Irish to the Last Pint

I was going to go more into detail about how various instruments have been uniquely used in traditional Irish music. Although there are many instruments worthy of discussion, I am only going to focus on two. In order to condense space I will be briefly presenting the guitar and the bouzouki...and how they are used in playing Irish jigs and reels. I picked these two because it seems that (even though they have foreign origins) they have been adopted as contemporary symbols in Irish music. The guitar has been used, especially in the twentieth century to play celtic fingerstyle arrragnments. Pierre Bensusan and Pat Kirtley are two professional musicians who have made celtic music popular with fingerstyle guitar (and have made it a focal point in world music). I will show two videos in order to demonstrate how a traditional Irish reel (usually played with whistles/pipes or harps/fiddles) can be arranged to be played on a contempoary steel string acoustic guitar.This is the Irish band Lunasa playing with Kerry Whistles. The reel is humorously titled The Last Pint:

I took this same Irish reel and attempted to learn it on the guitar (started this huge task at the beginning of the semester). A guitar is normally tuned EADGBE, but for this tune I am playing in DADGAD. This is an open G tuning; more specifically tuned to a D Sus 4 chord. I have found it to be very suitable for Celtic pieces for various reasons. One, by lowering the bass string E down to D, I am able to make a droning sound that is suited to the tonal qualities of fiddle music and pipes. Two, I also attempt to use numerous hammer ons and pull offs to mimic a pipe sound. I wasn't able to get all of the beautiful ornaments from The Last Pint correct, but it still holds some resemblance to the original. The open tuning allows the strings to ring out and allows me to play numerous parts at once. Here is a video of me playing The Last Pint (LOL, I know there's still a tree in the background) I tried to increase the tempo a lot more...once you get started it's too much fun playing it fast. Also, it recorded a little quiet so you might have to turn the volume up:



Another instrument that is unique to Irish music is the Irish Bouzouki. It originated from ancient Greece but has been adopted in Celtic music in the 1960's. The bouzouki looks and functions much like a big mandolin. It has a pear shaped body and eight strings. It is most commonly tuned GDAD. Notice the similarities between this tuning and the DADGAD tuning for the guitar. Although it is often used as a percussive and rhythmic instrument, it can often be used to play melodies such as jigs.


Here is good example of how a jig (like previously done on the bouzouki) can be arranged for finger-style guitar. Here is a video of a true professional, Pierre Bensusan playing Merrily Kissed the Quaker (Also played in DADGAD) He also uses numerous string bending and hammer-ons/pull-offs to mimic pipe sounds. The brand of guitar he is playing is a Lowden (custom hand crafted guitars made in Ireland), which have become very popular in the finger-style community:

Next I am going to discuss Irish rebel songs because they reflect the conflict in Northern Ireland. This can be seen in Breakfast on Pluto. More so, I thought this would be appropriate because the conflict between the Irish/British/Anglo Irish could be seen really through all the novels we read. These songs primarily are about events that are important to republicans. The lyrics will often reflect a negative attitude towards Great Britian and show support for a United Ireland. Many are pro IRA and are used as a memorialization of fallen members. The songs are also used as a rally cry in order to use past events to strengthen support. One of the most famous Irish republican rebel songs is called Ten Brave Men. It is about those who died in the hunger strike of 1981. Here is a one version of the song:

Here are the lyrics to this version:

A cloud of smoke came over Belfast, another man had died,
And I watched in shock and disbelief as grown men stood and cried,
But their tears of anger soon turned to tears of pride,
As they realised the sacrifice of the ten brave men who died.

Chorus
Ten brave men, those ten brave men,
God and Ireland don't forget those ten brave men,
Ten brave men.

Stones and bottles and bin lids announced the death of each brave man,
Joe McDonnell, Francis Hughes and MP Bobby Sands,
Women came out together and they knelt down side by side,
And they prayed "God and Ireland
don't forget those ten brave men who died."

A more common set of lyrics is this:

Bobby Sands was his name, He Died for the cause of Freedom

A hunger strike they commenced, To fight for the right as Freemen
In the Summer of 81' Ten brave men, the Crown they took on
The ten were prisoners of war...But Englands leaders let them die one by one
The year they murdered Ten Brave men, and the Black flags were flying'
The Year they murdered Ten Brave men, and all the people were crying' They sang

"Lord we have lost our son's, now we'll make sure this war is won"

Bobby was elected MP, and one day he said to me,
"People must fight for the right to live in a land thats free"
I Got 14 years in Jail, and this hunger strike it must not fail.
The English we'll alway's detest, but they should never have taken the very best.

