tag:blogger.com,1999:blog-48867869651599982552024-03-19T10:44:13.800+00:00Counting ReflectionsThinking about Philosophy, Culture and Life.Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.comBlogger121125tag:blogger.com,1999:blog-4886786965159998255.post-51585328737984185352018-05-15T16:56:00.000+01:002018-05-15T16:56:19.494+01:00Corruption and Bondage<div style="height: 0px;">
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<h3>
Introduction</h3>
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<o:p></o:p></div>
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It is an uncontroversial point (in so far as there are
any) to consider <i style="mso-bidi-font-style: normal;">Dark Souls</i> as
premising much of its narrative drive on the polarity between light and dark.
Though originally introduced to these metaphysical concepts as an antagonistic
binary,<a href="file:///C:/Users/Ben/Documents/Blog/Corruption%20and%20Bondage%20v2.docx#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Constantia",serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Constantia; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></span></a>
there are many points throughout the fragmented narrative of the games that
calls this binary into question. A staple of its distinct narrative style, <i style="mso-bidi-font-style: normal;">Dark Souls</i> is no stranger to the
persistent disruption of the stories that it chooses to reveal – whether these
disruptions are about questioning the fundamental nature of the world as we experience
it, doubting that our character is truly the prophesied figure of divinely
mandated destiny, or instilling a suspicion of the motives of other characters
as they presented.<a href="file:///C:/Users/Ben/Documents/Blog/Corruption%20and%20Bondage%20v2.docx#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Constantia",serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Constantia; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></span></a>
Disruption as the motivation to question, to doubt, to regard with suspicion,
is a pervasive and inextricable part of <i style="mso-bidi-font-style: normal;">Souls</i>’
storytelling, and the dualistic metaphysics of light and dark are no exception
to this. And yet, when we consider the question(s) of gender with regard to the
series, we are immediately met with a vision of gender that almost without
exception repeats and reinforces the traditional binary of man and woman. This
is to say that despite its broader concern with structuring its narrative
around a series of disruptions and shades of grey, gender is continually reasserted
as a naturalised narrative site within <i style="mso-bidi-font-style: normal;">Souls</i>.
As is to be expected, the work the series does to maintain this binary and
thereby the salience of gender to its story is often done through stylistic
moves that mobilise various kinds of norm that play into the conceptual
structures of misogyny, sexism, and homophobia (though this is not an
exhaustive list). <o:p></o:p></div>
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My concern within this essay to make explicit the
mechanisms with which gender is uncritically repeated within the <i style="mso-bidi-font-style: normal;">Souls</i> games. Beginning with the overt
ways that gender plays into the very metaphysical assumptions of the <i style="mso-bidi-font-style: normal;">Souls</i>’ universe(s?), I shall explore how
womanhood is essentialised within the narrative and how this essence is aligned
with the metaphysical ‘dark’ in a way that is either absent or far less overt
with male characters. Given the numerous ways in which the series replays
symbolic associations between darkness and evil, the figure of the woman within
<i style="mso-bidi-font-style: normal;">Souls</i> is maintained in the position
of the other – specifically the other as a threat. Just as the opening cutseen
instills us with a fear that the dark might win out over the light – for “soon
the flames will fade and only Dark will remain. Even now there are only embers,
and man sees not light, but only endless nights”<a href="file:///C:/Users/Ben/Documents/Blog/Corruption%20and%20Bondage%20v2.docx#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Constantia",serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Constantia; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></span></a>
– <span style="mso-spacerun: yes;"> </span>the game gives us a parade of female
figures that are to be feared for the corruption with which they are so
frequently equated. And we shall see the precise kinds of violation and
violence that the fear of women is seen to justify within the narrative. <o:p></o:p></div>
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This essay shall also track the ways in which <i style="mso-bidi-font-style: normal;">Souls</i> inadvertently reveals the failure
of the traditional gender binary. As such, the final part of this essay will
consider the figure of Darkmoon Gwyndolin – whose gender nonconformity provides
a useful site of contention for examining how gender works in the series as a
whole. Through Gwyndolin, we shall examine not only <i style="mso-bidi-font-style: normal;">Souls’</i> use of gender as a coercive structure within the power
dynamics of Lordran, but also the possibility of seeing within the figure of
Gwyndoin the ultimate failure of binarist conceptions of gender. <o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span>It is important to
note that none of these critiques should be regarded as damning or as holding <i style="mso-bidi-font-style: normal;">Dark Souls</i> in contempt. Contrarily, they
are motivated by a passionate interest in the <i style="mso-bidi-font-style: normal;">Dark Souls</i> games, and consider my personal love of these games as a
key motivation for my critique.<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="224" src="https://cdn-images-1.medium.com/max/1000/0*DZjjyxeCAilsAgHi.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yuria of Londor - [<a href="http://assets.vg247.com/current//2016/03/dark_souls_3_guide_npcs_yuria.jpg">source</a>]</td></tr>
</tbody></table>
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Read the rest of this essay on my Medium account: <a href="https://medium.com/@benjaminjjcarpenter/corruption-and-bondage-gender-within-dark-souls-7ff38fc1be3d">Corruption and Bondage</a></div>
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<div id="edn3" style="mso-element: endnote;">
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<br />Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com1tag:blogger.com,1999:blog-4886786965159998255.post-85039437067545448832018-04-26T15:13:00.000+01:002018-04-26T15:13:17.625+01:00Trials of Faith: ‘Dragon Age: Inquisition’ and Crises of Meaning<blockquote class="graf graf--blockquote graf--startsWithDoubleQuote graf-after--h3 tr_bq" id="4971" name="4971" style="--baseline-multiplier: 0.17; background-color: white; border-left: 3px solid rgba(0, 0, 0, 0.84); color: rgba(0, 0, 0, 0.84); font-family: medium-content-serif-font, Georgia, Cambria, "Times New Roman", Times, serif; font-size: 21px; font-style: italic; letter-spacing: -0.003em; line-height: 1.58; margin: 12px 0px 0px -23px; padding-bottom: 2px; padding-left: 20px;">
