atmosphere toward the end as Othello permits his mind to wander and imagines disturbing scenes regarding Desdemona which begin to fuel his anger.
It is quite interesting to me how three movie clips depict this scene using such contrasting methods. The alternative moods and understanding of the dialogue for the viewer is starkly different, yet the overall scene and dialogue are similar. I found it compelling as well that the first two clips use an actor to play the role of Othello who is not obviously of a different race. However, the last clip uses an actor who more accurately fits the role of a Moor, as perhaps intended by Shakespeare.
Othello 1952 began outside by the seashore, but since it was a black & white production I related it to a dull, grey setting. Once Othello and Iago move inside it becomes dank and even darker. The walls are made of hard stone and the room has a hollow echoing sound. Othello is a clearly disturbed, unsure, and stoic man who is dressed in battle armor. Iago is a cunning, predatory, evil-looking man who is not attractive by any measure. Iago is dressed in a dark-looking cape, indicating to the viewer that he is possibly up to sinister deeds. The music in the background provides and enhances the creepy, disturbing atmosphere. The dialogue seems rigid between the characters, as if they are not sure of one another. There is no flashback used. There is substantial use of shadow and darkness. The single item on the wall inside is a mirror, which Othello examines as he begins to realize his mounting rage. Occasional close-ups are used as well in this scene. The dialogue is practically word for word with Shakespeare’s play.
In the 1981 version of this same clip, the scene is starkly altered from the first. It takes place in a well-lit, airy room with a desk, white walls, and a nice tapestry hanging in the background. Othello is a quick-witted and whimsical tease who regularly taunts the more submissive, serious, and polished Iago. Othello is dressed well, but is slightly more casual looking than Iago. There is no background music. The dialogue delivered by Othello is cool in manner while Iago appears clearly nervous and uptight. I noticed that quite a bit of the actual dialogue is skipped over or altered in order to provide a more fluent understanding for the viewer. There is no flashback used in this clip. There is substantial use of close-up, however. There is little, if any, use of shadow. It was a little more understandable to me than the first.
The 1995 version of this scene is a refreshing change from the other two, in my opinion. Othello is painted as a cool, sure, seemingly well-controlled individual. He is clearly of black decent, which lends more validity to the racial implication to which Shakespeare alludes in the play. Iago and Othello are equally outfitted in casual leather attire. Othello wears a vest while Iago wears a less casual overcoat. The scene begins out in a courtyard where the encounter between the two is of a light tone and familiar nature. The conversation soon moves to a darker-looking weapons room where Othello, being somewhat of a personally collected while threatening individual, begins to assemble a weapon. The room itself is intimidating, equipped with hundreds of weapons of all kinds. Iago is more of a physical “touchy” friend to Othello. He is definitely a more familiar, trusting, and honest-looking man than the Iagos used in the previous clips. He has no trouble speaking his mind. The music in the background changes with the altered content of the dialogue. The dialogue is delivered with fluency by both characters as the gestures made while speaking prove helpful in obtaining a clearer understanding of the words. Many of the original words of the play are skipped over. They are perhaps not necessary in order to get the point across. The cinematographer offers a great number of close-ups in this clip. The use of flashback is substantial as well. There is a clearly disturbing atmosphere toward the end as Othello permits his mind to wander and imagines disturbing scenes regarding Desdemona which begin to fuel his anger.
It is quite interesting to me how three movie clips depict this scene using such contrasting methods. The alternative moods and understanding of the dialogue for the viewer is starkly different, yet the overall scene and dialogue are similar. I found it compelling as well that the first two clips use an actor to play the role of Othello who is not obviously of a different race. However, the last clip uses an actor who more accurately fits the role of a Moor, as perhaps intended by Shakespeare.
Monday, November 16, 2009
Blog Entry 21: Quote-Response Othello Act III
Quote:
“Where virtue is, these are more virtuous.
Nor from mine own weak merits will I draw
The smallest fear or doubt of her revolt,
For she had eyes, and chose me” (Shakespeare 987).
Response:
Othello does his best to refute Iago’s claims that his dear wife is less than faithful. He tries to rationalize by reminding himself that he has a weakness concerning jealousy, but that she had a choice among men and she chose him.
The words that captured my attention in this quote were “mine own weak merits” (Othello 987) in which Othello recognizes his own internal weakness, causing him to initially doubt his wife’s fidelity. He seems to be actively looking for a way to prove Desdemona’s innocence when later in this speech he declares, “Away at once with love or jealousy” (Shakespeare 987). Occasions are evident throughout this act in which Othello wrestles aloud with his inclination to resort to jealousy and doubt. He does not wish to believe the heartbreaking revelations he doomed to face.