CHORUS:
The year they murdered Ten Brave men, and the Black flags were flying'
The Year they murdered Ten Brave men, and all the people were crying' They sang
"Lord we have lost our son's, now we'll make sure this war is won"

CHORUS

Like His father before him, He was a workin' man
Like his Comrades beside him, He took a Rebel stand
He was a Rebel, proud and brave, but Thatcher laid him in his grave
I swear by the blood in my vains, The Irish people will someday have their say.

Chorus

The year they murdered Ten Brave men, and the Black flags were flying'
The Year they murdered Ten Brave men, and all the people were crying' They sang,
"Lord we have lost our son's, now we'll make sure this war is won"

There have been many rebel songs written about Bobby Sands. He has become an iconic figure in republican patriotism and is seen as a mythic IRA freedom fighter. The lyrics of these songs clearly reflect this.Here is another popular song about him The Ballad of Bobby Sands:

A great site to learn more about the hunger strikes is HERE

Here is a good video about the aftermath of Bobby Sands death:

Here is a tribute video to the Irish hunger strikes. It is very interesting because the lyrics are extremely pro republican. It is clearly a negative portrayal of the United Kingdom. The song talk about much more than a contemporary struggle but hints at the ancient and long running conflict between the British and Irish. Just like can be seen through all the novels we've read this semester, this conflict and struggle can be seen through every generation through many time periods.


P.S. I have another section I'm trying to put in but blogger is giving me major problems. please be patient.

Pieces of Irish music: a lil' bit of my final project

Hi everyone, let me start by apologizing for not being able to participate and be as involved these last few weeks. I am currently dealing with a very rough, painful and frustrating recovery from major spine surgery. I appreciate everyone's patience and am really looking forward to seeing everyone's final projects.

My final project briefly explores various traditional Irish and Celtic pieces of music such as jigs and reels. I will also cover a range of Irish instruments such as: the bouzouki, various whistles, harps, bagpipes/uillean pipes, fiddles and flutes. I am cutting down content so as to be able to give an overview of these instruments as well as show hoe they are used in context (in Irish music and dances).

For a rough draft or sampling, I am going to show two videos here. The first is the Irish band Lunasa playing a traditional Irish reel with Kerry Whistles. The reel is humorously titled The Last Pint:

I took this same Irish reel and attempted to learn it on the guitar (started this huge task at the beginning of the semester). A guitar is normally tuned EADGBE, but for this tune I am playing in DADGAD. This is an open G tuning; more specifically tuned to a D Sus 4 chord. I have found it to be very suitable for Celtic pieces for various reasons. One, by lowering the bass string E down to D, I am able to make a droning sound that is suited to the tonal qualities of fiddle music and pipes. Two, I also attempt to use numerous hammer ons and pull offs to mimic a pipe sound. I wasn't able to get all of the beautiful ornaments from The Last Pint correct, but it still holds some resemblance to the original. The open tuning allows the strings to ring out and allows me to play numerous parts at once. I will go more into Celtic guitar techniques in detail but il for now here is a video of me playing The Last Pint (LOL, I know there's still a tree in the background) I tried to increase the tempo a lot more...once you get started it's too much fun playing it fast. Also, it recorded a little quiet so you might have to turn the volume up:




I was able to muster enough strength to play through the back pain and made a more polished video...but my five year old nephew deleted it :( I will try to borrow a camera and attempt it again. Anyways, this is only part of the final project. I also am going to explore and discuss Irish Rebel music. I will especially focus on how many of the lyrics have to do with Nationalism and the struggle to gain independence from British influence and rule. Well I hope everyone liked the little sampling here of what I plan on doing. I still have much to organize and blend together.

I have learned a mountain of wealth this semester. I have enjoyed almost all of the readings and literary criticisms. Looking back now, I would have to say my two favorite novels were Carmilla and Portrait of Dorian Gray. What I am going to take away more than anything is a greater understanding of Irish history and how it is so intertwined with Great Britain. More specifically, I am fully aware now about the conflict in Northern Ireland and the enormous and complicated struggle for identity. I have found Irish literature to be very unique and original in many ways. Each novel we've read has kind of blown me away...each unique and fascinating as the next (in different ways). I know that sounds cliche, but obviously these Irish authors have some wicked literary skills....(especially Wilde!!!!) I really enjoyed having this class function through blogs. It totally blows D2L out of the water. It was amazing to see how everyone was able to expand upon the readings and share ideas so effectively. I've never had a class work like this before but would love to do it again. It is much more helpful and interesting to be able to share more than just words.

