Even though this semester is over when I saw this I couldn’t resist posting it on live journal just as an example of the influential style of Virginia Woolf.  The Queen song Bohemian Rhapsody completely bewildered me. What was it about? Why the complexity in the music, with multifaceted acappella coupled with raid changes in pattern and rhythm, not to mention a guitar riff? However after reading the lines “The song is in the style of a stream-of-consciousnessnightmare, and has unusual musical structure for popular music” I began to have a greater understanding of the song. (http://en.wikipedia.org/wiki/Bohemian_Rhapsody)  Like Woolf it seems Queen used this stream of conscious style to pour out an emotion far greater than what i first thought. Perhaps the story was no longer just about the wrong doings of a person but rather the condition of human society. What do you think....

Is this the real life?
Is this just fantasy?
Caught in a landslide
No escape from reality
Open your eyes
Look up to the skies and see
I'm just a poor boy, I need no sympathy
Because I'm easy come, easy go
A little high, little low
Anyway the wind blows, doesn't really matter to me, to me

Mama, just killed a man
Put a gun against his head
Pulled my trigger, now he's dead
Mama, life had just begun
But now I've gone and thrown it all away
Mama, ooo
Didn't mean to make you cry
If I'm not back again this time tomorrow
Carry on, carry on, as if nothing really matters

Too late, my time has come
Sends shivers down my spine
Body's aching all the time
Goodbye everybody - I've got to go
Gotta leave you all behind and face the truth
Mama, ooo - (anyway the wind blows)
I don't want to die
I sometimes wish I'd never been born at all

I see a little silhouetto of a man
Scaramouch, scaramouch will you do the fandango
Thunderbolt and lightning - very very frightening me
Gallileo, Gallileo,
Gallileo, Gallileo,
Gallileo Figaro - magnifico

But I'm just a poor boy and nobody loves me
He's just a poor boy from a poor family
Spare him his life from this monstrosity
Easy come easy go - will you let me go
Bismillah! No - we will not let you go - let him go
Bismillah! We will not let you go - let him go
Bismillah! We will not let you go - let me go
Will not let you go - let me go (never)
Never let you go - let me go
Never let me go - ooo
No, no, no, no, no, no, no -
Oh mama mia, mama mia, mama mia let me go
Beelzebub has a devil put aside for me
for me
for me

So you think you can stone me and spit in my eye
So you think you can love me and leave me to die
Oh baby - can't do this to me baby
Just gotta get out - just gotta get right outta here

Ooh yeah, ooh yeah
Nothing really matters
Anyone can see
Nothing really matters - nothing really matters to me

Anyway the wind blows...

 ""Bismillah" is the opening word in the Qu'ran (Koran) and literally means "In the name of Allah."
"Scaramouch" according to the dictionary means "a stock character who appears as a boastful coward."
"Beelzebub" is one of the many names given to "The Devil." (http://www.queenwords.com/lyrics/songs/sng11_01.shtml)

I’ll shall have to ponder on this a little more.....

Wow the last tutorial of the semester already… and still there seems so much to write. I really want to thank my Literature peers in tutorials this semester. Due to the density and emotional ramifications of reading texts Conrad this semester (like others semesters) I found them to be particularly essential to broadening and diversifying my understanding of the topic which we delved and the tutorial this week was no exception. To be honest I struggled to write a live journal this week simply because of the exceptionality of the ideas expressed by various people in the tutorial today. So in the hope that I remember who said what, and that I don’t infringe on anybodies ideas, I wanted to write an journal entry on what was generally said today in the tutorial today… (For those of you that were there please tell me how I go)

To paraphrase Bec (http://rebeccabragg.livejournal.com/) Stoppard almost uses an Theatrical irony by the way in which he moves from past to present. By allowing us, as the audience to see what the truth is and what is in fact fabricated (by Bernard), we as the audience are allowed to see the human condition at its precision. Structurally however this augments the story enabling the play to flow with a great fluidity. I also found it interesting that Stoppard wasn’t consistent in the interchange of periods. He sometimes shows reality before the Hypothesis and In other instances Bernard’s Hypothesis is shown before the reality. As a consequence It is almost felt like a dialogue between past and present arises as if the characters are transcending their own period. This idea is further emphasised in the closing scene.

