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LITR 4370
TRAGEDY
Final Exam Samples 2015 (final exam assignment)
Model Answers to Part 3. |
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Part 3. Complete Research Report:
Write at least
8-10 substantial paragraphs with four sources
to complete
your Research Report on selected
special topic.
Stephanie Ali
Reviewing the
Spectacle and Sublime
Spectacle is that wow factor that we
look for in a plot. It could be computer graphics, costume designs and props, or
stunts. Its purpose is for marvel and admiration (Dr. White’s website).
Spectacle and Sublime are added aspects of literature, art and movies. The wow
factor is the spectacle and the sublime is
the
experience of a powerful mixture of
pleasure and pain (Dr. White’s website). These items bring ingredients to the
plot, but as Aristotle points out, are not the meat of the plot:
“The
spectacle
has, indeed, an emotional attraction of its own, but, of all the parts, it is
the least artistic, and connected
least with the art of poetry.
For
the power of
tragedy, we may be sure, is felt even
apart from representation and actors.
Besides, the production of spectacular
effects depends more on the art of the stage machinist than on that of the
poet. . .” (Aristotle 6g).
In
the play “Mourning Becomes Electra”, O’Neil explicitly describes the characters
as wearing masks, “her face has become like a sinister, evil mask (O’Neil, 291).
Also, the house is described as a “white Grecian temple portico with its six
tall columns” (O’Neil, 263).
The narrator’s commentary create the spectacle of
the characters and the props that make them more dramatic, dangerous or
mysterious. However, it’s the narrative plot that produces the greatest effect.
In earlier tragedy, the spectacle is repressed and
left to the audience to create independently. For example Clytemnestra murders
her husband offstage and the only indication is the scream off stage and the
reentry of Clytemnestra with blood. The details are left for the individual to
create in one’s own mind.
One of the functions of repressing spectacles is to
encourage thinking. When the horrific act is in the open, there leaves little
room for thought or imagination.
“By repressing spectacle and its “gross” or animal
aspects, tragedy involves audience in something higher, nobler . . . acc. to
Aristotle, “fear and pity” or
catharsis” (Dr. White’s website).This
effect of something nobler can be felt with Oedipus. Although the eye gorging is
not performed in front of the audience, he comes out bloody and the audience has
no choice but to imagine the act itself. Also, his wife/mother kills herself and
this is also not seen on stage. Hamlet offers a modernization in the spectacle.
One of the techniques that modernize this play from
former tragedies is the introduction of killing scenes on stage. Blood and sword
fighting are present to the eyes of the audience. In Bacchae, the spectacle is
not shown, but we are informed of the bloody massacre of Pentheus.
A spectacle can leave an impression even though it
has less to do with the art and leans more towards the mechanical or technical
part. One of my favorite movies
is a 1996 American
disaster drama
film
starring Bill Paxton and Helen Hunt as storm chasers researching tornadoes. The
two are facing a divorce, but united while chasing a category five tornado; and
there is a great scene where they strap themselves with leather to pipes
anchored deep in the Earth. As the massive tornado passes over them, they share
an intimate kiss while they are turned upside down by wind forces. This scene is
still vivid in my memory although it has been years since I have seen the movie.
The spectacle acts as a photo snap shot that the audience can return to.
This weekend I
went to see the newly released movie of Disney’s “Cinderella”. After studying
spectacle and sublime, it was easy to point out the elements in the movie. Hands
down, Cinderella’s costume was an immense spectacle. No other maiden in the ball
room had a gown as bright, big, or beautiful as hers. There is a spectacular
scene where she is coming down the steps in her marvelous blue gown, and
everyone in the room stops and looks up at her as she elegantly descends the
stairs. In fact, there were movie
reviews on television spotlighting the scene of Cinderella in the blue dress.
Noting that it is getting so much attention from critics furthers the proof of
being a spectacle.
