Wednesday, 5 January 2011

Victorian context sheets

Victoria's empire
 In 1882 Britain was in the later stages of acquiring the largest empire the world had ever seen. By the end of Victoria's reign, the British empire extended over about one-fifth of the earth's surface and almost a quarter of the world's population at least theoretically owed allegiance to the 'queen empress'.
These acquisitions were not uncontested. A number of colonial wars were fought and insurgencies put down as bloodily as the colonisers considered necessary.
It would be a gross exaggeration to claim, as many contemporaries did, that those living in a British colony felt privileged to be ruled by a people anxious to spread the virtues of an ordered, advanced and politically sophisticated Christian nation to those 'lesser breeds' previously 'without the law'.
That said, there is no gainsaying the fact that both many colonial administrators and Christian missionaries took on their colonial duties with a fierce determination to do good.
Britain's status as the financial capital of the world also secured investment inflows which preserved its immense prosperity.
One has only to walk along Liverpool's waterfront and view the exceptional 'Three Graces', (the Mersey Docks and Harbour Board, Royal Liver and Cunard buildings) planned and erected in the decade or so after Victoria's death, to understand the centrality of commerce and overseas trade in making Britain the world's greatest power during the 19th century.
Liverpool's status as a World Heritage City is fitting testament to a period when Britain did indeed 'rule the waves'.



Industrial Revolution
Victoria came to the throne during the early, frenetic phase of the world's first industrial revolution. Industrialisation brought with it new markets, a consumer boom and greater prosperity for most of the propertied classes.
It also brought rapid, and sometimes chaotic change as towns and cities expanded at a pace which precluded orderly growth.
Desperately poor housing conditions, long working hours, the ravages of infectious disease and premature death were the inevitable consequence.
The Victorians wrestled with this schizoid legacy of industrialism. The Victorian town symbolised Britain's progress and world pre-eminence, but it also witnessed some of the most deprived people, and depraved habits, in the civilised world.
Taming, and then improving, Britain's teeming cities presented a huge challenge. Mortality data revealed that, in the poorer quarters of Britain's larger cities, almost one child in five born alive in the 1830s and 1840s had died by the age of five. Polluted water and damp housing were the main causes.
Death rates in Britain as a whole remained obstinately above 20 per thousand until the 1880s and only dropped to 17 by the end of Victoria's reign.
Life expectancy at birth, in the high 30s in 1837, had crept up to 48 by 1901. One of the great scourges of the age - tuberculosis - remained unconquered, claiming between 60,000 and 70,000 lives in each decade of Victoria's reign.



Civic engagement
Despite substantial medical advances and well-informed campaigns, progress in public health was desperately slow in Victoria's reign.
This had much to do with healthy scepticism about the opinions of experts, particularly when those experts advocated greater centralised state interference in what they considered to be the proper sphere of local authorities and agencies.
Furthermore, state involvement meant higher taxes and higher taxes were said to hamper both business and job creation. Localism undoubtedly stymied many public health initiatives at least until the last two decades of the reign.
The Victorian era saw considerable expenditure on monuments to civic pride. The competitive ethic which drove so much business enterprise was channelled by local worthies into spending on opulent town halls and other civic buildings.
By no means all of these were intended for the use of a propertied elite. Libraries, wash-houses and swimming baths were all funded as part of a determination to provide working people with the means to improve themselves.
Civic identity and civic engagement were more powerful forces in Victorian than in early 20th-century Britain.
Nor were the Victorian middle and upper classes parsimonious over charitable giving. The 1860s alone saw the formation of the Society for the Relief of Distress, the Peabody Trust, Barnardo's Homes and the Charity Organisation Society.
These national organisations were multiplied several-fold by local charities. Christian gentlemen considered it a duty to make legacies to worthy causes.
True, much of this giving came with strings. Most Victorian charities were aimed at those sections of the working classes disposed towards helping themselves. Its overall impact, however, should not be underestimated.