Gathering

.

Northern Ireland: A Brief History

A great site for the History of the Conflict in Northern Ireland click HERE.

This week I decided to further explore the background and political context of Breakfast on Pluto. I will be discussing brief history of Northern Ireland; and specifically The Troubles. The history of Northern Ireland can be traced back to the 17th Century (When Ireland was essentially a British colony). During this period the English succeeded in putting down a number of rebellions (most notably The Battle of Boyne). After this ,much of the land in the northern part of the island was colonized by Scottish and British Protestants...this setting it apart from the rest of the Island (being predominately Catholic).

During the 1800s the North and South began to experience numerous differences. In the North, industrialization and manufacturing flourished. In the South, however, there was a great inequality in the distribution of land, wealth and resources. Anglican Protestants owned and managed much of the land. There was a low standard of living for Irish Catholics. Catholics had many grievances including not having the right to vote, own land, get an education as well as hold office. These horrible civil rights were due to the Penal Laws. It was during this time a template was set for a long history (a continuation) of animosity and violence between the Irish, Anglo-Irish and British. The mistreatment of Catholics has been an ancient wound for the Irish. So much so that and Catholicism and Protestantism have become a center for a struggle to find identity. For example, Roman Catholicism has become synonymous with what it is to be Irish, subsequently Protestantism is to being British or Anglo-Irsh. The clash between religions is not so much a war between religion, but more so identity.

This suppression of not just the Catholic faith, but of native born Irish that still is an underlining importance to the tensions and conflict of today. The Republicans as well as the Unionists are predominately Catholic because it seems that particular religion has become somewhat part of an identity of being "Irish". The same goes for the scottish, british descended Anglo-Irish and Protestantism. Therefore, when looking deeper behind the original labeling of religious majorities who battle for territory, a war over identity and ownership rights can be seen laying beneath.

Before the Act of Union (1801), Ireland had been in a personal union with Great Britain. The British had essentially colonized Ireland and exploited it for the expansion of its empire. After subduing yet another Irish uprising, the British and Irish parliaments passed the Act of Union, which officially made Ireland a part of the United Kingdom. This really did nothing in appeasing what the Irish had been fighting for for centuries: Independence. It did, however, give Ireland more rights within the Union and later Catholics were given more civil rights (Catholic Emancipation 1840).

There is a division between and with expressions of two political groups: Republicans and Loyalists. To fully understand the conflict and tension in Northern Ireland, one must journey down what would seem to be a an enormously long timeline. A good starting point for considering the history would be shortly after WWII ended.

After WWII, Northern Ireland remained apart of the United Kingdom and did not follow The Republic of Ireland in independence. This is primarily due to the large population of Anglo-Irish that still feel ties to Great Britain. Aside from the long turbulent history of Ireland and the United Kingdom, this creation of a separate N. Ireland only fueled ancient wounds (as well as creating new problems) and made tensions escalate (Troubles p.1).

Like previously stated, Northern Ireland is essentially made up of two communities. The nationalist community consists of people who are more loyal to Ireland, desire a "United Ireland" (where N. Ireland secedes from the United Kingdom), and are predominately Roman Catholic and Republicans. The unionist community consists of people who feel a certain loyalty or connection to the United Kingdom and therefore wish to remain a part of it. This group has many Anglo-Irish Protestants and Loyalists. The tensions between these two groups escalated in a period called The Troubles.

The Troubles lasted primarily between the late 1960's and 1998. During this time, reoccurring acts of intense violence sparked between the loyalists and unionists. Over three decades, around 3,200 people were killed. Much of the violence was incurred by paramilitary group campaigns, such as the Provisional Irish Republican Army (IRA) 1996-1997. The IRA intended to "rid" Ireland of British rule and unify Ireland into one state (Troubles 2).

