Advanced Writing Workshop Portfolio
ENGL 358: CRITICAL ANALYSIS
The Educational Value of Sita Sings the Blues as an Interpretation of Valmiki’s Ramayana
Introduction
The Ramayana is an epic poem from India, written by Valmiki. Originally composed in Sanskrit, the poem has inspired hundreds of adaptations. One contemporary interpretation of Valmiki’s Ramayana is Sita Sings the Blues, an animated film created by Nina Paley. In a secondary level English classroom setting, Sita Sings the Blues should be incorporated into a multicultural literature unit consisting of selected readings from the Ramayana because viewing the film would offset Eurocentric tendencies in classroom instruction, allow students to make connections to the text through the incorporation of a modern-day storyline, support auditory and visual learners, and fulfill Common Core Standards for Reading Literature.
Purposes of Teaching the Ramayana
In order to recognize the educational value of Sita Sings the Blues, it is necessary to advocate for the inclusion of the Ramayana into a multicultural literature unit that is intended for use at the secondary level. This is because the inclusion of literature from minority cultures into an English classroom would increase self-esteem and reduce cultural biases amongst students. According to Amado Padilla, author of “Quantitative Methods in Multicultural Education Research,” material covered in United States classrooms is often Eurocentric, which creates a bias concerning the superiority of Western cultures. Padilla also summarizes studies in which Eurocentric biases resulted in lower self-esteem amongst ethnic minority adolescents (137). Therefore, the inclusion of the Ramayana into an English classroom would offset Eurocentric tendencies in classroom instruction. As a result, exposure to multicultural literature would reduce cultural biases and increase self-esteem of students. In addition, the inclusion of the Ramayana in a secondary level English classroom would also would expose students to the genre of epic poetry.
General Information Concerning the Ramayana
The Ramayana is an ideal candidate for a multicultural unit because it is considered one of the most important works of ancient Indian literature, and it has impacted the cultural identity of the Indian Subcontinent. Because Valmiki’s Ramayana is divided into seven books containing 24,000 verses, it would be most effective to select excerpts from the text to incorporate into the unit. In addition, because the Ramayana contains mature content including violence and sexuality, it would be appropriate for a twelfth grade English classroom.
Plot Synopsis
The Ramayana follows the adventures of Prince Rama, heir to the kingdom of Ayodhya. In order to ensure that her own son inherits the throne, Queen Kaikeyi has Rama sent to the forest for fourteen years. Rama is voluntarily accompanied into exile by his brother, Lakshmana, and wife, Sita. While in exile, Rama fights the demons that live in the forest. Sita is then kidnapped by King Ravana. Together with an army of Vanara, or forest-dwelling creatures, Rama and Lakshmana declare war on Ravana and rescue Sita. After their victory, Rama rejects Sita due to suspicions of adultery. Sita then proves her purity through a trial by fire, but rumors surrounding her pregnancy lead Rama to banish her to the forest. Sita then meets an old sage named Valmiki, to whom she recounts her story. Sita eventually gives birth to twin sons, both of whom become pupils of Valmiki. When he learns of their existence, Rama ventures into the forest to visit his sons and take them back to Ayodhya. In despair over the loss of her children and in a final attempt to prove her loyalty, Sita allows herself to be swallowed by the earth.
Sita Sings the Blues as an Interpretation of the Ramayana
One contemporary interpretation of the Ramayana is the independent film, Sita Sings the Blues. Created by artist, Nina Paley, Sita Sings the Blues encompasses the plot of the Ramayana as told by three narrators (see fig. 1). The film also features the music of Annette Hanshaw, a radio singer from the 1920-30s. These songs gave birth to the title, Sita Sings the Blues, and serve as a way for the character of Sita to express her emotions throughout the film. Sita Sings the Blues also includes a parallel, modern-day storyline. This version introduces Nina and Dave (see fig. 2), whose relationship is similar to that of Sita and Rama. This addition benefits students because it allows them to make connections to the traditional version of the epic poem that may be more relevant to their everyday lives. Therefore, the modern-day storyline allows students to better comprehend the characters and plot of the Ramayana.
Fig. 1. Paley, Nina. Sita Sings the Blues. 2008. Film.