The Location of the play, (the room) becomes a character itself, providing the foundation and the grounds which propels all of the characters action and effectively becomes a pivotal catalyst by which the human condition is ultimately challenged. As Eddie pointed out nothing which contradicts morality is done within this room, instead Stoppard has all immoral acts happen outside the room in which it is set.


(URL: http://seattlest.com/attachments/seattle_michael2/Arcadia.jpg)

The room itself acts as a point of control. Within this room all is revealed and the only true sense of consistency is achieved. For example apart from candles and computer very little of the physical construct of the room changes similar neither does the ideas which each character looks at.

Hi everyone over the past couple of weeks I have been looking at some of the live journals from people in other courses and their is so many remarkable live journal entries that I can honestly say that by not doing this earlier I have been missing out on so much and I just wanted to encourage you all to have a look at them. I have comment on some of the following works; please use their URL’s to have a look at their actual works. They have so many unique and distinctive ideas that I have learnt so much so thankyou to the people in this course and to others as well....

To be honest I am at a complete loss for words, you have a wonderful mastery of poetic techniques. As you undoubtedly know, each of your poems are indeed insightful to the unwritten Australian philosophy that the heart of the nation lies in the land, and those that are exposed to your beauty. I want to also thankyou for the raw emotion within each of your poems, I felt myself not only reading your poems but actually a participant especially in the “Outback Heartache.” On a more personal level I want to thankyou ( and I know this may sound strange) but I actually felt for a minute like I was sitting with my grandfather (who has passed) and he was telling me the tales of his childhood. Thankyou for allowing me to feel closer to him for those few second, whilst I was reading your poem, you certainly have a gift with words....

(http://elizabethgard1.livejournal.com/957.html)

Fantastic poem and so nicely succinct (Which is something I have great difficulty doing). Great work! Like you I love my mango's (and I'm lucky enough to spend most Christmases with my grandmother who have so many mango trees, that all we eat!) I can really imagine eating a mango on a day like the ones you described, and I know this sounds strange but from your description of the surrounding and sunscreen I could almost smell summer.... I love the colours and the images which you use especially the line "Brilliant blue and cool and breeze, I can really see it all."
Bring on summer, Mango's and more fantastic poems like the ones you've written.

I can't wait to see what else you write. Keep up the good work.
Justine

http://benzammitt.livejournal.com/1594.html

Hi Gary!

To be honest I’m not sure what to write. The raw emotion and honesty which you breathe into your poem is a wonderful gift. To be completely honest I read your poem and was a little scared to post you a comment just because I didn’t think I could write a comment which did justice to what you have conveyed (and what the others have comment on is true).The way in which you use rhyming couplets is up their with the likes of some of the great. Not only does this add depth to the poem but you avoid is detracting from your poem (something which I can never seem to able to do). You certainly have a wonderful gift, and your poem will stay with me for sometime. Thankyou for the wonderful courage you had to share such an intricate topic with us. Thankyou once again for sharing your brilliance!
Justine

(oh just a little about myself- like Candice I’m a second year student at ACU, where I’m studying History, Literature and religion. As the others have said- We all hope to hear from you soon until then take care)

(http://dallymessenger.livejournal.com/730.html)

After reading your poem, I had to find out more about the butterfly which you described- you drew me in so much.(Thankyou) and you certainly have done it justice. As Marc said "the texture of your meanings are beautifully portrayed," and I felt like you were personally painting the surroundings for me with the rich colours and images.

Thankyou for posting it up

Justine

(http://david1416.livejournal.com/2104.html)

Hi Tani!
I love your poem. I love the way in which you constantly use the word "who," this really enabled me to have a personal connection with what you were saying. Thankyou for the honest and open way in which you have crafted your poem, I can't wait to see your further entries!!!

(http://tania-angel.livejournal.com/937.html)

Don't worry Paulo, like you when I first started I felt a little strange writing an "open diary" to people, but please know that each and everyone that reads your entries learns so much. And already you have so much to be proud of in this piece. Your entry above is no exception; The way in which you have written your poem (as Michael said) shows "instinctive feel for the way words hang together to create a certain music," and the rhythm which you have used is genius (and something which i personally struggle with.) please keep up with your artistic expression it is honest and approachable for all who read it.