A key event to the escalation of The Troubles was Bloody Sunday. Bloody Sunday took place on January 30, 1972 in Derry Ireland. During a Northern Ireland Civil Rights Association march, 27 civil rights protestors were shot by the British military. This was important because it was seen by a national and international media. For over thirty years, the IRA carried out numerous paramilitary campaigns in the name of unifying the entire Island. This is due to the belief that the entire Island belongs to what they consider to be a "United Ireland". The heated conflict lasted until 1998, when an uneasy treaty was signed: the Belfast Agreement or "Good Friday Agreement". This agreement solidified N. Ireland as a part of the UK. Much happened constitutionally in both Irelands and England that helped to ease tension.

One of the most important things is that people who are born in Northern Ireland automatically have dual citizenship with Ireland and the UK (or can choose one or the other). The clash between Catholics and Protestants is not merely a battle over religion but rather one of identity. Identity is an issue that still prominent in Northern Ireland today. Despite the cease fires and the disbanding of the IRA (in 2005), political and ethnic tensions still can run high To this day opinions are split as to how the IRA is perceived. To some they are terrorists and to others they are freedom fighters. Even though tensions still are high in Northern Ireland there is hope that a lasting peace as been planted and will grow stronger.

Online Artifact: Murals in N. Ireland

A great site on murals in Northern Ireland is: CAIN WEB SERVICE

My Online Artifacts are these videos, links and article. The article can be accessed HERE




Murals have become a dominant and dynamic form of symbolic expression throughout Northern Ireland. Nearly 2,000 murals have been documented since the 1970's. These murals often reflect the division between and expressions of two political groups: Republicans and Loyalists. To fully understand the conflict and tension in Northern Ireland, one must journey down what would seem to be a an enormously long timeline. A good starting point for considering the history and motivation for these murals would be shortly after WWII ended. After WWII, Northern Ireland remained apart of the United Kingdom and did not follow The Republic of Ireland in independence. This is primarily due to the large population of Anglo-Irish that still feel ties to Great Britain. Aside from the long turbulent history of Ireland and the United Kingdom, this creation of a separate N. Ireland only fueled ancient wounds (as well as creating new problems) and made tensions escalate (Troubles p.1).

Like previously stated, Northern Ireland is essentially made up of two communities. The nationalist community consists of people who are more loyal to Ireland, desire a "United Ireland" (where N. Ireland secedes from the United Kingdom), and are predominately Roman Catholic and Republicans. The unionist community consists of people who feel a certain loyalty or connection to the United Kingdom and therefore wish to remain a part of it. This group has many Anglo-Irish Protestants and Loyalists. The tensions between these two groups escalated in a period called The Troubles. The Troubles lasted primarily between the late 1960's and 1998. During this time, reoccurring acts of intense violence sparked between the loyalists and unionists. Over three decades, around 3,200 people were killed. Much of the violence was incurred by paramilitary group campaigns, such as the Provisional Irish Republican Army (IRA) 1996-1997. The IRA intended to "rid" Ireland of British rule and unify Ireland into one state (Troubles 2).

The heated conflict lasted until 1998, when an uneasy treaty was signed: Belfast Agreement or "Good Friday Agreement". This agreement solidified N. Ireland as a part of the UK. Much happened constitutionally in both Irelands and England that helped to ease tension. One of the most important things is that people who are born in Northern Ireland automatically have dual citizenship with Ireland and the UK (or can choose one or the other). The clash between Catholics and Protestants is not merely a battle over religion but rather one of identity. Identity is an issue that still prominent in Northern Ireland today. Despite the cease fires and the disbanding of the IRA (in 2005), political and ethnic tensions still can run high. An example of this is the youth riots in Ardoyne in 2009.



Murals can be seen all over Ardoyne as well.

For a further exploration of Key Issues in N. Ireland click HERE

Neil Jarman discusses, in his article "Painting Landscapes: The Place of Murals in the Symbolic Construction of Urban Space", the murals that can be found throughout the working class estates in Belfast. He talks about the symbolic content of images, "they are always open to multiple interpretations, but as artifacts in a public space they are also open to multiple forms of use, re-use and abuse. As images they always have had a functionality: as propaganda, as rhetoric, as ideological and symbolic markers etc...While on one level it is primarily the image that is being used and transformed, on another level it is the physical artifact, fixed in space, which is the subject of activity; taken still further it is the public space in which the artifact is sited that is changed" (Jarman p.2). These murals are more that just visual displays of art, but they also act as artifacts. When viewing these murals as artifacts, they seem to be created to be seen at specific locations. Jarman also says, "...an extension of their significance is generated by a semiotic dynamic which involves the images taking meaning from their location and the location in turn having a differing significance because of the paintings" (Jarman p.2). Murals in Northern Ireland (in this case, Belfast) can be simultaneously used for multiple purposes.