“Cast the Chantry aside, and new problems replace old ones. We will learn nothing from history.”</blockquote>
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We blink our eyes, unsure as to where we are. Inky fog has enclosed all about, and a great nothingness seems to extend in all directions. We are then brought to our senses with a rush of panic. Finding ourselves all at once in the Fade, the realm of spirits and demons, pursued by the scuttling creatures we later come to recognise as ‘fearlings’. But within the space of this opening scene, there is no sense to be had — only the overwhelming sense of the need to flee. I<em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">n media res</em>, <em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">Dragon Age: Inquisition</em> begins with a literal flight from fear.<a class="markup--anchor markup--p-anchor" data-href="#_edn1" href="https://medium.com/@benjaminjjcarpenter/trials-of-faith-dragon-age-inquisition-and-crises-of-meaning-38cbe6b1e377#_edn1" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0.54); background-color: transparent; background-image: linear-gradient(rgba(0, 0, 0, 0.68) 50%, rgba(0, 0, 0, 0) 50%); background-position: 0px 1.07em; background-repeat: repeat-x; background-size: 2px 0.1em; text-decoration-line: none;">[i]</a> Though we are not quite yet abandoned, there is a luminous figure calling out to us in warning. Her voice gives us direction — delivers us from this incongruous realm of shifting dust and shadows. We reach out to one we can only see as a saviour, though never do our hands quite meet. Then there is only rubble as we collapse back into reality, into the aftermath of a great cataclysm.</div>
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<figure class="graf graf--figure graf-after--p" id="37f8" name="37f8" style="background-color: white; box-sizing: border-box; clear: both; color: rgba(0, 0, 0, 0.84); font-family: medium-content-sans-serif-font, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Oxygen, Ubuntu, Cantarell, "Open Sans", "Helvetica Neue", sans-serif; font-size: 20px; margin: 43px 0px 0px; outline: 0px; position: relative; user-select: auto; z-index: 100;"><div class="aspectRatioPlaceholder is-locked" style="margin: 0px auto; max-height: 587px; max-width: 700px; position: relative; width: 700px;">
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</figure><br />
<div class="graf graf--p graf-after--p" id="eab0" name="eab0" style="--baseline-multiplier: 0.17; -webkit-text-stroke-width: 0px; background-color: white; color: rgba(0, 0, 0, 0.84); font-family: medium-content-serif-font, Georgia, Cambria, "Times New Roman", Times, serif; font-size: 21px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: -0.003em; line-height: 1.58; margin: 29px 0px 0px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
Through the deliberate construction of its narrative,<span> </span><em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">Inquisition</em><span> </span>does not fully contextualise its opening scene until midway through the game. Our character is defined by a personal discontinuity, a rupture in their memory and their connection to the past. As far as others know, we have fallen out of the Fade, guided by the luminous hands of Andraste (<em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">Dragon Age</em>’s messianic figure) herself. Though we know not how we came to be there, we are at once thrown into a world faced with a crisis of meaning, a crisis of which our character forms a singular locus.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="335" src="https://cdn-images-1.medium.com/max/1000/0*ja10R_2kw8nBTr0c." style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a class="markup--anchor markup--figure-anchor" data-href="http://dragonage.wikia.com/wiki/File:Inquisitor_cards.jpg" href="http://dragonage.wikia.com/wiki/File:Inquisitor_cards.jpg" rel="noopener nofollow" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0.54); background-color: white; background-image: linear-gradient(rgb(255, 255, 255) 50%, rgba(0, 0, 0, 0.54) 50%); background-position: 0px 0.98em; background-repeat: repeat-x; background-size: 2px 2px; font-family: medium-content-sans-serif-font, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Geneva, Arial, sans-serif; font-size: 16px; outline: 0px; text-decoration-line: none;" target="_blank">The Inquisitor Tarot Cards — Dragon Age: Inquisition</a></td></tr>
</tbody></table>
<div class="graf graf--p graf-after--p" id="eab0" name="eab0" style="--baseline-multiplier: 0.17; -webkit-text-stroke-width: 0px; background-color: white; color: rgba(0, 0, 0, 0.84); font-family: medium-content-serif-font, Georgia, Cambria, "Times New Roman", Times, serif; font-size: 21px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: -0.003em; line-height: 1.58; margin: 29px 0px 0px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<span style="letter-spacing: -0.063px;">Following our flight from fear, we awaken in a cell, our hands bound and a curious light intermittently emanating from our left palm. It is within this cell that we meet Seeker Cassandra Pentaghast and Sister Leliana, the respective right and left hands of the Divine. No greeting is offered, only the words “Tell me why we shouldn’t kill you know”. At once, an account is demanded, and the price of failure is the loss of one’s life. Yet we have be severed from our past, left with fragments of our passage through a realm of dreams and spirits. We have no answers to give.</span></div>
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<span style="letter-spacing: -0.063px;">Continue reading <a href="https://medium.com/@benjaminjjcarpenter/trials-of-faith-dragon-age-inquisition-and-crises-of-meaning-38cbe6b1e377">here </a>on my Medium account.</span></div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com1tag:blogger.com,1999:blog-4886786965159998255.post-30704298494706684982018-04-23T15:12:00.000+01:002018-04-23T15:12:01.072+01:00The World Soul of Flame<h3 class="graf graf--h3 graf--leading" id="e250" name="e250" style="--baseline-multiplier: 0.22; background-color: white; color: rgba(0, 0, 0, 0.84); font-family: medium-content-sans-serif-font, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Geneva, Arial, sans-serif; font-size: 34px; letter-spacing: -0.015em; line-height: 1.15; margin: 53px 0px 0px -2.13px;">
Ruminations on the Fading of the Fire…</h3>
