Compare Contrast Essay

Published on February 2017 | Categories: Documents | Downloads: 32 | Comments: 0 | Views: 274
of 14
Download PDF   Embed   Report

Comments

Content

Zbarskaya 1 1997: Novels and plays often include scenes of weddings, funeral, parties, and other social occasions. Such scenes may reveal the values of the characters and the society in which they live. Select a novel or play that includes such a scene and, in a focused essay, discuss the contribution the scene makes to the meaning of the work as a whole.

Regina Zbarskaya Ms. Wilson AP Literature and Composition 2 October 2013

I have read and understood the sections in the Student Handbook regarding Mason High School‟s Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a “0” on the paper, as well as an “F” as a final grade in the course.

Zbarskaya 2 Part 1: Prose Close Reading In The Namesake by Jhumpa Lahiri, a tense, uncomfortable relationship between Gogol and Ashoke developed through imagery provides the starting point for the growth of Gogol‟s self-awareness, but his actual growth occurs with the revelation of his namesake delineated through the varying syntax length and strong diction in the passage; ultimately revealing the process of tearing down one‟s assumptions before building oneself up from the harsh situations presented in reality. From the beginning, Gogol is predisposed to a tense relationship between him and his father due to the differences between Gogol and his family. The strained relationship is first developed through the imagery of the setting. It is “night”, “windy”, and “brown leaves… fly across the road” (122). The reference to autumn creates a very cold, dark, dreary and harsh atmosphere; it represents the feelings Gogol has about the relationship towards his father. Gogol has rarely enjoyed being in the company of his family because of the difference between his family‟s traditional Bengali culture and his American-Bengali blend of the two cultures. His discomfort towards his family extends to his father and it is displayed when Ashoke picks up Gogol from the train station. Both father and son “walk to the parking lot, get into the car, and begin the short drive home” (122). This list of actions without dialogue further accentuates the strained relationship between the two characters. Gogol had just witnessed a suicide by train and has finally arrived home after leaving his family for an extensive period of time. Yet there is no contact between father and son as they begin the drive home. The lack of contact between father and son, as well as the tense atmosphere all serve as the starting point for Gogol‟s growth to selfawareness. The atmosphere reflects Gogol‟s assumption that he has no connection to his father;

Zbarskaya 3 that his name in reality was nothing but a whim on his father‟s part. This assumption is shattered with the revelation of Gogol‟s namesake. The transition from Gogol‟s ignorant nature to his growth in self-awareness is displayed through the varying syntax length. At first, Gogol is annoyed when his father brings up the topic of Gogol‟s name. His answer to his father is short, sweet, and concise; indicating that it is something he prefers not to talk about: “Right, Baba. Gogol‟s your favorite author. I know” (123). The “I know” particularly at the end emphasizes Gogol‟s immaturity. It‟s a line frequently repeated by teenagers when they think they know more than their parents; think they are wise when in reality they are not. After discovering that his namesake originated from the book that saved his father‟s life, Gogol‟s attitude changes and he comes to the idea that “for an instant his father is a stranger, a man who has kept a secret, has survived a tragedy, a man who past he does not fully know (123). The syntax in this line compared to the previous line has increased in length from brief to prolonged. With the syntax change, there is also a change in Gogol‟s thoughts. His assumption that his name had little meaning behind it has been torn apart, as well as his assumption that he knew everything there was to know about his father. The replacement of these predispositions with the new knowledge has increased the self-awareness of Gogol as well as dissipated the tense relationship between Gogol and Ashoke. Gogol‟s growth in self-awareness is further progressed through his reflection on the knowledge he received from Ashoke about his namesake, displayed through the use of strong diction. Gogol at first is “fidgeting” then “puzzled, stunned” while listening to his father, and eventually “harsh, awkward, oddly ashamed, at fault” by the end of Ashoke‟s narration (123). His recognition of his selfishness and self-absorbed nature as a child is where his growth of selfawareness occurs. He realized that his actions in the past were not as justified as he believed

Zbarskaya 4 them to be. All Gogol‟s previous assumptions about his name and his actions involving his name up to this point have been nullified and he “struggles to absorb the information” (124). An individual can only grow in self-awareness after their current mentality is torn apart and they build up a new outlook on life. Gogol feels regret about treating his father the way he did as a child, but this regret is what will allow him to grow even further in maturity and self-awareness until he becomes an adult that is comfortable with his identity and can establish a working relationship with his father. Up to this point in the text, Gogol has started to become desensitized to his name. There is irony in this situation where Gogol came close to successfully distancing himself from his name and started to grow accustomed to having a scratchy tag that he was unable to completely remove, only to have his father make him readdress the issue all over again. His father tears down the assumptions Gogol had about his name allowing Gogol to reevaluate who he is.