Fig. 2. Paley, Nina. Sita Sings the Blues. 2008. Film.
Similarities and Differences between Nina and Dave in relation to Sita and Rama
When Dave is offered a new job, he relocates to India for six months while Nina stays in San Francisco. However, Nina becomes distressed by their lack of communication when Dave extends his stay for another year and suggests that Nina joins him in India. This is similar to the way in which Sita follows Rama into exile because both Nina and Sita relocate to unfamiliar environments in order to be with their romantic partners.
Upon her arrival, Nina is rebuked by Dave for showing affection in public. He continues to treat her coldly and later encourages her to pursue a career in New York. While in New York, Nina receives a message that Dave wishes to end their relationship. This is similar to the way in which Rama behaves toward Sita after the two are reunited because both Dave and Rama reject their partners with little explanation.
The remainder of Sita Sings the Blues shows Nina overcoming her despair, which provides contrast to the traditional plot of the Ramayana. This is because Nina is shown being independent because she has acquired her own apartment with a new job and a new cat (see fig. 3), while the Ramayana shows Sita being swallowed by the earth (see fig. 4). The independence of Nina is empowering for women she shows that it is possible to be content without affirmation from a romantic partner, which could serve as a positive message for students.
Fig. 3. Paley, Nina. Sita Sings the Blues. 2008. Film.
Fig. 4. Paley, Nina. Sita Sings the Blues. 2008. Film.
How Sita Sings the Blues Supports Auditory and Visual Learners
Sita Sings the Blues should be shown in a secondary level English classroom setting in addition to reading selections from the Ramayana, because viewing the film would support auditory and visual learners. Marcia L. Conner, author of “Introduction to Learning Styles,” states, “Learning styles classify different ways people learn and how they approach information” (1). One system that classifies the way people learn and approach information is that of the VAK learning model. Marjorie Rosenberg, author of “Spotlight on Learning Styles,” explains that the VAK learning model differentiates between visual, auditory, and kinesthetic learners (4).
Auditory Learners
According to Rosenberg, “Auditory learners remember what they hear or say” (5). Therefore, by listening to the three narrators of the Ramayana in Sita Sings the Blues, students who identify as auditory learners would be more likely to remember the events that take place within the epic poem. Because the film also includes music, auditory learners will have another means of recalling information from the Ramayana. As a result, viewing Sita Sings the Blues in a secondary English classroom setting would provide support for auditory learners.
Visual Learners
Also according to Rosenberg, “Visual learners generally remember best when they can see something,” (5). Therefore, the use of Sita Sings the Blues as a visual representation of the Ramayana would benefit students who identify as visual learners because it would actually enable them to see the characters and plot. Because Nina Paley incorporates a wide variety of animation styles into her film, viewing Sita Sings the Blues would provide students with multiple representations of characters and events that take place within the epic poem. The more images that students are exposed to, the more likely they would be to remember the content of the film. As a result, viewing Sita Sings the Blues in a secondary English classroom setting would provide support for students who identify as visual learners as well as those who identify as auditory learners.
How Sita Sings the Blues Fulfills Common Core Standards for Reading Literature
In addition to supporting auditory and visual learners, Sita Sings the Blues fulfills Common Core Standards for English Language Arts in Reading Literature for grades 11-12, specifically regarding the integration of knowledge and ideas. For example, the seventh standard in this category suggests that students, “Analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text” (“English Language Arts Standards » Reading: Literature » Grade 11-12 » 7”). Therefore, by watching Sita Sings the Blues, students would be able to analyze the traditional and modern-day interpretations of Valmiki’s Ramayana included in Paley’s film.
Counterargument
Although the incorporation of Sita Sings the Blues into a multicultural literature unit consisting of selected readings of the Ramayana would support auditory and visual learners and fulfill Common Core Standards for Reading Literature, some individuals may argue against the educational value of the film because it depicts violence and gender stereotypes. However, because the film is an animated representation of the Ramayana, images of violence and gender stereotypes are depicted as exaggerated cartoons (see fig. 5). Therefore, such images are unrealistic. For example, the characters of Rama and Sita are inhumanely disproportionate because Rama is extremely muscular, while Sita has large eyes, exaggerated curves, and a tiny waist. Because these images are so exaggerated, it could be argued that Paley is creating satire of the ideal feminine and masculine body-types. In addition to the images being unrealistic, Sita Sings the Blues provides a realistic, modern-day interpretation that acts as a nonviolent representation of the Ramayana that does not depict gender stereotypes.