As tragedy
modernizes, the sublime and spectacle slightly merge or work together. In
Victoria Webb’s research titled: “Tragedy
is not Tragedy without a Spectacle” she states,
“I will argue that both spectacle and sublime go hand in hand when witnessing
the play coming to life. The sublime, as defined in “Terms/Themes” is something
that is “larger than life” and is “is beauty mixed or edged with danger, terror,
threat--all on a grand or elevated scale”, it is the audience experiencing the
mix of “pleasure and pain”, “attraction and repulsion” as well as “pity and
fear” (White, Sublime, 2015). I believe that sublime and spectacle are mixed
together nicely in tragedy and positively aid the plays in forcing the audience
to feel what the characters feel, or empathize with the situation that is
happening before us.”
Another example of
a sublime and spectacle merging is from the movie, “Twelve Years a Slave”. The
Protagonist is forced by his owner to whip a female slave whom is has a bond
with. He is facing death if he refuses, and he is trying to live so that he can
get back to his family. He is a noble character who was put in a situation which
either way would have been tragic. Give up reuniting with his wife and children,
or whip a slave. He chooses to whip the slave and the scene is horrific because
he cares deeply for the female slave. The audience experiences a mixed feeling
of horror and pity as the slave is whipped, and the scene itself of blood drawn
from her back has a lasting effect. I still get emotional when I recall this
scene. As Thomas Pain states: “The
sublime and the ridiculous are often so nearly related, that it is difficult to
class them separately. One step above the sublime, makes the ridiculous; and one
step above the ridiculous, makes the sublime again”. (The Age of Reason 1795).
Although these tragic scenes induce a reaction out of the audience, it does not
take away from the characters and their development in the plot, but rather it
can be paired as icing on the cake. As Dr. White states, “spectacle
is visual or physical and is repressed or managed; sublime is a product of the
plot and related to catharsis as an effect of the story”.
Indeed, added sublime and
spectacle can draw the crowds and keep us coming back for more, but the plot is
the part we learn from even if we are not aware of it. Tragedy attempts to
manage spectacle, but as it modernizes, there are more visual effects.
In fact, spectacle and sublime seem to
have taken over. To put this idea into perspective, most of us either heard or
were old enough to remember the O.J. Simpson case in the mid 1990’s.
This story, or plot took over the media and became part of our lives. In
the book Media Spectacle by Douglas
Kellner, he states that: “The mega spectacle of the Simpson trial permeated the
legal system and crime and colonizing everyday life by permeating the TV day,
generating endless “breaking news”, talk shows, internet sites, and, later, TV
documentaries and docudramas” (Kellner ix).
There is no
denying that spectacle has taken over, but as suggested is not just in movies or
plays. A large part of our lives involve political movements as well. Kellner
proclaims that “the media spectacle of the 2000 election and its aftermath was
one of the great political battles and crimes of US history” (Kellner, x).
Question is, have we as a society learned from these tragic events?
Looking back on
the plays we read, the spectacle was tightly managed. Even though less was
repressed as we go from Hamlet to
Desire Under the Elms, it’s innocent
compared to the massive monster that is created today.
Perhaps too much spectacle leaves the observer fixated on the visual and
overlooking the worthiness of the plot or lesson to be learned. When too
occupied with the aesthetics and spectacle, we fail to think for ourselves. The
spectacle does all the thinking for us. And when that happens, we now believe
everything we see and hear. This spectacle of entertainment can be found from
the box office to Facebook. Spectacle is great, but when it overshadows
humanity’s ability to reflect and ponder, it becomes a disservice to our
intelligence and capabilities. Perhaps we need to return to the Romantic Period,
and take nature as the ultimate and pure spectacle and sublime.
Works
Cited
White, Craig. LITR 4370 website.
http://www.answers.com/topic/from-the-sublime-to-the-ridiculous
Kellner, Douglas. Media Spectacle [e-book]. London: Routledge; 2003.
(EBSCOhost), Ipswich, MA. May 8, 2015.
"Romanticism Versus Enlightenment - TV Tropes." Romanticism Versus Enlightenment
– TV Tropes. Web. 8 May 2015.
Webb,
Victoria. Model Assignments.
http://coursesite.uhcl.edu/HSH/Whitec/LITR/4533/models/2015/MT1/2015Mt1pt3.htm
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