Murals can be used or seen as territorial indicators and boundary markers. For example, the symbolism and content of these murals can indicate wether or not a community is predominately Catholic or Protestant. Subsequently, this could also indicate a communal political ideology (Republicans, Loyalists). Sometimes the murals will indicate political propaganda while at the same time acting as a warning sign and create fear for the opposition. Not only do the murals function as such, but as act as reminder of past events (for example, Bloody Sunday). They also cater to what happened in each specific location. They act as memorials to fallen soldiers and civilians (many being of fallen IRA members). The murals help to define political and cultural parameters throughout the country. They reinforce the cultural boundaries and differences between the two opposing struggles for identity. Starting in the early 1900s, it was mostly nationalists who painted these murals. In the 1960's, however, civil right inequalities began to be challenged and unionists began painting them as well. As Jarman describes, "As ideological and political arguments turned into sectarian violence and outright warfare, Catholic areas in Derry and Belfast were enclosed behind barricades. As the forces of the state were excluded, people began to exert control over their own areas" (Jarman p.4)

Here is a link to a site explain some of the symbolism that can be found in the murals:

Unionist and Loyalist

Nationalist and Republican

Jarman also talks about how these murals function even on an international scale. Not only do they serve multiple purposes for local communities and for the nation as a whole, but also project messages at the rest of the world. "The power of murals have meant that they have become a more self-conscious means by which to propagandise to a much wider public, while still primarily aimed at a local audience. For the global media, these remain little more than relatively simple symbols of the Troubles and of paramilitary violence" (Jarman p.7). The murals also are a component of the economy in terms of tourism. Although Northern Ireland markets itself with little to no emphasis on conflict, the murals act as a seductive romanticized depiction of it...thus attracting tourists to the region. Jarman states it as an attraction to a culture of war. The murals are situated on parade routes and are often placed throughout the city as a means of guiding tourists to explore and see it in a new light. Here is an example of a commercial for tourism...promoting recreation.



When these murals are seen as both images (art) or as artifacts, their meaning becomes very versatile and they simultaneously serve multiple purposes. When the paintings location is taken into consideration, it can clearly be seen that the murals are site specific. They can be used in memorializing the past of fallen soldiers or civilians. They also work as an active history lesson in keeping the memory of past events alive; teaching many lessons. They also serve as boundary markers and an expression of communal politics. They can even be seen as a way to attract tourists to a country that has been previously engulfed in a culture of war. These murals' power of signifying and versatility resonates from the local communities out to the rest of the world.

Works Cited:

The Troubles. Available Online: http://www.guardian.co.uk/Northern_Ireland/flash/0,6189,344683,00.html

Jarman, Neil. Painting Landscapes: The Place of Murals in the Symbolic Construction of Urban Space

Available Online: http://cain.ulst.ac.uk/bibdbs/murals/jarman.htm

FINAL PROJECT:

For my final project I was thinking of exploring traditional and modern Irish music. I was thinking of learning an Irish reel and also exploring how some lyrics of modern Irish songs reflect the history and conflict of the current times. I would also incorporate some of the novels we've read and maybe write songs or lyrics to songs about them...and how they relate together.

My second idea is to adapt Carmilla into a film or play script. I would be very careful what dialogue, themes and elements of the story I would incorporate. I would primarily focus on certain psychological elements like we read in the Enigmatic Signifier.

Consequence and Responsibility: New Hedonism in The Picture of Dorian Gray

Article: http://www.oscholars.com/TO/Appendix/Library/Gillespie.pdf

Nathan Hendricks

Eng 263

Literary Criticism

March 16, 2010

Consequence and Responsibility: New Hedonism in The Picture of Dorian Gray

In Michael Patrick Gillespie's article Ethics and Aesthetics in The Picture of Dorian Gray, he offers an analysis of various philosophies and ideologies which encompass the issue of art in its relation to morality. He applies these in regards to Wilde's novel; discussing the character's motivations and actions. He starts by mentioning Socrates and the long associations that mankind has made between morals and happiness. “The dialects of Socrates underscore the fact that our society has long affirmed the ideal of right conduct. They further show how we have sought to discover and articulate the moral tenets configuring our conduct in a fashion appropriate to our beliefs. Plato extended these considerations beyond Socratic concern for immediate material gain to the exemption of a system—designated as ethics—that functions as a means to goodness and that sees goodness as a means to happiness (p. 140)”.