.
Fig. 5. Paley, Nina. Sita Sings the Blues. 2008. Film.
How to Incorporate Sita Sings the Blues into a Multicultural Literature Unit
In response to the concerns addressed in the counterargument and because of the difficulty level and length of the Ramayana as a text, it would be most practical to incorporate Sita Sings the Blues into an upper-level secondary English classroom. For example, the film could be utilized in a classroom of grade twelve students, or in a classroom of mature eleventh graders. It would also be beneficial to pair the film with short reading selections from the original text in order to allow students to experience the authentic version of the Ramayana, although it would be impractical to require students to read all 24,000 verses. As a result, the film would act as a supplement, rather than a replacement, for the original text. In order to further emphasize the multicultural potential of this text, students could compare the Ramayana and Sita Sings the Blues to other epic poems such as Homer’s Odyssey or The Epic of Gilgamesh.
Conclusion
In conclusion, Sita Sings the Blues should be incorporated into a multicultural literature unit in a secondary level English classroom setting as an interpretation of Valmiki’s Ramayana because viewing the film would offset Eurocentric tendencies in classroom instruction, allow students to make connections to the text through the incorporation of a modern-day storyline, support auditory and visual learners, and fulfill Common Core Standards for Reading Literature.
Works Cited
“English Language Arts Standards » Reading: Literature » Grade 11-12 » 7.”
corestandards. Common Core State Standards Initiative, 2015. Web. 31 Mar. 2015.
Conner, Marcia. "Introduction to Learning Styles." agelesslearner. Ageless Learner, 2007.
Web. 31 Mar. 2015.
Padilla, Amado. “Quantitative Methods in Multicultural Education Research.” Handbook of
Research on Multicultural Education. Ed. James Banks and Cherry McGee Banks.
San Francisco: Jossey-Bass Wiley, 2004, 127-145. Print.
Paley, Nina, dir. Sita Sings the Blues. 2008. Film.
Rosenberg, Marjorie. “Spotlight on Learning Styles.” deltapublishing. Delta Publishing,
2013. Web. 31. Mar. 2015.
ENGL 345: TERM PAPER
The Naked Judge in Cormac McCarthy’s
Blood Meridian or The Evening Redness in the West
Introduction
Regarding the judge in Blood Meridian or The Evening Redness in the West, written by Cormac McCarthy, the kid asks, “What’s he judge of?” (141), only to receive a warning. This question and others surround the mysterious judge across various readings and interpretations of the novel. For example, why is the judge often portrayed in the nude, and what effect does this have on his character? In an attempt to address this prompt, the nakedness of Judge Holden in Cormac McCarthy’s Blood Meridian or The Evening Redness in the West can be interpreted as a display of the judge’s power because it allows him to manipulate the emotions of those around him and associate himself with the supernatural.
Context of the Judge as a Character
Judge Holden, simply referred to as the judge, is one of the main characters in Blood Meridian or The Evening Redness in the West. The judge rides with Glanton’s gang of hunters and outlaws. Although this group is made up of violent men, the judge seems to have a greater appreciation for the concept of war and less concern for human life than do his companions. The judge also appears to have an affinity for children, whose mutilated bodies are later found in his wake. But perhaps most astonishing is the presentation of the judge as a scholar. For example, the judge displays knowledge of archaeology, paleontology, geology, chemistry, drawing, law, prestidigitation, and philosophy. He is also fluent in multiple languages. Aside from killing, one of his favorite hobbies involves recording objects in his book, then removing all evidence of their existence from the face of the earth. However, the judge also seems to have a strange habit of wandering naked throughout the novel.
Frequency of the Judge’s Nakedness throughout the Novel
Although many characters are depicted without clothing throughout the novel, out of all of the characters, the judge is most frequently portrayed in the nude. Unlike the other men that belong to Glanton’s gang, the judge is often naked under illogical circumstances in the absence of apparent reason. When considering these situations, one instance creates a distinction.