The importance of this portion of Act III allows the audience to gain sympathy for Othello as he attempts to overcome his jealous tendencies through a series of rationalizations. He is trying; He loves his wife; and he does not wish to remain suspicious of her. The evidence, however, is surmounting and it grieves him to come to the acceptance that Desdemona may not be as faithful as he wholeheartedly wished her to be.
“Where virtue is, these are more virtuous.
Nor from mine own weak merits will I draw
The smallest fear or doubt of her revolt,
For she had eyes, and chose me” (Shakespeare 987).
Response:
Othello does his best to refute Iago’s claims that his dear wife is less than faithful. He tries to rationalize by reminding himself that he has a weakness concerning jealousy, but that she had a choice among men and she chose him.
The words that captured my attention in this quote were “mine own weak merits” (Othello 987) in which Othello recognizes his own internal weakness, causing him to initially doubt his wife’s fidelity. He seems to be actively looking for a way to prove Desdemona’s innocence when later in this speech he declares, “Away at once with love or jealousy” (Shakespeare 987). Occasions are evident throughout this act in which Othello wrestles aloud with his inclination to resort to jealousy and doubt. He does not wish to believe the heartbreaking revelations he doomed to face.
The importance of this portion of Act III allows the audience to gain sympathy for Othello as he attempts to overcome his jealous tendencies through a series of rationalizations. He is trying; He loves his wife; and he does not wish to remain suspicious of her. The evidence, however, is surmounting and it grieves him to come to the acceptance that Desdemona may not be as faithful as he wholeheartedly wished her to be.
Friday, November 13, 2009
Blog Entry 19: Freestyle
I must admit that I am not looking forward to yet another discussion next week in which I have the more difficult side to argue! ;o)
As I read through Othello and perform research regarding who the Moors actually were, particularly concerning their race, I find it difficult to believe that race does not play a large part in Brabantio's objection to the union between Othello and Desdemona. By all other accounts, Othello is a well-respected and successful man who has not particularly even raised an eyebrow-until he married Desdemona. Perhaps if I dig a little deeper and do a bit more research, I can come up with a good argument for the side against racial implications in Othello. I wish myself luck (please wish me luck as well if you are reading this) and bid this blog adieu, for the hour of sleep is soon passing and exhaustion overcometh me! Adieu...adieu...and adieu!
As I read through Othello and perform research regarding who the Moors actually were, particularly concerning their race, I find it difficult to believe that race does not play a large part in Brabantio's objection to the union between Othello and Desdemona. By all other accounts, Othello is a well-respected and successful man who has not particularly even raised an eyebrow-until he married Desdemona. Perhaps if I dig a little deeper and do a bit more research, I can come up with a good argument for the side against racial implications in Othello. I wish myself luck (please wish me luck as well if you are reading this) and bid this blog adieu, for the hour of sleep is soon passing and exhaustion overcometh me! Adieu...adieu...and adieu!
Thursday, November 12, 2009
Blog Entry 18: Quote-Response (Othello I & II)
Quote:
"I do perceive here a divided duty.
To you I am bound for life and education (upbringing);
My life and education both do learn (teach) me
How to respect you. You are the lord of duty (to whom duty is due);
I am hitherto your daughter. But here's my husband,
And so much duty as my mother showed
To you, preferring you before her father,
So much I challenge (claim) that I may profess
Due to the Moor my lord" (Shakespeare 954).
Response:
These are Desdemona's first words, directed toward her father, as she enters the scene where the men are attempting to debate the cause for union between Othello and Desdemona. While Brabantio (Desdemona's father) launches accusations against Othello that he wooed and lured Desdemona through sorcery or magic, Othello references a contrary magical love, fostered by his inspiring tales and Desdemona's intense reaction to them. Desdemona then enters the scene to set the record straight. She observes the escalating conflict between two men, of whom she wishes to remain similarly dutiful. A great deal of her loyalty lies with her father, who raised her and helped her to become the strong and independent thinker that she now recognizes within herself. The greater portion of her loyalty lies with her husband, however, as he now occupies the remaining void in her heart. Desdemona attempts to explain to her father that she is as loyal to her own husband as her mother was to him.
This opening quote by Desdemona is important as it introduces us to a strong, independent, and faithful woman. She obviously commands respect among these men. Otherwise, they would never even consider claims regarding her love for Othello. She is clever enough to cement a pending argument by calling upon a more familiar example. She mentions her own mother, the wife of her father, whose duty is to that of her husband, which is inarguably her proper role as a wife. The words "preferring you before her father" (Shakespeare 954) lay claim to a perfect irrefutable example of a generational duty in a marriage. It is an effective way for Desdemona to leave no room for argument as Brabantio and the other men attempt to thwart possible justification regarding the controversial marriage between Othello and Desdemona.