From a humanistic point of view, goodness is only a construction of society and is irrelevant to the pursuit of happiness (happiness in terms of being considered that it is not impossible to achieve). It could then be argued that art , as a philosophy, serves no purpose but to encompass aesthetics. During the Victorian period, it was commonly thought that art could be used as a tool (or weapon in some cases) in order to enhance social education or improve moral instruction or enlightenment. It is clear that Wilde set out to spread an ideal that art should not have to be chained to such an imposed purpose (in a Victorian society that is starch and concerned with spreading a unified understanding of propriety and “correct” morals).

Gillespie explains that “the view of art as aesthetically and ethically self-contained, summed up in a single phrase—art for art's sake—that impelled the Aesthetic Movement.” (Gillespie p. 142). Gillespie says about those involved in the Aesthetic Movement (such as Theophile Gautier, Stephane Mallarme, Gustave Flaubert...),

“...subscribed to the doctrine that art represents the supreme value because it stands as self-sufficient and has no aim beyond its own perfection. To this end, they asserted that the function of the work of art lies simplicity in its existence and its ability to exude beauty, indifferent to current social issues” (p. 142). The Aesthetic movement clearly is an influence in The Picture of Dorian Gray, however, Gillespie goes further to pinpoint the motivations for Dorian: New Hedonism (as reinforced with the yellow book that Dorian lives by).

“The novel does prescribe a single mode of answering the questions implicit in its discourse, but it does foreground an internal ethic programme- New Hedonism. This system makes a direct claim for the shaping effect of art upon one's character, and it asserts the primacy of a doctrine of pleasure that absolves individuals from the ordinary responsibilities for their actions. Readers measure its effect by contrasting it with the conventional Victorian morality in the work and with whatever ethical systems, conventional or otherwise that they bring to the text. (p. 145)

Dorian is first introduced to this ideal by Lord Henry,“To realize one's nature perfectly—that is to what each of us is here for. People are afraid of themselves now a days. They have forgotten the highest of all duties, that one owes to one's self...Perhaps we never really had it. The terror of society, which is the basis for morals, the terror of God, which is the secret of religion—these are the two things that govern us. And yet...I believe that if one man were to live his life fully and completely, were to give form to every feeling, expression of every thought, reality to every dream—I believe that the world would gain such a fresh impulse of joy that we would forget all the miladies of medieavalism and return to the Hellenic ideal...But the bravest man amongst us is afraid of himself...Nothing remains but the recollection of pleasure or the luxury of regret. The only way to get rid of temptation is to yield to it. Resist it and your sould grows sick with longing for the things it has forbidden itself, with desire for what is monstrous laws have made monstrous and unlawful" (Wilde p. 19).

It is ideal that sparks Dorian and makes him question his own life and ultimately leads him down the tragic path he chooses (leading to the contribution of Sybil's death, the murder of Basil and his own death). Gillespie goes on to raise the question of whether Hedonism is a paradox just as much as the status quo of whatever society's accepts morality is. Lord Henry (and the yellow book) gives Dorian a predetermined set of values to live by.

“In this stark articulation of the aims of New Hedonism one sees a far different moral view than anything expressed in conventional approaches. Nonetheless, it stands as a viable alternative to traditional ethnical programmes. As one would expect in the outline of any moral system, Lord Henry delineates New Hedonism by laying out its goals, providing guidance on how to achieve those goals, and establishing a means for judging behavior in relation to those goals. This detailed description of New Hedonism, however, does not legitimize it, and so its function stands open to debate" (Gillespie p. 150).

Both Dorian Gray and Lord Henry do not really fully encompass the philosophy of New Hedonism.From a psychoanalytical method of thinking, this philosophy caters to the Ego. It appeals to conscious desires but ignore's the ID's attempt to regulate desires. It is Dorian's denial of this idea that leads him to become overwhelmed with guilt and concern for his soul...ultimately resulting in his own death. If he was really only concerned with appeasing temptations in order to achieve happiness, wouldn't other people's well-fare become irrelevant (when not related to his own desires)? Lord Henry more closely represents the philosophy because he is passive and indifferent to moral consequence of behavior (placing more emphasis on metaphysical implications). He also dismisses Dorian's trouble and guilt as an embracement of conventional morality. Lord Henry is not as radical in enacting the ideal as Dorian, but shows his desire to influence/corrupt beauty and youth (he, however shows restraint in realizing the consequences of fully applying New Hedonism like Dorian) .