Zbarskaya 5 Part 2: Mise En Scene Analysis In The Namesake, the film focuses on lighting, setting, and sound in order to show Ashoke‟s change in outlook on life; he does not want his son to experience the same change in values through a tragedy; he wants him to grow up without having to go through the same things as Ashoke, yet Gogol continually distances himself from his father and ignores his suggestions. Ashoke‟s care for his son reinforces the theme of a parent caring for their child, but it also shows Ashoke‟s journey to his sense of identity. The transition from a dark setting in the past to the light setting of the present creates a transition in Ashoke‟s feelings from suffering and feeling blocked in to experiencing hope and freedom; ultimately becoming a lesson for Gogol in relation to his own self-awareness. As Ashoke was moving toward the train to transport him to his grandfather‟s house, he was engulfed by a sea of people primarily in dark reds, browns, and blacks. He was surrounded by a pool of dark color. This dark landscape also colored the train wreck. However, the movement from dark to light begins as Ashoke is thinking about Mr. Ghosh‟s words. Ashoke‟s surroundings are shaded with a dull gray as he is resting in his home after the accident. It is at that moment that Ashoke finds his inspiration to keep moving forward. He glances out of the window to the outside world to see a flock of birds fly up into the sky. Although Ashoke cannot physically move, his mind soars with the idea of going overseas. This brings the scene to the present, where there are very light colors all around. As Ashoke pull the car over to talk to Gogol, the scene is dominated by the pink and green around it; it draws the viewer‟s focus. The transition from dark to gray to light shows Ashoke‟s growth in self-awareness. He begins as an individual focused on his books and not caring to leave India and finalizes as an individual that moves to America, gets a degree and lives a decent life. He grows in self-knowledge from the lesson taught by the

Zbarskaya 6 tragedy he experienced. It is why he is relating this idea to his son. Not only does he want to elaborate on the reason for his son‟s name but he also wants to leave his son with a lesson. Ashoke wants to tell Gogol to reconsider his values. Ashoke learned his lesson through a tragedy; he wants Gogol to learn it without experiencing one. Lighting plays a key role in emphasizing certain parts of the process of Ashoke‟s selfawareness. The low key lighting during the train crash incident diminishes the colors in the scene and displays how dark of an event it was for Ashoke. The low key lighting also puts emphasis on the papers in Ashoke‟s hands since it was the only thing that was illuminated by the light. On the other hand, the high key lighting during the scene where Ashoke pulls the car up to the cherry blossom trees illuminates the pink and green in the surroundings and makes them even brighter. The bright colors indicate hope and happiness that Ashoke has found since the incident. Ashoke‟s growth in his sense of self is what allowed him to develop the hope and happiness displayed through the setting. By incorporating the accident as facet of his identity, especially the pages of the book, he was able to advance past the incident and focus on the hope and happiness that he could potentially acquire. Ashoke‟s acceptance of his identity is also part of the lesson he wants to ingrain into his son. Gogol must accept both his Bengali culture and his American culture, as well as his namesake in order to complete his identity. Ashoke‟s incorporation of the incident into his identity can be identified through the scene involving the train wreck, particularly from the incorporation of sound during the scene. In the beginning, Ashoke begins describing the train crash through non-diegetic sound; he narrates everything as the scene unfolds on the camera. However, when the actual train incident occurs, the sound switches from non-diegetic to diegetic indicating that whenever Ashoke describes the scene or thinks about it, it unfolds in front on his eyes. Even after many years have passed, the event is still something that

Zbarskaya 7 is fresh in his mind; something that he will always relive whenever it springs up from his memories. The switch from non-diegetic to diegetic distinguishes the train wreck because of the unexpected nature of the switch; it makes the scene appear as if it is happening currently at the moment. The switch demonstrates the effect of the event on Ashoke; it was something jarring and unforgettable. However, the incident does not hold Ashoke back. It gives him anxiety in relation to trains but it does not prevent him from achieving his other goals in life. It is because he accepted it that he can live with it. Gogol has been struggling to finalize his sense of self; his father is implying to him that only through acceptance can he achieve his goal.