This notable instance of justifiable nudity occurs when black Jackson reunites with the gang after a brief separation. He returns on a donkey with only a blanket and his weapon, and it is implied that Jackson’s nakedness is due to thievery. Such reasoning is evident through the use of the word “saved” in the quote, “He was naked save for a blanket he’d wrapped himself in. He didn’t even have boots...The only thing he’d saved was his pistol (McCarthy 205). As a result, it can be inferred that Jackson was unable to protect his belongings and maintain possession of his clothing, which would provide justification for his nudity.
Meanwhile, the judge appears naked on many occasions, including while rescuing the idiot, in the outhouse where he confronts the kid, and also while dancing at the end of the novel. However, unlike the instance concerning Jackson, little explanation is used to justify the judge’s frequent nudity. One excerpt exemplifies this apparent lack of reasoning through the sentence, “Now the judge on his midnight rounds was passing along at just this place stark naked himself—such encounters being commoner than men suppose” (McCarthy 270). In this quotation, the narration notes the frequency of nudity in relation to the judge, claiming such circumstances to be more common than expected. After, the narrator does comment on the reason as to why the judge was naked, implying that the judge’s nudity requires no explanation.
Hairlessness as a Form of Nakedness
A lack of clothing is not the only factor that contributes to the judge’s nakedness; his body is also free of hair. The narrator emphasizes the judge’s hairlessness in the sentence, “He shone like the moon so pale he was and not a hair to be seen anywhere upon that vast corpus, not in any crevice nor in the great bores of his nose and not upon his chest nor in his ears nor any tuft at all above his eyes nor to the lids thereof” (McCarthy 174). As a result, the judge seems to take nudity to a whole new level, with only pale skin bordering his body from the outside world.
Possible Intent of the Judge’s Nakedness
Due to his hairlessness and frequent yet unexplained nudity, the judge becomes an oddity. Larissa Bonfante, author of “Nudity as a Costume in Classical Art” explains, “Because of the powerful emotions of shame, shock, lust, admiration, violation, pity, and disgust aroused by the sight of the naked human body, the most frequent associations are with taboo, magic, and ritual” (544). As a result, the judge gains power when naked because these are the emotions that he wishes to evoke from those around him. An example of desire to manipulate emotions can be seen when the judge is first introduced and he intrudes upon a service, accusing the reverend of pedophilia and bestiality in front of his congregation (McCarthy 7). In order to encourage the congregation to kill the reverend, the judge inspired in them the aforementioned emotions. It is later revealed that the judge did this simply for his own entertainment (McCarthy8). Therefore, the judge enjoys manipulating negative human emotions. Because such feelings can be inspired by the sight of the naked body, the judge’s desire to manipulate human emotions may be one of the hidden intentions behind his frequent nakedness.
Nakedness as A Symbol of the Judge’s Power
In addition to manipulating emotions, nakedness also serves as a symbol of the judge’s power through his association with the supernatural. Bonfante explains, “In a clothed society, nudity is special, monstrous, dangerous, and powerful” (545). For example, it is clear that the judge appreciates magic through his interest in practicing sleight of hand. A specific example of how nakedness serves as a symbol of the judge’s power through his association with the supernatural occurs at the end of the novel:
Towering over them all is the judge and he is naked dancing, his small feet lively and quick and now in doubletime and bowing to the ladies, huge and pale and hairless, like an enormous infant. He never sleeps, he says. He says he’ll never die. (McCarthy 348)
This passage describes the judge’s relationship with the supernatural because no human can survive without sleep and no human can live forever. His nakedness also contributes to this atmosphere and serves as a symbol of his power. This is represented in the phrase, “towering over them all” (McCarthy 348), which could not only indicate that the judge is physically larger than the other men and women at the party, but also that he has some sort of control over them, similar to that of a puppeteer looming over a stage, urging his marionettes to dance.
Some interpretations of this passage could indicate that the judge is not human at all, but actually a supernatural figure. Bonfante explains, “In the past, one purpose of wearing clothing was to turn away the effects of magic, sorcery, the evil eye, and hostile spirits” (McCarthy 544). However, the judge would not need to use clothing to protect himself from supernatural threats if he was not actually human.