Gillespie argues that, in a sense, Wilde is successful in presenting an idea that art is not meant to teach or reinforce morality, but regardless, reflects the creator of it (therefore capturing humanity and unable to be labeled meaningless). Therefore the current Victorian ideals and Hedonism are both paradoxes. “The propositions of the novel, however, go beyond a simple philosophical exercise, for they enable us to indulge a range of alternative ethical responses without incurring the consequences that such behavior would provoke” (p. 153). This is interesting because Wilde appears to be doing the same thing as Le Fanu: allowing the reader to ponder its content safely (especially in regards to the time period both novels are from). Wilde, however in doing this, takes away from the implication that art is apart from political or humanistic agendas.

As Gillespie concludes, “In consequence, The Picture of Dorian Gray, does not and should not bring us closer to a new ethical position or reinforce our old one. Rather, through the actions of its characters its discourse establishes within us a sense of the wide-ranging aesthetic force that ethics exerts upon a work of art. Furthermore Wilde's novel gives us the opportunity to enhance the mix of our aesthetic and ethical views by extending our sense of possibilities for interpretation beyond those delineated by our immediate hermeneutic system" (p. 154).

For the most part Gillespie's interpretation and analysis is agreeable. I also had some unresolved questions:

How much and to what extent is Wilde's life is reflected in this novel?

Is Wilde really making a statement about "art just being art" or is he saying it is impossible not to attach human meaning (because it is created by an artist)?

In denouncing the restrictive status quo of the Victorian period, does Wilde write to help liberate a repressed society? or is he merely spreading his own set of beliefs that could be viewed as equally restrictive?

Works Cited

Gillespie, Michael Patrick. Ethics and Aesthetics in The Picture of Dorian Gray. Available Online: http://www.oscholars.com/TO/Appendix/Library/Gillespie.pdf

Wilde, Oscar. The Picture of Dorian Gray. Oxford University Press. Oxford UK, 2008. Print

Gothic's Enigmatic Signifier

It seems that Davis would argue that, as a whole, the effective component of the Gothic novel, or the Gothic text as horror, is the fear of death itself...and which also is the end/death of what it means to conceptualize oneself with meaning (being human). We as readers and interpreters become caught in the same component of these texts which provokes a feeling of fear or horror; this the element that makes the Gothic so effective, entertaining and interesting. As Davis puts it so well,

“That 'unspeakable horror', indeed that traumatising, unnamable horror which is deposited by the other and forced into us by the Gothic text is, ultimately, the 'very attack of the death drive'; that impulsion towards the death of meaning itself...Finally, if we, as readers of the Gothic, are in fact caught in the same 'vortex of summons and repulsion' as Laura, then our constant attempts to decipher the Gothic text, 'to master, to translate, those enigmatic, traumatising messages', leave us all trapped in our own repetition compulsion, inexorably (but perhaps pleasurably) drawn to 'the place where meaning collapses'; a place 'very nearly dark'” (Davis p. 234)

Rather than analyze Carmilla from a literal Freudian interpretation, Davis chooses to incorporate the work of psychoanalyst Jean Laplanche to explore the novel as a Gothic allegory. Davis says that the element of fear or horror in the story comes from the effects that Carmilla has on Laura; specifically her inability to make sense of or find meaning in Carmilla's desires. “Carmilla represents a failure of 'translation'; a traumatising failure to decode the enigmatic received from and indeed implanted by the other, namely Carmilla...repression and its potentially traumatising effects are the result of a failure to decipher and metabolise the other's messages or 'the enigma of the other's desires'” (p.224).

My first interpretation of Laura's confusion and paradox in trying to decode Carmilla's very sexually charged seduction was possibly that Le Fanu was hinting at repressed homosexual desire. Although Freud would possibly do the same, especially with Laura's dreams, Davis uses Laplanche to make another credible analysis to ponder. When referring to the inability of someone to decipher the “enigma of the other's desires”, Davis says that for Laplanche they are always “'saturated with unconscious sexual signifiers' as he insists 'sexuality reaches the subject from the other' and 'it is in the very nature of sexuality to have a traumatic effect' (p. 224). Davis is saying that the “the enigma of the other's desires” involves the “'seductive intrusion of the other...the inauguration of human sexuality shifts the location of its source 'from a biological stimulus to an exciting internal foreign body that attacks the ego from within' And the source of this assault is 'the intrusive intimacies of the other.' At the heart of this intrusion lies a situation of primal seduction” (p.224).