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<span class="graf-dropCap" style="--baseline-multiplier: 0.22; display: block; float: left; font-family: medium-content-sans-serif-font, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Geneva, Arial, sans-serif; font-size: 72px; font-weight: 600; letter-spacing: -0.03em; line-height: 0.83; margin-bottom: -0.08em; margin-left: -5px; margin-right: 7px; padding-top: 6px; position: relative;">At</span>the dawn of the first <em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">Dark Souls</em>, we are provided with the cosmogonic myth of the advent of fire. We are told that the fog-shrouded, grey crags of the unformed world in the Age of Ancients is undone through the coming of ‘fire’ — the fire we come to know as the First Flame. The flame is the progenitor of disparity and its arrival seems to transform the world. We are told that “Heat and cold, life and death, and of course, light and dark”<a class="markup--anchor markup--p-anchor" data-href="#_edn1" href="https://medium.com/@benjaminjjcarpenter/the-world-soul-of-flame-7111245e3651#_edn1" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0.54); background-color: transparent; background-image: linear-gradient(rgba(0, 0, 0, 0.68) 50%, rgba(0, 0, 0, 0) 50%); background-position: 0px 1.07em; background-repeat: repeat-x; background-size: 2px 0.1em; text-decoration-line: none;">[i]</a> all accompany the ignition of this primordial flame. Importantly, the fire itself does not represent either side of these disparities. Though it is understood and described as a fire it is no ordinary flame. The First Flame is a unity of these disparate concepts, all of which find expression through its existence. It is not that the world was cold, dead, and dark before the fire brings warmth, life, and light — all of these came into being with the First Flame.<br />
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Indeed, the flame itself manifests its disparities into the four Lord Souls, each of which represents one part of the flame’s whole. The first of the Lords, and the First of the dead, is Nito who claims a lord soul with an affinity for death.<a class="markup--anchor markup--p-anchor" data-href="#_edn2" href="https://medium.com/@benjaminjjcarpenter/the-world-soul-of-flame-7111245e3651#_edn2" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0.54); background-color: transparent; background-image: linear-gradient(rgba(0, 0, 0, 0.68) 50%, rgba(0, 0, 0, 0) 50%); background-position: 0px 1.07em; background-repeat: repeat-x; background-size: 2px 0.1em; text-decoration-line: none;">[ii]</a> We are then told of the Witch of Izalith and her Daughters of Chaos whose attempt at igniting their lord soul gave rise to chaos and new life in the form of the demons — as such her soul is associated with life itself. The Great Lord Gwyn, who establishes himself as the God of the <em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">Dark Souls</em> universe<a class="markup--anchor markup--p-anchor" data-href="#_edn3" href="https://medium.com/@benjaminjjcarpenter/the-world-soul-of-flame-7111245e3651#_edn3" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0.54); background-color: transparent; background-image: linear-gradient(rgba(0, 0, 0, 0.68) 50%, rgba(0, 0, 0, 0) 50%); background-position: 0px 1.07em; background-repeat: repeat-x; background-size: 2px 0.1em; text-decoration-line: none;">[iii]</a>claims the soul of light. And of course, we are all familiar with the titular dark soul, found by the furtive pygmy (so easily forgotten). Most of us are familiar with what follows: the Lords declare war upon the aforementioned Ancients and bring destruction to that which was once eternal. Through lightning, fire, and pestilence the dragons and the Archtrees are destroyed and thus we enter into the Age of Fire, an age supposedly dominated by the power of the First Flame.</div>
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The First Flame is itself a metaphysical presence, if not <span class="markup--strong markup--p-strong" style="font-weight: 700;">the</span> metaphysical presence that defines the series. It is central to the cosmology of the <em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">Dark Souls</em> universe. Of course, all three games within the series premise their central plot upon the notion that the First Flame is fading, that a sacrifice must be offered to sustain it, lest the end of days be allowed to come to pass. By the inception of <em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">Dark Souls III</em>, the end is already well underway. But more than that, the First Flame is the very soul of the world. As we are told, the world pre-exists the coming of the flame in an “unformed” state. <em class="markup--em markup--p-em" style="font-feature-settings: 'liga' 1, 'salt' 1;">Dark Souls</em>here seems to invoke an ancient dualism — establishing the world of the Age of Ancients as a time of pure material substance, before the form of the soul arrives. Souls are the currency of this world (or at least, in our experience of it) and we claim the souls of our foes (both great and small) when we defeat them — just as they claim ours should we fail. Visually, the game shows the soul as a stream of pure white coalescing into our bodies once we have slain its previous vessel, and should we examine those souls we encounter we see that these are themselves flames. Each soul is an individuated — albeit temporarily — spark of the First Flame itself. As such, souls are not merely power in an instrumental sense but they are representative of presence and existence. When we lose our souls, we begin to lose our selves — not because the souls are our minds or our identities<a class="markup--anchor markup--p-anchor" data-href="#_edn4" href="https://medium.com/@benjaminjjcarpenter/the-world-soul-of-flame-7111245e3651#_edn4" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0.54); background-color: transparent; background-image: linear-gradient(rgba(0, 0, 0, 0.68) 50%, rgba(0, 0, 0, 0) 50%); background-position: 0px 1.07em; background-repeat: repeat-x; background-size: 2px 0.1em; text-decoration-line: none;">[iv]</a> (whatever these are) but because the soul itself is that which makes us more than mere matter — it is reality and being.</div>
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Continue reading <a href="https://medium.com/@benjaminjjcarpenter/the-world-soul-of-flame-7111245e3651">here</a>.</div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-16013681961924587232017-12-09T21:13:00.003+00:002017-12-09T21:14:14.534+00:00Sartre and Self: Abolition or Expansion?<div class="MsoNormal">
<span style="text-align: justify;">Jean-Paul Sartre defines
consciousness as nothingness.</span><a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn1" name="_ednref1" style="text-align: justify;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[i]</span></span></span></a><span style="text-align: justify;">
This is fundamental to his framework of human agency as resting on, or erupting
from a metaphysics of absolute freedom. As nothingness, human consciousness cannot
be thought of as a substance or an object and can thus have no determinate
qualities that can then be regarded as the causes or source of one’s actions.