The Hat as an Exception to the Judge’s Nakedness
One exception to the judge’s nakedness is that he is often in possession of a hat. For example, the hat is also present when the judge is dancing at the end of the novel. This is evident when the narrator says, “He wafts his hat and the lunar dome of his skull passes palely under the lams as he swings about and takes possession of one of the fiddles and he pirouettes and make a pass, two passes, dancing and fiddling at once” (McCarthy 349). However, it is clear that the judge is not actually wearing the hat. Still, it could act as an exception to the Judge’s nakedness because it remains attached to his person.
Perhaps the judge prefers to keep his hat in close proximity because it symbolizes protection for a vulnerable part of the body. This is because heads are subject to decapitation, scalping, gunshot wounds, and even being crushed throughout the novel. However, the head also functions as a vessel for the brain, which controls emotion and thought, something in which the judge is very interested. A significant amount of text is also devoted to describing the judge’s head. For example, the narrator says, “The immense and gleaming dome of his naked skull looked like a cap for bathing pulled down to the otherwise darkened skin of his face and neck” (174). As a result, the judge may consider using his hat to hide this part of his body because it can be vulnerable when exposed.
Conclusion
In conclusion, despite the fact that he is usually depicted with a hat, Judge Holden in Cormac McCarthy’s Blood Meridian or The Evening Redness in the West exercises his power through nakedness because it allows him to manipulate the emotions of those around him and associate himself with the supernatural. This interpretation attempts to decode the naked judge. However, there are still many unanswered questions surrounding his character.
Works Cited
Bonfante, Larissa. “Nudity as a Costume in Classical Art.” American Journal of Archaeology
93.4 (1989): 543-570. Print.
McCarthy, Cormac. Blood Meridian or The Evening Redness in the West. 1985. New York:
Vintage Books, 1992. Print.
ENGL 279: READING RESPONSE
Feminism and Dracula
Parker defines patriarchy as “centering on men while underestimating women” (149). In Dracula, female characters are frequently underestimated, while Male characters are the center of attention. This can be seen in the images of Lucy and Mina and through their interactions with other characters throughout the book.
For example, Parker explains how the Bechdel test gauges whether or not a novel is worth reading based on the following criteria: there must be two women who talk to each other, and their conversations must be about something other than a man (154). According to these standards, Lucy and Mina rarely speak about anything other than the men in their lives. This causes readers to underestimate female characters because it leads us to believe that they are not capable of having any interests or problems of their own. Even when Mina confides in Lucy’s mother about Lucy’s sleepwalking, Mrs. Westenra makes the point, “her husband, Lucy’s father, had the same habit; that he would get up in the night and dress himself and go out, if he were not stopped” (Stoker 70). This quote shows that even when dealing with a problem regarding a female character, the precedent for the problem has to be set by a male character, in this case, Lucy’s father. In other words, Lucy can’t just have her own unique problem. It had to be passed on from a male character. This is also the case when she becomes a vampire because Dracula is responsible.
However, the reader is not the only one to underestimate the female characters in the novel. Male characters clearly underestimate female characters. This can be seen when Mina becomes involved in the men’s plot to kill Dracula. At first, Van Helsing praises Mina for being so clever and capable, but later, he and the other men decide to exclude Mina from their plans in order to relieve her of anxiety. This can be seen when Van Helsing says, “Madam Mina, this night I the end until all be well…We shall tell you all in good time” (Stoker 225). He also states, “We are men, and able to bear; but you must be our star and our hope, and we shall act all the more free that you are not in danger, such as we are” (Stoker 225). Through this statement, Van Helsing implies that because Mina is a female, she is unable to bear the burden of the mission. It also implies that Mina could become a burden to the men if they had to keep her informed, because to do so would mean putting her in harm’s way. If Mina was in danger, the men would feel responsible for her protection. Because the men wish to keep Mina out of the loop, they underestimate her ability to aid them in their quest.
These two examples shed light on how women are portrayed in Dracula. After a simple analysis it was made clear that Lucy and Mina are obviously underestimated throughout the novel by both readers and other characters. However, these quotations represent only a small sample of the patriarchy that is present throughout the story.