Zbarskaya 8 Part 3: Compare and Contrast Essay Identity is essential to each individual, but the process of forming a sense of one‟s identity is long and hard; the process rarely stops, if ever. Individuals continuously encounter new situations that raise questions about one‟s previously established beliefs - particularly in encounters with other individuals. Gogol is the individual at focus, who is dealing with the question of his identity. He is torn in between the Bengali and American cultures, without a niche for himself. Gogol‟s attempt to create his sense of identity and his own place in world follows a road of internal struggle, complications, and constant innovation of a new sense of self. Although both the novel The Namesake by Jhumpa Lahiri and the film The Namesake focus on Gogol‟s struggle in the continuous processes of self-awareness, the novel puts more emphasis on breaking down one‟s identity and building it back up from scratch while the film puts more emphasis on adjusting a currently developing psyche to accommodate new knowledge in order to build a new, complete individual by combining the old and new self. Both distinctions require enduring contemplation and an internal struggle to fit all the pieces gained from experience into one identity. This internal struggle is displayed in both the novel and film as Gogol transitions from an immature teenager trying to distance himself from his family to an individual struggling to adjust his identity to fit both hemispheres of culture into one. The novel approaches Gogol‟s transition through the varying syntax length of the sentences. Gogol begins by being annoyed when his father brings up the topic of Gogol‟s name. His answer to his father is short, sweet, and concise; indicating that it is something he prefers not to talk about: “Right, Baba. Gogol‟s your favorite author. I know” (123). The syntax changes after Gogol learns the truth behind his name. Thinking about his father, he comes to a realization that “for an instant his father is a stranger, a

Zbarskaya 9 man who has kept a secret, has survived a tragedy, a man whose past he does not fully know” (123). The change in syntax reveals the change in thought; the short sentences reveal Gogol is assuming he is right while the long sentences reveal Gogol contemplating the new information. Gogol now has to adjust his thinking about his father; he assumed he knew everything about his father and reality revealed his error. Gogol experiences the conflict that arises when situations present information contradicting prior beliefs; he must now balance the new perspective of his father with his previously established views. Similarly, the film reveals the same internal struggle through the use of the actor‟s facial expressions and actions. When Ashoke first brings up the topic of Gogol‟s name, Gogol nods his head multiple times and his eyes move to the side away from Ashoke as a slight smile spreads across his face. These actions combine to create an image of a slightly immature teenager rolling his eyes at his parent. Gogol begins the scene with treating the situation as a joke. However, this changes after Gogol hears the story from his father. Gogol stares at his father with his eyebrows frowning, blinking several times before finally lowering his head in silence. These actions reveal the growth in maturity Gogol has in his approach to the topic. No longer is he being playful and inconsiderate, but he is being thoughtful and contemplative. He realizes that his name is not a simple matter as he had previously treated it. Here, Gogol now has to readjust his opinion of his name. His name now no longer means that same thing as it did before. Gogol has to deal with not only readjusting his view of his father, but also his outlook towards his name. Gogol further experiences a change in his viewpoint of his father after Ashoke reveals the scenario of nearly dying. The diction reveals Gogol‟s feelings towards his father. In the novel, Gogol began thinking negatively about his father, thinking “his father is not the type...to speak openly of his desires, his moods, his needs” (122). Gogol feels that his father is distant from him

Zbarskaya 10 because he rarely reveals anything about himself. Gogol takes offence that Ashoke does not articulate his feelings and lashes out at his father by saying he “is not the type” to share emotions. Gogol categorizes his father, bitterly distancing himself further away from someone he wants to feel closer to. This changes when Gogol “against instinct...tries to imagine life without his father, a world in which his father does not exist” (123). At this point, Gogol finds it difficult to imagine life without his father. To Gogol, it feels “against instinct” to imagine his father missing from his family; it proves that Ashoke means something significant to Gogol even if it takes a near death situation for Gogol to realize this. Even if Gogol felt distant and bothered by his father, he still was forced to admit that he loved him and could not live without him. Likewise, Gogol‟s change in relation towards his father is shown in the film through varying camera angles. The scene begins from a middle shot; both Ashoke and Gogol are in the shot but there is distance between them. Ashoke and Gogol are not only physically distance from each other but also emotionally. After Ashoke is concluding his narration, the camera angle moves into a close up of first Gogol and then Ashoke. The repeat of close ups brings both the characters closer emotionally. By revealing their emotion one right after the other, it puts both of them on the same level of high emotion and builds a connection between them; this connection pulls both characters closer. Gogol now has a different relationship with his father. Gogol is reevaluating his relationship and readjusting his previous view of his relationship with his father. Although both novel and film establish Gogol‟s transition from someone immature to someone struggling with their identity, the novel puts more focus on breaking down an individual‟s identity to build it up while the movie focuses on adjusting a developed thinking. The novel reveals Gogol‟s reflection on the new information obtained from his father through the use of self-deprecating diction. Gogol sits still after hearing the full story, “struggling to absorb