To think such is to be in </span><i style="text-align: justify;">mauvaise foi</i><span style="text-align: justify;">,
or bad faith</span><a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn2" name="_ednref2" style="text-align: justify;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[ii]</span></span></span></a><span style="text-align: justify;"> –
which is as close to the concept of sin as one can find in Sartre’s
philosophical framework/theology.</span><a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn3" name="_ednref3" style="text-align: justify;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[iii]</span></span></span></a><span style="text-align: justify;">
In this sense, Sartre’s consciousness is entirely ‘for-itself’, wholly distinguished
from the objects of the world, the ‘in-itself’.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Likewise, for Sartre action is
structurally framed entirely as a modality of nihilation, of <i>negatité</i>.<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[iv]</span></span><!--[endif]--></span></a>
The world exists as a set of circumstances external to the self. These conditions
are positive and substantive – meaning that they are something, they are there.
When consciousness acts it injects its own negativity into the world such that
it destroys the world as it was when consciousness found it. Action reaches out
for something that is not in the world – a nothingness – and negates the world
in which such a nothingness exists, bringing it into being.<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[v]</span></span><!--[endif]--></span></a>
As such, even acts we might consider to be wholly creative or productive prove,
at least on Sartre’s account, to be wholly negative. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
As nothingness, Sartre’s account
seems – at least to me – unable to maintain the presence of a coherent notion
of individuality. Assuredly, Sartre’s philosophical outlook is wholly
individualistic, premised entirely on the nothingness of an individual
consciousness being fundamentally transcendent from the world, and the others
it finds within it. Though Sartre makes an attempt at justifying the primacy of
the individual, attempting to ground individuation in his picture of our phenomenological
experience, I find this wholly unsatisfying. To me, it seems that Sartre repeats
(almost entirely without criticism) a naturalised picture of individuation,
whereby we find a whole host of assumptions taken as given. The claim that we
experience the world as individuals is transposed into a metaphysical picture
whereby the world exists as a lump of stuff (a plenum of being) and in which we
are by our innate nature a transcendent nothingness that slips itself into the
world in order to change it. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="Sartre 1967 crop.jpg" height="400" src="https://upload.wikimedia.org/wikipedia/commons/e/ef/Sartre_1967_crop.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/e/ef/Sartre_1967_crop.jpg">Jean-Paul Sartre</a></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I do not take issue with Sartre’s
notion of the self as nothingness <i>per se</i>,
but find that many of its implications seem to be at odds with his own
conclusions. If there is to be no positive content to consciousness, then there
seems to be no grounds for differentiation between individuals. As such, the
notion that an individual is – by their very nature – utterly distinct both
from the world and from each other appears to become untenable. Given that
Sartre’s account rests upon the absolute insolubility of individual choice, it seems
altogether impossible (if not exceptionally difficult) to defend him from the
charges of individualism. One is an absolute agent, totally and completely responsible
for one’s own choices, there is no real space within Sartre’s framework to
consider the conditions or contexts of one’s own action. These contexts, the facticity
of the world, exists only to be nihilated or falsely accused of determining our
actions – and thus we return to bad faith.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Bad faith is a multifaceted
concept for Sartre, illustrated with a broad array of examples.<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn6" name="_ednref6" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[vi]</span></span><!--[endif]--></span></a>
Underlying these is the notion that one is in bad faith whenever one abdicates
from their own freedom. As such, to refuse to recognise your absolute power to
choose is to be in bad faith. We can thereby consider bad faith as
consciousness turning its negativity upon itself – attempting to paradoxically
nullify its own possibilities.<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn7" name="_ednref7" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[vii]</span></span><!--[endif]--></span></a>
Bad faith is a form of cannibalism, in which consciousness attempts to falsely
limit its own potential, to narrow itself or bind itself to a fixed notion of
self.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;"><a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn8" title="">[viii]</a></span></span><a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn8" title=""><!--[endif]--></a></span>
<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
If we are to thus think of bad
faith – the closest thing to sin in Sartre’s eyes – as a form of reducing the
self in light of preconceived notions, then a tension arises with his own account
of individuation. Is it not perhaps a pertinent question to ask: isn’t the very
notion of individuation itself a form of bad faith? <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
There seems to me to be little
distinction between framing the individual as nothing and framing the
individual as everything. The result of such a move would be to rest on a
picture of fundamental unity, rather than fundamental division. If we follow
this line, does it not become plausible to say that Sartre’s distinction of the
individual and world rests entirely upon a pre-conceived notion of the
individual? <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
To collapse so radically the
distinction between the self and the world is to say that the self <b>is </b>the world. Not that the self is part
of the world, but that self is everything. The notion of self as an isolated
entity becomes merely an ideological habit. Just as Sartre critiques a positive
notion of the self that sacrifices individual freedom in exchange for a clearly
demarcated and absolute individuality, could we not – in the very same spirit
of critique – turn back on Sartre’s configuration of the self as an isolated
void? There seems no reason to cling to this notion of individuality, no justification
to take this total solitude and distinction as the ground of one’s being (or,
more accurately, nothingness).<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;"><a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn9" title="">[ix]</a></span></span><a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn9" title=""><!--[endif]--></a></span>
<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
We thus end up with a position
similar to that advocated by Alan Watts in his numerous musings (both textual
and aural) on spirituality, religion, and modern life. His position is perhaps
best summarised in his text <i>The Book</i>,
a title which is avowedly tongue in cheek and appropriately highlights his self-styled
image as a self-professed trickster and philosophical entertainer. Within <i>The Book</i>, Watts references the
Upanishads, lifting the quote: “That is the Self. That is the real. That art
thou!”<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn10" name="_ednref10" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[x]</span></span><!--[endif]--></span></a>
By this, Watts is specifically referring to collapsing, or at the very least
renegotiating, the distinction between self and other, between the individual
and the world. With this particular quote, Watts is elucidating a picture of
the world wherein there can be no absolute distinction between it and the
individual. The ‘that’ is everything, it is every element of existence. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="Image result" height="400" src="https://numerogroup.files.wordpress.com/2015/01/z0auawqq.jpeg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://numerogroup.files.wordpress.com/2015/01/z0auawqq.jpeg">Alan Watts</a></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Now, if we follow this picture
and expand the self concept to be completely inclusionary the result is that
Sartre’s framework comes to refute itself. As mentioned earlier, Sartre’s