Justine

(http://necros99.livejournal.com/881.html)

“Bernard: Darling-

Hannah : don’t call me darling

Bernard: Dickhead then, is it likely that he man Chater calls his Friend. Spetimus Hodge is the same man who screwed his wife and kicked the shit out of his last book?” (Scene 5 of Arcadia )

HANG ON! What did he just call her?

“Bernard: what for

Hannah: Oh your lecture.

Bernard: No bugger that. Sex.

Hannah: Oh no thanks ... (then protesting) Bernard!

Bernard you should try it. It’s underrated.

Hannah: Nothing against it.”  (Scene 5 of Arcadia)

WHAT!!! Are they allowed to say that.....

(URL: http://www.rogerhighfield.com/media/tom_stoppard_interview.jpg)
 

Throughout the past few weeks I have been privileged to be involved one of the drama groups who are acting out scenes from Arcadia. One thing is certain that Thomas Stoppard is a writer that certainly redefines the boundaries of Literature.  With lines like the above, Stoppard’s humour and wit is evident in this play of interwoven stories. Drawing from different periods in time, Stoppard’s play is multidimensional, and a true expression of this post-modernist genius. To be honest I’m a little hesitance to write anything about Arcadia (this week) solely because part of Stoppard’s genius way he shocks the audience, and I don’t want to wreck it for the audience this week.

I was surprised however by the characters which Stoppard choose to use. He is not afraid to draw from some of the most respected members of the literary community, in this case Lord Byron. However this is not new to Stoppard. In his play “Rosencrantz and Guildenstern are Dead” Stoppard draws Shakespeare’s hamlet. He transforms Shakespeare’s  characters, themes, ideas, and emotions in such a way that he enable a connection between the Renaissance era and that of modern times, offering a new perspective and renewing interest in the values of Hamlet that are a part of every society, to be critically evaluated. Similarly he does so with the interchanging of characters with the period of Thomasina and that of Bernard.

After reading the play Arcadia, I had the desire to go back and re-read “Rosencrantz and Guildenstern are Dead,” and I was amazed by the intertextuality that he had in his play. The influences of Becket and T.S Elliot are apparently interwoven in the Stoppard’s play. Like Elliot’s “till human voices wake us and we drown,” the impact of other characters are paralleled in both Hamlet (although TS Elliot wrote after this Shakespeare) and Rosencrantz and Guildenstern Are Dead. In that Rosencrantz and Guildenstern are only ‘woken’ upon the appearance of messenger from the king to which seals the fate of both Rosencrantz and Guildenstern thus setting them on the path to like T.S Elliot’s Proof frock to “drowning.”  In keeping the Shakespeare’s story line “as it was written, Stoppard seals the fate of his Rosencrantz and Guildenstern from the very start allowing them to “have no control, none at all”, in comparison to Hamlet’s illusion of control. Stoppard uses a similar technique in Arcadia to examine what the truth is, and the illusion of truth. Bernard’s “Truth” is unfounded and illogical, yet he is prepared to offer his version of what occurred between Mr & Mrs Chatter, Lord Byron and Spetimus as an educational “Truth.” Stoppard also is also able to use his draw humour to expose the automation of human life as a consequence of intellect without emotion......

Before I reveal to much...... I leave you with this, until after thursday.....

I was talking to my grandma about Thomas’ play and she said gave me told me to look up a few radio plays that she remembered when she was little.  The following is one in which Bette Davis was involved in called ‘A stolen life. Like Thomas the rich sounds tell a far more inclusive story than that any screen with its (possibly) restricting images. Which leads me to ask the question whether Is hearing really one of the most underrated sensuous after all isn’t it one of the only things that can’t be manipulated by another?  

 
Part 1

“ A play for voices?”

......

“Isn’t that what all drama is?”

......

“It’s not?”

