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Play and Article Analysis
Brecht’s choices of time place and circumstance
Brecht’s choices of time, place and circumstances force the viewers out of judgment into empathy since the confusion was not an accident because clarity was intended. Brecht’s work provides notable insight into empathy. It also suggests pragmatic devices to arouse empathetic awareness. Also, it is consistent with his ethical beliefs and philosophical foundation of a clear intent to transform human beings and the society in general based on the beliefs and values of a better world (Bruun, 27). Brecht’s trust in the spectators and actors' capability to know their communal reality to act accordingly promotes hope. Therefore, according to Brecht, theaters should be a platform for intellectual activity coupled with empathy as a state for crucial inquiry rather than as an impediment.
The significance of the phrase "Ou libéré?" occurs several times in different contexts in Breath, Eyes, Memory
The term is articulated from one woman to the next when they have a view of each other carrying their load in the market and streets. The phrase “Ou libere?" translates to the query, "are you free?”. It also implies the ability of the woman to carry a heavy load (Feng, 30). It is a representation of the Haitian women’s closeness and the intimate community they have established individually. The phrase also has a deeper meaning, which goes past the physical goods’ carriage. Atie and Grandma use the phrase on Sophie, who is attempting to seek catharsis in the cane stalks' beating, which symbolizes her mother's distress and parts of her trauma. They use this phrase to inquire if she is liberating herself from the psychic burdens that she has carried with her for a long time. This query signals understanding and solidarity.
The function of the folktales that are interwoven with the main narrative
The folktales' value in traditional society is significant. This crucial traditional literature genre plays a vital role in implementing traditional, educational, religious, cultural, and social society concepts to growing children. Besides, contemporary literature is believed to emanate from a traditional oral genre that encompasses folktales. Folktales serve as a means for creative inspiration, which leads to the rise of various works in contemporary literature (Amali, 88). Folktales also act as a window through which societal values and norms are mirrored. One of the critical reasons for this is that folktales by individuals are woven around their world perceptions, expectations, experiences, and achievements. Folktales are essential since they can be used in developing strong skills of reading, model progressive character traits, study other cultures, and discover their love for different narratives. Nonetheless, despite these folktales' qualities, the genre is at risk of extinction.
Ways that Sebald's work can be said to create a new genre and whether to take Austerlitz as fact or fiction
It cannot be ascertained if Sebald came up with a novel genre. However, he seems to write in a fragmented or conscious semi-factual unique fiction stream. This is specific concerning incorporating photos into his work. Further, Austerlitz can be taken as a fiction instilled with facts.
The reasons for Sebald incorporating photographs into his work and its significance
The photograph pulls the reader out of the narration and provides them with a sense that Sebald’s conversations are about real individuals that engaged in real actions. Nonetheless, the readers are not convinced that the photos are always directly correlated to the narrative. Readers might believe that they are having a view of the exact details of architecture that Austerlitz was talking about. However, the photographs might alert the readers that they can be as fictional as any other words sometimes (Cowan, 51-81). A case in point is Austeriltz’s friend, who flies a Cessna. The photo of the plane is not a Cessna nonetheless.
Another example is the Turner painting, which is a copy of a Turner. It is a white and brown Turner version which has been badly reproduced. Likely, the reader is not feeling or seeing the Turner essence. However, they are made to believe that characters saw the actual Turner. Thus, the book is a nice read and consists of formatting with very few beaks. The photographs give readers those breaks.
The novel’s view of the relationships between humans and other creatures, and between all animals and how animals in the novel orient themselves, and the meaning of becoming dis-oriented
The pigeons are known for their aptitude to find their way home. In the book, the home shifts causing the character to miss them terribly. There is also the squirrel that hides food in every found place. Austerlitz, as a youngster, cannot imagine that the squirrels can find the food, yet it is covered with snow. On the other hand, the moths lose both their orientations and their will. The moths lose hope and die. The disorientation sense is a constant theme throughout the article.
The replication of the discovery of the cemetery in Austerlitz's discovery of his heritage, and what the link suggest about the connection between physical artifacts and the workings of memory
Austerlitz noticed the cemetery by sheer chance just as he discovered his actual origins during the death of his foster father. This might be a means of having a continuance even after the death of a person. The architecture use is ideal since it was a means of writing before the existence of books for reading. The last query is a representation of durability and how physical artifacts connect people to their narratives and heritage, which is a significant theme of the book. The theme is a reference to the architecture and the ingrained photos.