Indeed, Carmilla pursues and stalks Laura in a very primal animalistic sense. This made me think again of one of Laura's dreams. “But I soon saw that it was a sooty-black animal that resembled a monstrous cat. It appeared to me about four or five feet long for it measured fully the length of the hearthrug as it passed over it; and it continued to-ing and fro-ing with the lithe, sinister restlessness of a beast in a cage” (Carmilla Ch. 4). Through Carmilla's desire and advances (intrusion), Davis would say that, she implants a signifier (or deposit) into Laura's subconscious. Laura in turn tries to comprehend that signifier and is unable to do so (resulting in psychological trauma). Laura clearly is effected by this for years afterward. I will stop here in exploring the various reasons as to why Davis and Laplanche give in order to explain exactly why Carmilla is able to implant this signifier and why Laura is incapable of making sense of the enigma. In regards to saving space in this post, I would like to explore the central concept of this as a whole and why it is so important and effective in the Gothic and horror genre in general.

The idea of the vampire has a component that can be found in numerous attempts in the horror genre. This is the concept of something foreign or alien penetrating the human body or mind that threatens life or sanity (in other words erase or bring meaningless to existence). While reading Davis' article, I automatically thought of William Peter Blatty's novel, The Exorcist and Ridley Scott's film, Alien. Indeed the concept of alien or foreign penetration is highly sexual in and of itself. Like in Alien, the alien has no way of reproducing solely through its own species. It is a parasite and will latch on to a human face ramming its phallic like appendage down the throat. It then implants an egg into the stomach until the embryo becomes mature. It then, when ready, burst through the stomach and skin killing the human carrier. This is obviously a very violent and harsh way to play on the human fear of a parasite sexually penetrating the body (in this case killing it) in order to create life. What I find more interesting though is the concept of the human fear of something penetrating the mind. It is this fear that seems more complex and threatens the very meaning of what it is to be human. This is a component that works so well in The Exorcist and Carmilla.

Like Davis says, “In turn this deposit becomes unconscious fantasy, or an 'internal other'...thus the deposited untranslated residues of the other's enigmatic messages become 'an internal foreign body' or as Laplanche puts it, 'an alien inside me, and even one put inside me by an alien'...This process by and of the alien other becomes the key element of Laura's experience in Le Fanu's tale” (Davis p. 226). This implantation of a signifier by an alien person (or creature) becomes embedded in the subconscious. By not being able to decipher the message (in this case a sexual one) it becomes an object that the conscious self is unable to assign meaning to. This attacks the ego and evokes the death drive, creating trauma. This implantation of a foreign message reflects another component of human fear: the threat of something attacking the ability to assign meaning to existence. If we as humans are unable to to provide meaning to our lives or an explanation for existence then we have no purpose in being alive. If there is no meaning attached to life, what would be the purpose of reproducing in order to create more life that will inevitably die? This reveals an element of human fear that is just as dangerous as being physically threatened: we are in danger of becoming dead inside (or losing our concept of humanness) because we can be equally attacked mentally. Although Laura is not in danger of losing her motivation for existing, she still suffers mental trauma from Carmilla implanting such an undecipherable signifier into her subconscious.

As Davis says, “By the end of Le Fanu's tale, we know that this element that can not be metabolized, assigned meaning and assimilated remains actively at work in Laura's psyche, attacking the ego from within', long after the events she narrates. Like the alien (source-object) inside the object and like the Gothic itself, the internal alien object is 'exciting rather than informing' And as Laplanche points out, what is not translatable becomes 'the measure of the quantity of trauma' (Davis 227).

Although Davis' (or Laplanche's) interpretation can not be considered as an absolute truth in being correct, it does present very intriguing ideas and explanations. Even more so than its analysis of Carmilla, the article raises some very interesting questions about human fear. More importantly, Davis makes a credible statement about what exactly the Gothic does to its audience and why it is so attractive. This threat of penetration from not just a physical alien or object but a psychological one reveals a major component of human fear. It is a key component not just to the Gothic, but can be seen in the horror genre in numerous mediums and continues to scare us to this day.