Politics
What of the Victorian political structure? It is easy to see that it was far from democratic.
At the beginning of Victoria's reign, about a fifth of adult males were entitled to vote. That proportion increased, through parliamentary reform acts passed in 1867 and 1884, to one-third and two-thirds respectively.
No women could legally vote in parliamentary elections until almost 18 years after Victoria's death - and the queen herself was no suffragist. Women did, however, play an increasingly influential role both in locally-elected school and poor law boards and in local government from the 1870s onwards.
If not democratic, the political system was becoming increasingly representative. By 1901, few argued - as had frequently been asserted against the Chartists in the 1830s and 1840s - that to allow working men to vote would be to cede power to an ignorant, insensate and unworthy majority.
Victorian politicians increasingly learned how to 'trust the people'. They also noted how many among 'lower orders' could help themselves economically while improving themselves educationally.
The working-class Victorian autodidact was an increasingly significant figure. His modest successes enabled his 'betters' to claim that Britain was a specially advanced, perhaps even a divinely favoured, nation.
Britain managed to modernize its political system without succumbing to the political revolutions that afflicted virtually all of its European competitors.
The quality of political debate in Victorian Britain, in newspapers and in both houses of parliament, was also very high. The struggle for political supremacy between William Gladstone and Benjamin Disraeli in the late 1860s and 1870s represents perhaps the most sophisticated political duel in the nation's history.
During the Victorian era, then, the United Kingdom could plausibly be considered as the world's superpower. However, Germany and the United States had already begun to surpass its industrial capacity and Germany's naval build-up would shortly present a powerful challenge to long-held British supremacy.
On the home front, the nation was only beginning to get to grips with widespread poverty while considerably more than half the adult population remained without a vote. Victorian supremacy by 1901 was only skin deep.



Families and households
Because of high birth rates and improving life expectancy, Victorian families were generally large. The growth of residential domestic service, even low down the social scale, and the prevalence of lodgers, especially in towns, meant that many households were further swollen in size and complex in formation. Although households consisting of more than two generations or containing more than one husband/wife partnership had never been common in Britain, there was a tendency, especially in textile districts, for grandparents to live in households containing young children, particularly where mothers were working outside the home.
Many young people, especially young women, migrated to towns and cities in search of work as the possibilities of agricultural employment declined. Migration was facilitated by family and other connections: communities were recreated in towns and cities through local concentrations of settlement of particular ethnic, religious, regional or familial groups and by the possibility of finding accommodation through lodging or domestic service in the homes of contacts of this kind.
Most households necessarily drew income from a number of sources, with many women and juveniles adding to wage earning even if their employment was usually more intermittent and low-paid than that of adult males. Although the male breadwinner wage was increasingly regarded as the ideal and even the norm, in practice many households were dependent upon female earnings, especially those households run by widows.
As the mid-Victorian boom got underway the demand for female and juvenile labour expanded, particularly where new technologies or patterns of work were resented by skilled men. Cheap female and immigrant labour was often used to undercut male workers. Urbanisation created manifold opportunities for female employment despite the regulation of hours and conditions of work for women and juveniles in certain sectors, and the coming of compulsory education after 1871. Thus most women in Victorian society, in the two thirds of the population below the upper and middle classes, worked for wages. But in what occupations and how much?



Victoria as female icon
During the reign of Queen Victoria, a woman's place was in the home, as domesticity and motherhood were considered by society at large to be a sufficient emotional fulfilment for females. These constructs kept women far away from the public sphere in most ways, but during the 19th century charitable missions did begin to extend the female role of service, and Victorian feminism emerged as a potent political force.
The transformation of Britain into an industrial nation had profound consequences for the ways in which women were to be idealised in Victorian times. New kinds of work and new kinds of urban living prompted a change in the ways in which appropriate male and female roles were perceived. In particular, the notion of separate spheres - woman in the private sphere of the home and hearth, man in the public sphere of business, politics and sociability - came to influence the choices and experiences of all women, at home, at work, in the streets.
' ... Victoria became an icon of late-19th-century middle-class femininity and domesticity. '
The Victorian era, 1837-1901, is characterised as the domestic age par excellence, epitomised by Queen Victoria, who came to represent a kind of femininity which was centred on the family, motherhood and respectability. Accompanied by her beloved husband Albert, and surrounded by her many children in the sumptuous but homely surroundings of Balmoral Castle, Victoria became an icon of late-19th-century middle-class femininity and domesticity.
Indeed, Victoria came to be seen as the very model of marital stability and domestic virtue. Her marriage to Albert represented the ideal of marital harmony. She was described as 'the mother of the nation', and she came to embody the idea of home as a cosy, domestic space. When Albert died in 1861 she retreated to her home and family in preference to public political engagements.