It might also be stated that the cemetery is an eccentric metaphor for durability. Nonetheless, a cemetery can be a reflection of the architecture of the 19th century, which becomes history. It also permits the Judaism story to continue.
What could Kushner have meant in subtitling his work "A Gay Fantasia on National Themes"?
According to Kushner, the subtitle may be one of the most significant elements of the play since it announces instant that it possesses substantial ambition. Kushner links this significant ambition to Herman Melville’s American tradition. The subtitling reflects Shaw’s Heartbreak House subtitle.
Regarding identity, the identity theme is closely connected to the community notion of the play, since groups of identity are one of the connection types around which communities are established. All characters are identified by a particular ethnicity, such as Jewish, black, WASP, and Mormon (Kushner, 1). Homosexuality is used to define the male characters. Furthermore, infection of AIDS serves as a type of identity ingrained to the skin as visible as a race.
Additionally, identity will most likely have power. The callousness by Louis regarding race and his suspicion that Belize is anti-Semitic is causing a wedge between them, even though the AIDS infection of Louis is a significant impediment for Louis to overcome. Kushner’s sentiments about the identity ability to connect individuals automatically can also not be overcome easily since some actors such as Roy are doing what they can to turn down their membership in oppressed groups.
One significant lesson of the play is that the identity should be eradicated for communities to establish. For instance, regardless of the misgivings by Prior, Hannah acknowledges him as a gay man despite him being a Mormon. The actors are not required to patch up over their disagreements in the epilogue. Contrastingly, these disagreements serve as a type of glue that brings them together. The characters have diverse identities but are mutually dependent. Therefore, this subtitle by Kushner discloses the shared consciousness of individuals of the society living under a shared political cloud.
The effects of the fantastical elements on the play as a whole
The powerful magnum opus by Kushner “Angels in America” details the causes and the repercussions of the hypocrisy of the United States. Some citizen’s contempt for the country is reflected by Belize, a nurse of an African-American origin (Glasgow, np). He laments that the country merely has great narratives and ideas, yet individuals are dying. He believes there is no such thing as freedom in the country.
The majority of the supernatural components are connected with Prior and other actors such as Harper that have some health issues. Therefore, this highlights the notion that normal individuals abiding by social rules cannot get in touch with what is past this world. For instance, Prior and Harper meet in a dream. They both have thoughts that the other party is their imagination figment. Prior believes that Harper is simply a fictive individual who merely appeared in his dream. On the other hand, Harper believes she is hallucinating. This seems to be impractical since both Joe and Harper disclose details regarding themselves that the other party could not have likely known.
Additionally, different supernatural elements have different meanings. For instance, the Angel is a symbol of opportunity and judgment to reclaim purity. The encounter by Prior with the Angel makes it possible for Prior to coming to terms with his sickness. The elements are also a symbol of a frightening statement on the American society's makeup, a haunting and multifaceted portrayal of the modern American society failures. Overall, Kushner's work implies that a central tenet does not exist. He asserts that the human condition is a continuous struggle of power in moral space and a harsh fight between reactionary and progressive forces in the absence of any beliefs of guidance.
Work Cited
Amali, Halima I. "The function of folktales as a process of educating children in the 21st century: A case study of idoma folktales." 21st Century Academic Forum Conference Proceedings IC21CE. Vol. 21. 2014.
Bruun, Ellen Foyn. "Teaching Empathy with Brecht as Prompter." (2018).
Feng, Pin-chia. "" Ou libéré!" Trauma and Memory in Edwidge Danticat's Breath, Eyes, Memory." Canadian Review of Comparative Literature/Revue Canadienne de Littérature Comparée 30.3-4 (2003).
Glasgow, Gordon. ‘Angels in America’: The Other Side of the American Dream. 2018. Accessed from: https://indypendent.org/2018/04/angels-in-america-the-other-side-of-the-american-dream/
Kushner, Tony. Angels in America: Millennium Approaches. Vol. 1. New York: Theatre Communications Group, 1993.