account of action is fundamentally premised upon the negation of the world. The
self comes to nihilate the state of things as it finds it in order to actualise
something else – something that does not yet exist. Sartre is clear that in
order to do this, the individual must “posit the actual situation as
nothingness”,<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn11" name="_ednref11" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xi]</span></span><!--[endif]--></span></a>
he must see the state of things as something that can be transcended or
overcome by one’s action. Though Sartre may not maintain this, we could read
this need to view the world as nothing as a parallel to the need to recognise
one’s own consciousness as nothingness. The structure of the world equally
becomes nothing. As such, action becomes a negation of the nothingness of the
world, the production of an actuality which can then in turn be negated. As we
have seen above, bad faith can – at least partially – be conceived in terms of
the attempt to negate one’s own nothingness. If we maintain this parallel between
consciousness and the world, it appears that human action itself becomes a form
of bad faith. The result is either to abandon bad faith or to abandon Sartre’s
account, and perhaps these two conclusions are inseparable. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Sartre may maintain that the
nothingness of the world is only thus through the positing activity of
consciousness – a point which is meant to establish that the world is only
nothing when consciousness acts on it. This in itself raises a further question
about the notion of being within Sartre, with how he fundamentally conceives of
the world as an actuality, rather than a negativity. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
It seems to me that the abolition
of the self as a positive entity, an abolition that is made all the more
convincing in light of our phenomenological experience, should also prompt further
reflection on our notion of individuation. Sartre’s account certain succeeds in
the former,<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_edn12" name="_ednref12" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xii]</span></span><!--[endif]--></span></a> but
fails to adequately justify the retention of an individuated self. It seems
that we are prompted to ask whether or not we need to abolish the self or
expand it? This in itself prompts the further question: are these notions
distinct? If so, what is the distinction? <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<h3>
Works Cited</h3>
<div class="MsoSubtitle">
<o:p></o:p></div>
<div class="MsoBibliography">
<!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_BIBL {"custom":[]}
CSL_BIBLIOGRAPHY <span style='mso-element:field-separator'></span><![endif]-->Kirkpatrick, Kate, ‘Is Shame an Emotion?’, <i>The Oxford Philosopher</i>,
2017 <https://theoxfordphilosopher.com/category/theology/> [accessed 9
December 2017]</div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
<o:p></o:p></div>
<div class="MsoBibliography">
———, <i>Sartre and Theology</i> (London:
Bloomsbury Publishing PLC, 2017)</div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Sartre, Jean-Paul, <i>Being and
Nothingness</i>, trans. by Hazel E. Barnes (UK: Routledge, 2003)<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Watts, Alan, <i>The Book: On the Taboo
Against Knowing Who You Are</i> (UK: Souvenir Press Ltd, 1966)<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br />
<div>
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[i]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"1vZrCq5a","properties":{"formattedCitation":"{\\rtf
Jean-Paul Sartre, {\\i{}Being and Nothingness}, trans. by Hazel E. Barnes (UK:
Routledge, 2003), chap. The Origin of
Negation.}","plainCitation":"Jean-Paul Sartre, Being and
Nothingness, trans. by Hazel E. Barnes (UK: Routledge, 2003), chap. The Origin
of
Negation."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
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<span style='mso-element:field-separator'></span><![endif]-->Jean-Paul Sartre, <i>Being and
Nothingness</i>, trans. by Hazel E. Barnes (UK: Routledge, 2003), chap. The
Origin of Negation.<!--[if supportFields]><span style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[ii]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"ABPM9PNV","properties":{"formattedCitation":"Sartre,
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Faith."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
and
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Faith","label":"chapter"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, chap. Bad Faith.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn3">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[iii]</span></span><!--[endif]--></span></a>
I chose the term ‘theology’ quite specifically here as, despite his avowed
atheism, Sartre’s language and approach are steeped in theological language and
concepts. This is noted by Kate Kirkpatrick in her work, see: <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
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Kate Kirkpatrick, \\uc0\\u8216{}Is Shame an Emotion?\\uc0\\u8217{}, {\\i{}The
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[accessed 9 December 2017]; Kate Kirkpatrick, {\\i{}Sartre and Theology}
(London: Bloomsbury Publishing PLC,
2017).}","plainCitation":"Kate Kirkpatrick, ‘Is Shame an
Emotion?’, The Oxford Philosopher, 2017
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<span style='mso-element:field-separator'></span><![endif]-->Kate Kirkpatrick, ‘Is Shame an Emotion?’,
<i>The Oxford Philosopher</i>, 2017
<https://theoxfordphilosopher.com/category/theology/> [accessed 9
December 2017]; Kate Kirkpatrick, <i>Sartre and Theology</i> (London:
Bloomsbury Publishing PLC, 2017).<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn4">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[iv]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
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<span style='mso-element:field-separator'></span><![endif]-->Sartre, p. 433.<!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn5">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[v]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
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<span style='mso-element:field-separator'></span><![endif]-->Sartre, pp. 433–37.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn6">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref6" name="_edn6" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[vi]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"UkOKs5HN","properties":{"formattedCitation":"Sartre,
chap. Bad Faith.","plainCitation":"Sartre, chap. Bad
Faith."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
and
Nothingness","publisher":"Routledge","publisher-place":"UK","event-place":"UK","author":[{"family":"Sartre","given":"Jean-Paul"}],"translator":[{"family":"Barnes","given":"Hazel
E."}],"issued":{"date-parts":[["2003"]]}},"locator":"Bad
Faith","label":"chapter"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, chap. Bad Faith.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn7">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref7" name="_edn7" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[vii]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
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{"citationID":"J3dziOnF","properties":{"formattedCitation":"Sartre,
p. 48.","plainCitation":"Sartre, p. 48."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
and Nothingness","publisher":"Routledge","publisher-place":"UK","event-place":"UK","author":[{"family":"Sartre","given":"Jean-Paul"}],"translator":[{"family":"Barnes","given":"Hazel
E."}],"issued":{"date-parts":[["2003"]]}},"locator":"48"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, p. 48.<!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn8">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref8" name="_edn8" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[viii]</span></span><!--[endif]--></span></a>
In particular, we see this in his dual example of the homosexual and the champion
of sincerity. Homophobic connotations aside (as difficult as that may be given
their prevalence in this example), Sartre’s broader point is that there is no
fixed self upon which we can pin our choices and behaviours. See: <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
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{"citationID":"YR0MRUe4","properties":{"formattedCitation":"{\\rtf
Sartre, pp. 63\\uc0\\u8211{}67.}","plainCitation":"Sartre,
pp.