Zbarskaya 11 the information, feeling awkward, oddly ashamed, at fault. „I‟m sorry, Baba‟” (124). And he remarks and “the sound of his pet name, uttered by his father... means something completely new, bound up with a catastrophe he has unwittingly embodied for years” (124). Gogol reflects how the new information has affected him. It left him feeling “awkward, ashamed, at fault”, somehow “new” and as a “catastrophe” (124). He has taken the information presented to him and tried to fit it into his persona; unfortunately that cannot be done easily and he is experiencing the discomfort involved in the process. The information has changed his identity and how he views himself. However, this idea is starkly contrasted by what is presented in the film. The film uses camera angles to focus on Gogol‟s contemplation of the information but it does not display his reflection and struggle to redefine himself. A close up shot is projected at Gogol while Gogol stares at his father with his eyebrows frowning, blinking several times before finally lowering his head in silence. He then continues to stay in silence for a long duration of time while the camera is still in a close up shot. The close up reveals his emotion; he is shocked by the news and is contemplating what it means to him but the close up does not show him changing his outlook on his name. It just shows him accepting the information but not reacting to it or struggling to integrate it into his identity. Also, the novel presents a harsh reality through the establishment of the setting using imagery. Lahiri establishes the atmosphere as tense by describing the cold, isolated actions of father and son without dialogue. Both “walk to the parking lot, get into the car, and begin the short drive home” (122). The setting is further established as “night”, “windy”, and “brown leaves... fly across the road” (122). The reference to autumn creates a very cold, dreary atmosphere; this scene occurs during the night with winds all around; it is very dark,

Zbarskaya 12 uncomfortable and both characters are situated in a harsh environment. Later, Gogol‟s voice is “harsh” and “accusing” and he even becomes bitter when asking his questions by ending his question with “isn‟t it?” at the end (123). The setting contributes to the overall idea that integrating something new into one‟s identity is a struggle; Gogol attacks his father for holding out on the information because it is hard for him to deal with it. This idea is contrasted in the film through the setting established by the lighting in the movie. The film uses high key lighting to enhance the colors outside; it is daylight, with green and pink everywhere, particularly in the scene where Ashoke pulls away from the curb. The high key lighting puts focus on the bright pink of the cherry blossom tree and fluorescent green of the grass. The settings are much different between the novel and film; the two seasons are opposite from one another. The bright setting of the film indicates a peaceful and positive emotion. It leaves a positive note for Gogol to contemplate upon. The setting reinforces the idea that it is possible to adjust one‟s view of one‟s identity without extreme struggle. This theme is significantly different than the novel, which focuses on the idea that struggle is essential to growth in self-awareness. There is disparity between the focus of the novel and the focus on the film; one is dedicated to the idea of tearing down one‟s established identity in favor of a new one while the other places significance on the importance of adding new information to one‟s current identity. However, it is the novel‟s focus on an individual‟s struggle with reestablishing the balance between new and old that makes the novel stand out compared to the film. The film focuses on adjusting an individual‟s identity with new situations just as the novel, but the film is missing the essential element: the struggle. The reflection. Gaining new knowledge is not significant if the character does not learn from it. Although, the film does bring its own element. While the novel

Zbarskaya 13 puts emphasis on reflection, the film puts emphasis on new knowledge. The contrast between the novel and the film, brings realization of the importance of reflection as well as the importance of the background information in the first place. Gogol could not have experienced the reflection displayed in the novel without first understanding the significance of his namesake as displayed in the film.

Zbarskaya 14 Works Cited Lahiri, Jhumpa. The Namesake. Boston: Houghton Mifflin, 2003. 122-24. Print. The Namesake. Dir. Mira Nair. Mirabai Films, 2006. DVD.

Sponsor Documents

Or use your account on DocShare.tips

Hide

Forgot your password?

Or register your new account on DocShare.tips

Hide

Lost your password? Please enter your email address. You will receive a link to create a new password.

Back to log-in

Close