Friday, 19 November 2010

Pupil notes from critic session

QUOTATION A
Ay, let her rot, and perish, and be damned to-night;
for she shall not live: no, my heart is turned to
stone; I strike it, and it hurts my hand.
- OTHELLO, ACT IV. SCENE I.
Critic 1:
Gender theorist: not very nice to women, angry, headstrong, violent, thinks of women as goods.
Critic 2:
Reader response: harsh tone, shocking.
Critic 3:
Formalist: use of metaphors, first line: rule of 3 things he wants, monosyllables ‘for she shall not live’
Critic 4:
Marxist: his high position in society will force him to keep his honour by losing his love for a woman who is disgraced; albeit as a high general informed him.
Critic 5:
Psychoanalytic: his state of mind is unstable, he is distressed and angry that Desdemona has cheated on him.



QUOTATION B


O curse of marriage,
That we can call these delicate creatures ours,
And not their appetites! I had rather be a toad,
And live upon the vapour of a dungeon,
Than keep a corner in the thing I love
For others' uses.
- OTHELLO, ACT III. SCENE III
Critic 1:
Formalist: toad metaphor.
Critic 2:
Marxist: due to their conflict of social class, marriage would never have succeeded, and love could never prosper.
Critic 3:
Psychoanalytic: he is questioning his marriage. The idea that she is cheating on him is tormenting him.
Critic 4:
Gender theorist: not a great believer in marriage, exerting his power over women, reference to ‘delicate creatures’, compliment but an insult, animalistic, demeaning women.
Critic 5:
Reader response: contrast of ‘curse’ and ‘delicate’


QUOTATION C

 
An honourable murderer, if you will;
For nought I did in hate, but all in honour.
Othello, Act V Scene II
Critic 1:
Reader response: Othello should redeem himself. Shocking. Feels regretful not honourable.
Critic2:
Formalist: repetition of honour to emphasise.
Critic 3:
Marxist: due to his high position in society his honour will ultimately outweigh his affection for Desdemona by keeping his honour with her demise.
Critic 4:
Psychoanalytic: he is now trying to justify his behaviour.
Critic 5:
Gender theorist: he’s exerting power, doing it on behalf of all men (“else she’ll betray more men”) underlying misogyny, repeating honour to prove he is doing it for men. He loves her though.


QUOTATION D
O ill-starred wench!
Pale as thy smock! when we shall meet at compt,
This look of thine will hurl my soul from heaven,
And fiends will snatch at it.
Othello, Act V scene II
Critic 1:
Marxist: class system. ‘hurl my soul from heaven’ – Othello being repressed by religion.
Critic 2:
Psychoanalytic: feels guilty for killing Desdemona. Obsession with the devil suggest he’s in a bad mental state and past is affecting him.
Critic 3:
Gender theorist: ‘pale’, contrasts her/him. ‘wench’ – misogynist, angry.
Critic 4:
Reader response: shocking
Critic 5:
Formalist: simile, descriptive language, monosyllables.


QUOTATION E
Yet I'll not shed her blood;
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.
Yet she must die, else she'll betray more men.
Put out the light, and then put out the light.
Othello Act V scene II
Critic 1:
Psychoanalytical: Othello is mentally unstable as he does not want to ‘shed her blood’ but is still insistent that ‘she must die’. This ties in with his emerged possessive nature that was brought out by Iago.
Critic 2:
Gender theorist: he’s asserting his authority, because in his view he thinks that women cannot be trusted, showing his male superiority.
Critic 3:
Reader response: shocking, writer intended to show Othello’s emotion in order.
Critic 4:
Formalist: repetition in last line mirrors putting out the light which is her life. The use of colour to convey contrast in the ‘snow’ white skin of Desdemona, red of her ‘blood’. Last line is monosyllabic – showing controlled anger.
Critic 5:
Marxist: ‘else she’ll betray more men’ – related to honour in Venetian society.

Example paragraphs

Example 1
Throughout the play Desdemona always talks about her husband with respect and absolute loyalty. Not once does she falter, even when she knows she is dying because of him. She forgives him. “Nobody: I myself, Farewell: Commend me to my kind Lord: oh farewell!” (5.2.124-5) the adjective ‘kind’ is generous and reflects her love right to the end and even though there is no doubt that it was Othello who killed her she doesn’t blame him. She alone can see the whole truth behind his eyes, and in her final moments she could have been the only person who really knew what had happened. She is allowed because even if he truly hated her to the core, Othello would always know that she belongs in heaven. This is another reason why he doesn’t pray when it is his turn because he feels he doesn’t deserve to be in her presence even in heaven, even though she has forgiven him. Desdemona forgives him because she understands why he had to do it. She knows and loves him, she knows how he thinks and she knows that ultimately he is a soldier this was the only way he could think to deal with the situation, it was wrong but he could see no other solution. She understands that it is because he loves her so much, he can’t think of her being with anyone else, can’t stand the thought of anyone else touching her. Her attitude only emphasises how painfully pure Desdemona really and truly is, make this death at Othello’s hands the only one that ever mattered in his whole career of death. This affects our sense of redemption as we are reminded that he has killed many times before, however the pure remorse and even hatred of himself towards the end rekindles our faith in the tragic hero that he is not wholly bad.