63–67."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
and Nothingness","publisher":"Routledge","publisher-place":"UK","event-place":"UK","author":[{"family":"Sartre","given":"Jean-Paul"}],"translator":[{"family":"Barnes","given":"Hazel
E."}],"issued":{"date-parts":[["2003"]]}},"locator":"63-67"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, pp. 63–67.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn9">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref9" name="_edn9" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[ix]</span></span><!--[endif]--></span></a>
Pun intended. <o:p></o:p></div>
</div>
<div id="edn10">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref10" name="_edn10" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[x]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"pLnZxccv","properties":{"formattedCitation":"{\\rtf
Alan Watts, {\\i{}The Book: On the Taboo Against Knowing Who You Are} (UK:
Souvenir Press Ltd, 1966), p. 150.}","plainCitation":"Alan
Watts, The Book: On the Taboo Against Knowing Who You Are (UK: Souvenir Press
Ltd, 1966), p.
150."},"citationItems":[{"id":679,"uris":["http://zotero.org/users/3736306/items/D8UQQIB6"],"uri":["http://zotero.org/users/3736306/items/D8UQQIB6"],"itemData":{"id":679,"type":"book","title":"The
Book: On the Taboo Against Knowing Who You
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<span style='mso-element:field-separator'></span><![endif]-->Alan Watts, <i>The Book: On the Taboo
Against Knowing Who You Are</i> (UK: Souvenir Press Ltd, 1966), p. 150.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn11">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref11" name="_edn11" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xi]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"grYrshJU","properties":{"formattedCitation":"Sartre,
p. 435.","plainCitation":"Sartre, p.
435."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
and
Nothingness","publisher":"Routledge","publisher-place":"UK","event-place":"UK","author":[{"family":"Sartre","given":"Jean-Paul"}],"translator":[{"family":"Barnes","given":"Hazel
E."}],"issued":{"date-parts":[["2003"]]}},"locator":"435"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, p. 435.<!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn12">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Sartre%20and%20Self.docx#_ednref12" name="_edn12" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xii]</span></span><!--[endif]--></span></a> One
interesting observation of this is the way in which in mirrors the abolition or
reorientation of the concept of self as notable across various mystical
traditions – regardless of their ‘religious affiliation’.<o:p></o:p></div>
</div>
</div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-28067677572102700812017-11-14T18:14:00.000+00:002017-11-14T18:14:44.331+00:00'Dishonored', The Void, and Existential Nothingness<div class="separator" style="clear: both; text-align: center;">
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My interest in this entry is to
articulate an existentialist reading of the <i>Dishonored</i>
video game series, with particular reference to the philosophical work of
Jean-Paul Sartre’s <i>Being and Nothingness</i>.
<o:p></o:p></div>
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<b>This entry will likely include
heavy spoilers for this series.</b><o:p></o:p></div>
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<br /></div>
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<a href="http://c-7npsfqifvt34x24wjhofuufx2ex78jljbx2eopdppljfx2eofu.g00.wikia.com/g00/3_c-7ejtipopsfe.x78jljb.dpn_/c-7NPSFQIFVT34x24iuuqtx3ax2fx2fwjhofuuf.x78jljb.opdppljf.ofux2fejtipopsfewjefphbnfx2fjnbhftx2f5x2f5cx2fFnjmzx2538tNbsl_x25392x2530.hjgx2fsfwjtjpox2fmbuftux3fdcx3d31272313173762x26j21d.nbsl.jnbhf.uzqf_$/$/$/$/$/$/$/$" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><i>Dishonored</i> is a video game series developed by Arkane Studios and
currently consists of three main instalments (<i>Dishonored</i>,<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></a>
<i>Dishonored 2</i>,<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></a>
and <i>Dishonored: Death of the Outsider</i>),<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></a>
the first of which has two DLC components (<i>The
Knife of Dunwall</i> and <i>The Brigmore
Witches</i>). </div>
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<div class="MsoNoSpacing" style="line-height: 115%; text-align: justify;">
The narrative unfolds within the empire of Gristol, a setting
largely based on 19<sup>th</sup> century Britain. As we experience it, Gristol
is a city of decadence and corruption, with swarms of lethal rats haunting the
streets, weepers spreading a deadly disease and with most of the citizenry
living in abject poverty whilst the wealthy nobility grow fat in their palace.<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[iv]</span></span><!--[endif]--></span></a>
Within the gamespace, the player takes up the role of an assassin<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[v]</span></span><!--[endif]--></span></a>
whose mission is to amend or avenge a wrong that has been dealt to them. The
first instalment has us become Corvo Attano, the Royal Protector of Empress
Jessamine Kaldwin who is killed mere minutes into the game. Wrongly accused of her
murder, Corvo then joins with a loyalist conspiracy to avenge the death of his
Empress (and lover) – rescuing their daughter Emily along the way. The second
game follows much the same format – though this time one can either continue
playing as Corvo or instead take up the role of Emily, now an adult – with the
role of the villain being none other than Delilah,<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn6" name="_ednref6" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[vi]</span></span><!--[endif]--></span></a>
the Empress’s estranged sister, who has returned to claim her throne, at Emily’s
expense. <o:p></o:p></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><img alt="The Outsider
I imagine that the Void looks very different seen through the Outsider’s eyes." border="0" height="640" src="http://78.media.tumblr.com/87fe2bca5a0fc51f9f869a92bca94f42/tumblr_oo433v4Roe1tjrxdxo1_r2_1280.jpg" width="452" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://78.media.tumblr.com/87fe2bca5a0fc51f9f869a92bca94f42/tumblr_oo433v4Roe1tjrxdxo1_r2_1280.jpg">A portrayal of the Outsider</a> by Tumblr User <a href="http://wroniec.tumblr.com/post/159351722167/the-outsider-i-imagine-that-the-void">wroniec</a></td></tr>
</tbody></table>
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The narratives of the series’
various instalments are all influenced by the ephemeral figure of the Outsider.