"I do perceive here a divided duty.
To you I am bound for life and education (upbringing);
My life and education both do learn (teach) me
How to respect you. You are the lord of duty (to whom duty is due);
I am hitherto your daughter. But here's my husband,
And so much duty as my mother showed
To you, preferring you before her father,
So much I challenge (claim) that I may profess
Due to the Moor my lord" (Shakespeare 954).
Response:
These are Desdemona's first words, directed toward her father, as she enters the scene where the men are attempting to debate the cause for union between Othello and Desdemona. While Brabantio (Desdemona's father) launches accusations against Othello that he wooed and lured Desdemona through sorcery or magic, Othello references a contrary magical love, fostered by his inspiring tales and Desdemona's intense reaction to them. Desdemona then enters the scene to set the record straight. She observes the escalating conflict between two men, of whom she wishes to remain similarly dutiful. A great deal of her loyalty lies with her father, who raised her and helped her to become the strong and independent thinker that she now recognizes within herself. The greater portion of her loyalty lies with her husband, however, as he now occupies the remaining void in her heart. Desdemona attempts to explain to her father that she is as loyal to her own husband as her mother was to him.
This opening quote by Desdemona is important as it introduces us to a strong, independent, and faithful woman. She obviously commands respect among these men. Otherwise, they would never even consider claims regarding her love for Othello. She is clever enough to cement a pending argument by calling upon a more familiar example. She mentions her own mother, the wife of her father, whose duty is to that of her husband, which is inarguably her proper role as a wife. The words "preferring you before her father" (Shakespeare 954) lay claim to a perfect irrefutable example of a generational duty in a marriage. It is an effective way for Desdemona to leave no room for argument as Brabantio and the other men attempt to thwart possible justification regarding the controversial marriage between Othello and Desdemona.
Wednesday, November 11, 2009
Blog Entry 17: Quote-Response on "Trifles"
Quote:
"Mrs. Hale: [Examining another block.] Mrs. Peters, look at this one. Here is the one she was working on, and look at the sewing! All the rest of it has been so nice and even. And look at this! It's all over the place! Why, it looks as if she didn't know what she was about" (Glaspell 837).
Response:
As Mrs. Peters and Mrs. Hale attempt to disassociate Mrs. Wright from any possible implication of murder, they both begin to realize at this point (as only women would) that Mrs. Wright has recently become preoccupied and distressed. The first awareness that perhaps Mrs. Wright is not as innocent as they would like to believe becomes evident in the erratic stitching found in her quilting style. As the men continue to bathe in self-importance, searching for obvious clues, the women are able to find the most provocative clue while solving the case right under the men's noses.
The cleverness of women in the day of Susan Glaspell was not only unrecognized, but unwelcome by men. The words, "...she didn't know what she was about" (Glaspell 837), stand out to suggest an irrefutable empathy shared by the women. Both women, through silent recognition, conclude and acknowledge that when a woman is under stress, it can be abundantly apparent in her stitching. I was quite taken with the loyalty these women display for one another as they attempt to offer unuttered justification for one of their own kind, even though her crime may have been heinous and unacceptable by man's laws.
"Mrs. Hale: [Examining another block.] Mrs. Peters, look at this one. Here is the one she was working on, and look at the sewing! All the rest of it has been so nice and even. And look at this! It's all over the place! Why, it looks as if she didn't know what she was about" (Glaspell 837).
Response:
As Mrs. Peters and Mrs. Hale attempt to disassociate Mrs. Wright from any possible implication of murder, they both begin to realize at this point (as only women would) that Mrs. Wright has recently become preoccupied and distressed. The first awareness that perhaps Mrs. Wright is not as innocent as they would like to believe becomes evident in the erratic stitching found in her quilting style. As the men continue to bathe in self-importance, searching for obvious clues, the women are able to find the most provocative clue while solving the case right under the men's noses.
The cleverness of women in the day of Susan Glaspell was not only unrecognized, but unwelcome by men. The words, "...she didn't know what she was about" (Glaspell 837), stand out to suggest an irrefutable empathy shared by the women. Both women, through silent recognition, conclude and acknowledge that when a woman is under stress, it can be abundantly apparent in her stitching. I was quite taken with the loyalty these women display for one another as they attempt to offer unuttered justification for one of their own kind, even though her crime may have been heinous and unacceptable by man's laws.
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