Example 2
…Iago gives no detail of what he would do with the handkerchief, as he knows Emilia is close friends with Desdemona. He knows that if he told Emilia what he would do with the handkerchief, Emilia would tell Desdemona, and Iago would be exposed. The language in the conversation between Iago and Emilia is used in a number of ways. Emilia’s reference to the handkerchief as “a thing” relates to her reluctance to betray her friend, possibly by trying to make the item sound important, and of no value to Desdemona, though Iago knows that the handkerchief is like an important bond between Othello and Desdemona, as it was a gift from Othello to his wife. The terms “foolish wife” and “good wench” Iago uses to address his wife emphasises his ability to manipulate people around him. It is arguable that these terms also relate to a running theme in the play, that women are mere objects for sex, and that they are also disposable. The two contrasting adjectives “foolish” and “good” could also emphasise Iago’s decision to keep his wife at arm’s length, which could also be applicable to the way he refuses to tell Emilia about the things he is doing  - he does not like people getting involved in his business. This act that Iago commits infuriates Othello, and this brings forth strong urges and desires to kills Cassio and Desdemona. Othello claims he will “tear her (Desdemona) all apart”.

In this sense, it is possible for the audience to sympathise with Othello. Othello, as well as most of the other characters, are oblivious to the things Iago is doing. Othello allows Iago’s lies to influence his way of thinking. It is not entirely his fault, he has not behaved like this on purpose.

Level descriptors

Band 1 (0-5 marks)
  AO1 quality of writing hinders meaning
  AO1 unclear line of argument/not always relevant
  AO2 very limited discussion of how form and structure shape meanings
  AO2 very limited discussion of how aspects of language shape meanings
  AO3 little sense of connections between texts through concept of tragedy
  AO3 little understanding of different interpretations of texts
  AO4 very limited understanding of ways of contextualising ‘tragedy’
  AO4 very limited awareness of other contextual factors

Band 2 (6-10)
  AO1 some use of critical vocabulary despite technical weakness
  AO1 simple attempt at structuring argument/usually relevant with some focus on task
  AO2 some awareness of how form and structure shape meanings
  AO2 some awareness of how aspects of language shape meanings
  AO3 some connections made between texts through concept of tragedy
  AO3 some reference to different interpretations of texts/ some textual support
  AO4 some consideration of ways of contextualising ‘tragedy’
  AO4 some consideration of other relevant contextual factors

Band 3 (11-15)
  AO1 use of some critical vocabulary and generally clear expression
  AO1 some structured argument though not sustained/ relevant with focus on task
  AO2 consideration of some features of form and structure and how these features shape meanings
  AO2 consideration of some aspects of language and how these aspects shape meanings
  AO3 consideration of connections between texts through concept of tragedy
  AO3 consideration of different interpretations of texts, with general textual support
  AO4 consideration of ways of contextualising ‘tragedy’ as a dramatic genre
  AO4 consideration of a range of other contextual factors with specific links between context/texts/tasks

Band 4 (16-20)
  AO1 use of accurate critical vocabulary and clear argument expressed accurately
  AO1 relevant with clear focus on task / informed knowledge and understanding of texts
  AO2 consideration of how specific features of form and structure shape meanings
  AO2 consideration of how specific aspects of language shape meanings
  AO3 detailed consideration of connections between texts through concept of tragedy
  AO3 clear consideration of different interpretations of texts with apt supportive references
  AO4 examination of ways of contextualising ‘tragedy’ as a dramatic genre
  AO4 examination of a range of other contextual factors with specific, detailed links between context /texts/task