Towards the beginning of each story, the protagonist will find themselves
awakening only to immediately be beset by the feeling that something is not
quite as it should be. Upon venturing from their room, they will find
themselves in an infinite expanse of darkness, littered with motes of earth
suspended in the black. Then, the black-eyed Outsider will appear from nothing,
welcoming them to the Void. Through the course of this meeting, the protagonist
will receive the Outsider’s mark, a symbol on the back of their left hand,
which allows them to channel the power of the void into the world. This unlocks
a host of supernatural powers<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn7" name="_ednref7" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[vii]</span></span><!--[endif]--></span></a>
that the player can then use the navigate the game world, circumvent enemies,
or which can simply serve as tools of destruction. <o:p></o:p></div>
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Each game then proceeds as a series
of missions, wherein each mission tends to follow the same general formula. You
must navigate an area that is largely filled with guardsmen (or other enemies
that are out to get you) in order to locate and either ‘kill’ or ‘neutralise’ a
single ‘target’. No level can be completed if the target is not dealt with but
ultimately the game takes a ‘play your way’ strategy. You are given the tools
but ultimately you must decide how to use them. Players can choose to simply
charge in, cutting down the guards and wielding their magical abilities to
wreak mayhem or they could opt for a quieter approach. Indeed, the game rewards
the player with an achievement/trophy (depending on your console) if they can
complete the entire game without killing anyone, and an additional trophy if
they can complete the game without being seen. The game operates on a high/low
chaos system, whereby the more death and confusion the player causes, the worse
of a state the world will be in by the conclusion of the story.</div>
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<o:p></o:p></div>
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<br /></div>
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It is my contention that <i>Dishonored</i> creates a game space which is
attending to questions of choice, meaning and individuality as raised within
existential philosophy. In particular, I see this in how the series treats the
concept of nothingness.</div>
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<div class="MsoNoSpacing" style="line-height: 115%; text-align: justify;">
The cosmology of the <i>Dishonored</i> universe is built upon the
Void. The Void underlies the world and serves as a foundation to all existence. The Heart (an artefact capable of whispering secrets to the protagonist throughout the game) says of the Void that it "is the end of all things. And the beginning". Human beings are thought to arise from the Void and to return to it upon death.
Though there is no clear eschatology, the peaceful dead are spoken of as fading
away into the oblivion of the Void, whereas the tumultuous souls seem to remain
very much themselves within the infinite expanse of nothingness.</div>
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<br /></div>
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Within the
narrative, the Void is attributed many qualities, but in particular is thought
to be in some sense conscious. Indeed, the Outsider himself serves the role of
being the mythological ambassador or avatar of the Void, fundamentally a part
of its structure. As we see in missions such as ‘A Crack in the Slab’, the Void
is usually separate from the world, though anomalies may occur wherein the Void
slips in, overcoming the strict boundaries of time and place. <o:p></o:p></div>
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The philosophy of French
existentialist Jean-Paul Sartre uses nothingness as a central concept within
his framework. For Sartre the individual subject is fundamentally negative
because this subject is conscious and consciousness for Sartre is nothing.<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn8" name="_ednref8" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[viii]</span></span><!--[endif]--></span></a>
A consciousness is not an entity or a substance, nor is it an object, but is
instead nothingness. Of course, consciousness can have content – but this does
not mean that the consciousness itself is a positive being in any meaningful
way. The only content possessed by consciousness are its experiences, which are
understood as intentional – here meaning that they pertain to things or
entities that are outside of the consciousness itself. For Sartre,
consciousness is a hole in the world<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn9" name="_ednref9" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[ix]</span></span><!--[endif]--></span></a>
– much like a void that slips into the world in order to overcome or transcend
it in some way – which is to say, to negate the world. <o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="Sartre 1967 crop.jpg" height="400" src="https://upload.wikimedia.org/wikipedia/commons/e/ef/Sartre_1967_crop.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/e/ef/Sartre_1967_crop.jpg">The French Existentialist Philosopher</a>, Jean-Paul Sartre</td></tr>
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For Sartre, the nothingness of
consciousness is its fundamental structure, as well as the foundation of
individual human freedom. For Sartre, freedom is absolute. We are always free,
absolutely and completely free, in every circumstance. This is to say that our
behaviour cannot be meaningfully said to be determined, for the individual
consciousness is not an object but an absence<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn10" name="_ednref10" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[x]</span></span><!--[endif]--></span></a>
and as such cannot be part of traditional causal picture. The only limit upon
this freedom is an internal one, wherein we are condemned to be free such that
we are unable to get beyond our own freedom. <o:p></o:p></div>
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Importantly, freedom for Sartre
is not to be confused with instrumental power.<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn11" name="_ednref11" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xi]</span></span><!--[endif]--></span></a>
In this sense, to be free is not to be able to do anything that one wants,<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn12" name="_ednref12" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xii]</span></span><!--[endif]--></span></a>
but is instead an existential freedom concerned with the kinds of projects one
can commit oneself to. One is always able to devote oneself to whatever project
with whatever ends/outcomes one may wish, and though this does not guarantee
one’s success, the ability to achieve one’s projects does not impact that these
projects are necessarily free. To this end, the projects that one pursues are