Coming straight off reading Orwell’s “Nineteen-eighty four” and having a pre-emptive idea of what a drama play should be I can honestly say I can honestly say that I was ill prepared for ‘Under Milk Wood’ and confused as to the meaning behind it. However after Nikki played us the radio  version (and other students) in the tutorial I began to have a better understanding of the play which is set in Llareggub. For me ‘Under Milk Wood’ describes the interconnection of society, caught among their own situation. Shown by the interweaving of dream sequences among the 30 plus characters, each character is seen as dependent on the other, with no true identity outside the one set up by the foundations of the city. Mr Willy Nilly (and many of the other characters) see to it that everyone knows everyone’s business, even going as far as to tell people what information their letter contains before they even open it.

http://i189.photobucket.com/albums/z290/mandrake_011/brandt_dylan_thomas.jpg
 

But I suppose what I got most out ‘Under Milk Wood’ was the power that language has, and more importantly the music and tone that it creates.  In the age of computer graphics, surround sound, 3d animation etc, Under Milk Wood emphasis the power behind the music, and the power of the voice.

The alliteration and the syntax which Thomas uses is imposing, especially when read by Tim Burton.  It is penetrating and had me on the edge of my seat, but it got me thinking. Are we, as a society less for overlooking such work as these? Instead of just listening and imaging we are caught up in technology and all which it envisages.

In all this talk of 'a play of vioces' and the importance of sound, I couldn’t resist including a pieces from Jeff Wayne’s “War of the Worlds”  (based on H.G Well’s novel of the same name) simply because of the connection of Tim Burton. Like Burton’s penetrating voice in ‘Under Milk Wood,’ the combination of his voice in this as the narrator and the score of Jeff Wayne works in much better than any of Tom Cruise acting (sorry if your a fan). Such works as both of these goes to show the importance of sound in a story and the impact which it can have.

Personally I found Orwell’s work hard to read, simply because of how enduring its themes are.  To say that George Orwell ‘s text have the ability to transcend time is an understatement. In his criticism of Totalitarian societies, Orwell exposes the social disparities and failings of many of the top authority. Like Conrad, Orwell has the ability strip society to the bones to reveal its true indiscretions. Undoubtedly influenced by the political climate of the time, Orwell, with wonderful craftsmanship is able to tear at the very hierarchy of so many political and philosophical communities.

I suppose what made me so uneasy was that although on the surface, 1984 is the fictitious about Winston Smiths personal account of the iniquitous acts of controlling government and its “Ministry of Truth.” But underneath that is how easily this story could be applied to modern society. Although never exactly naming a country, Orwell’s criticism of other countries as the time of writing is obvious.  Winston Smith’s situation bares remarkable similarities to many countries political ideologies. The similarities between countries such \as Nazi Germany and the Soviet Union are apparent as Orwell seems to indirectly criticise any country whose consolidation of power came at a lost to the dignity of man. Where the Soviet Union had the Cheka, The Red Army and latter (post Orwell) the KGB (Committee for State Security) and Nazi Germany had the Gestapo Orwell has the Ministry of Truth and the idea of Big Brother.
 

 
URL: http://www.realdiehl.com/images/GeorgeOrwell.jpg

But is Orwell applicable now?

Certainly......

In a world which still remembers the generational fear that was (or rather is) terrorism , a fear which saw the implementation of many restrictions similar to Orwell’s Big brother. The conflict between knowledge and safety is forever seen no clearer than in this novel. (With the intention to sound as little politically minded as possible) Is the fact that  

“war is peace
freedom is slavery
ignorance is strength”

Especially the last one, how often have we had the security act thrown back at us. As for Freedom I mean in the last few weeks in Theology haven’t we been studying freedom for and freedom again (positive and negative freedom).  

Orwell also raised idea of Newspeek, although designed to remove any defiant and mutinous behaviours.  It got me thinking if this we obvious (even in its basic from in the modern world today) and I think it is, both linguistically and pictorially. In a world which has turned to
“seeing is believing”  we are now more critical of what is written,  but how critical are we to what we see? Sure we laugh at shows like ‘Frontline’ but is this just as dastardly as Newspeak ?

Yep.....

I mean have a look at the clip bellow. How many people would be manipulated and feel inadequate

 upon seeing this clip...

nineteen eighty four relevant in two thousand and eight certainly