Band 5 (21-25)
  AO1 use of appropriate critical vocabulary and well structured argument expressed accurately
  AO1 relevant with sharp focus on task/ detailed knowledge and understanding of texts
  AO2 exploration of several features of form and structure with evaluation of how they shape meanings
  AO2 exploration of several aspects of language with evaluation of how they shape meanings
  AO3 detailed and evaluative discussion of connections between texts through concept of tragedy
  AO3 clear consideration of different interpretations of texts with evaluation of their strengths and weaknesses and with significant supportive references
  AO4 detailed exploration of ways of contextualising ‘tragedy’ as a dramatic genre
  AO4 detailed exploration of a range of other contextual factors with specific, detailed links between context/texts/task

Band 6 (26-30)
  AO1 use of appropriate critical vocabulary and technically fluent style/ well structured and coherent argument
  AO1 always relevant with very sharp focus on task and confidently ranging around texts
  AO2 exploration and analysis of key features of form and structure with perceptive evaluation of how they shape meanings
  AO2 exploration and analysis of key aspects of language with perceptive evaluation of how they shape meanings
  AO3 detailed and perceptive understanding of issues raised in connecting texts through concept of tragedy
  AO3 perceptive consideration of different interpretations of texts with sharp evaluation of their strengths and weaknesses and with excellent selection of supportive references
  AO4 excellent understanding of ways of contextualising ‘tragedy’ as a dramatic genre
  AO4 excellent understanding of a range of other contextual factors with specific, detailed links between context/texts/task

Thursday, 11 November 2010

Critical approaches sheet

Critical Approaches

This refers to two different techniques:

1. Being able to take the views of others who have written or directed the text you are looking at and being able to make use of their opinions analytically.

Working example:

            When John Drakakis analysed the language of Brabantio as it descends from order to disorder he claims the ‘metre and rhythm collide as Brabantio wrestles for control.’ It is easy to agree with this statement when you consider the text:
            ‘How didst thou know ‘twas she? (O thou deceivest me
            Past thought!) What said she to you? Get more tapers,
            Raise all my kindred, are they married, think you?’
The regular rhythm is gone, as Drakakis observes. The phrases are short, and run into one another.  But Shakespeare also includes many questions and exclamation marks to show his desperation and confusion. It is not merely Brabantio trying to hold on to control. It is in fact the panic of an old man who has lost his precious daughter and his control almost completely. Brabantio’s reaction is matched by Othello later in the play. He too loses control and this common reaction might make us sympathise more with Othello.  

N.B.
Being able to take someone else’s idea, build on it or identify and develop its weaknesses is a key skill that hopefully we will develop over the next few weeks.

  1. Approaching text from a particular academic point of view

Examples of critical positions that have been adopted by critics in the past:
ü  Structuralist/Post-structuralist
ü  Psychoanalytic
ü  Feminist
ü  Marxist
ü  Race/Post-colonial
ü  Cultural materialist/new historicist
ü  Genre Theory
ü  Moral
ü  Great authors

A critic adopting a feminist approach for example believes that ‘feminine’ and ‘masculine’ are ideas constructed by our culture, and it is important to be aware of this when reading texts from periods and cultures different from out own. Feminists interested in how women are represented in texts written by men, and how these texts display the power relations between the sexes.
So when reading Othello from a feminist perspective you might pay much more attention to Desdemona and her treatment at the hands of men.

Friday, 5 November 2010

Year 12 homework



Due for Wednesday 10th November.

How much is Othello (the character) redeemed by his suicide?

We are going to have a discussion on this topic on Wednesday. You need to:

  • decide if you think he is redeemed or not
  • make some notes based on the help sheet to back up your opinions
  • identify evidence (incidents or quotations) from Act 5
  • find some critical ideas to support what you are saying - if you can!
Come prepared with your notes to Wednesday's lesson.

Google Scholar will help you find more academic material than just a normal Google search, so try using keywords and see if you can get some useful information from there.

Essay help sheet for Year 12

To what extent does Othello offer a sense of redemption at the end?

redemption  noun
1. improving of something: the act of saving something or somebody from a declined, dilapidated, or corrupted state and restoring it, him, or her to a better condition
2. redeemed state: the improved state of somebody or something saved from apparently irreversible decline
3. atonement for human sin: deliverance from the sins of humanity by the death of Jesus Christ on the Cross

These questions might help you to explore the ideas in the title

1.     What kind of character is Othello?

2.     What kind of relationship does he have with Desdemona?

3.     Is anyone else to blame for his actions?

4.     How does he try to pay for what he has done? Is it enough?

5.     Is he a tragic hero? How is the play tragic?

6.     How are the audience meant to react to him throughout, but especially at the end?

7.     How does it compare to Shakespeare’s other tragedies and tragedies in general?

8.     What elements are redemptive?