always freely chosen and there is not necessity for one to pursue anything in
particular. This would amount to attempting to abdicate from one’s own freedom,
to live in bad faith<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn13" name="_ednref13" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xiii]</span></span><!--[endif]--></span></a>
– which for Sartre can never succeed. As such, Corvo is free to devote himself
to a project of revenge or to a project of reconciliation – to become a deadly
assassin and thus to leave the streets of Dunwall running red with blood or to
instead stay his hand and take not a single life.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn14" title="">[xiv]</a></span></span><a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn14" title=""><!--[endif]--></a></span><o:p></o:p></div>
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For Sartre, projects are
fundamentally to be understood through the structure of action – which is
(perhaps unsurprisingly, given the theme of this piece) to be understood as a
form of nothingness.<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn15" name="_ednref15" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xv]</span></span><!--[endif]--></span></a>
This is not to say that actions are themselves nothing, or that actions cannot
produce positive results, but that actions are fundamentally attending to negativities
(<i>négatités</i>). When one acts, one is
responding to a lack within the world – to something that the world is not yet
that the individual wishes it to be. By recognising that what they want is a
negativity in so far as it does not exist<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn16" name="_ednref16" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xvi]</span></span><!--[endif]--></span></a>
and by then recognising that the state of the world is also a negativity in so
far as it can be transcended or overcome<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn17" name="_ednref17" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xvii]</span></span><!--[endif]--></span></a>
in such a way as to amend this lack, the individual is able to commit an action
to this effect. Even action that is fundamentally concerned with creating
something new is, at least according to Sartre, concerned with overcoming the
state of the world as one that lacks the object that is to be created. <o:p></o:p></div>
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<i>Dishonored</i> seems to play upon this distinction between one’s
absolute freedom and the instrumental power to bring about the ends of one’s
chosen projects through the figure of the Outsider. Though the dominant
religion within the Empire, The Abbey of the Everyman,<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn18" name="_ednref18" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xviii]</span></span><!--[endif]--></span></a>
preach that the Outsider is a devilish figure, the Outsider does not exist to
torment or to tempt individuals into committing sinful/evil acts. Though he is
portrayed as a Luciferian character, the Outsider could be better compared to
the Norse trickster God Loki.<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn19" name="_ednref19" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xix]</span></span><!--[endif]--></span></a>
But even this comparison implies a malicious intent or even a connotation as
simple as deception. The Outsider is neither of these, he never misdirects and
seems to only ever speak the truth, though appears to want to reveal uncomfortable
truths more readily than others. Central to the games’ narratives is that the
Outsider bestows you with supernatural powers and abilities, many of which are
fundamentally violent in nature, but he never forces your hand to use them.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn20" title="">[xx]</a></span></span><a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn20" title=""><!--[endif]--></a></span>
<o:p></o:p></div>
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Thus we can see that when, in <i>Death of the Outsider</i>, Daud attempts to
blame the Outsider for all the horrors plaguing Gristol,<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn21" name="_ednref21" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xxi]</span></span><!--[endif]--></span></a>
he is fundamentally trying to ignore not only his own responsibility as a user
of the mark, but also the foundational freedom of every individual who
possesses such power. Through so ignoring the free agency of all involved, Daud
is living in a state of bad faith, attempting to posit the Outsider as a
determining cause for all the terrible things that happen across the course of
the series. But the truth is that the Outsider cannot solely be to blame. All
he provides it greater power which is to say nothing, and he does not do so at
the expense of anyone’s existential freedom as this is absolute, regardless of
the situation in which the agent finds themselves. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img src="http://78.media.tumblr.com/8eb08168d47ecb0e990628863ed0eadf/tumblr_op8caoaSpK1qh1qauo4_500.gif" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://78.media.tumblr.com/8eb08168d47ecb0e990628863ed0eadf/tumblr_op8caoaSpK1qh1qauo4_500.gif">An edit of the assassin Daud</a> by Tumblr user <a href="http://winterswake.tumblr.com/">Winterswake</a></td></tr>
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We can clearly see how the mark
of the Outsider (and the powers that it grants) play into this structure of
action as negativity when we consider the fundamental cosmology of <i>Dishonored</i>’s universe. When the
protagonist uses the power of the mark, their powers are manifestations of the
Void within the world. The power of the Void, which is nothing, is thus to be
summarised as negativity. As such, the supernatural powers granted by the
Outsider’s mark constitute novel ways in which its user is able to negate the
world around them. Powers such as ‘blink’ negate space, allowing the
protagonist to partially overcome it, just as ‘Bend Time’ reorients the
character’s relationship with temporality.<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn22" name="_ednref22" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xxii]</span></span><!--[endif]--></span></a>
This increases their individual power to fulfil or realise their projects,
through an increased ability to transcend or negate the state in which they
find the world. Importantly, this does not increase their freedom – as on a
Sartre’s view freedom is always absolute and cannot be increased or diminished.
This is the case even when the protagonist uses powers such as ‘possession’, which
allows them to control their foes for a brief period of time. Though it greatly
reduces the power of the target, and possibly interrupts their consciousness,
it cannot be said to limit their freedom. <o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://c-7npsfqifvt34x24wjhofuufx2ex78jljbx2eopdppljfx2eofu.g00.wikia.com/g00/3_c-7ejtipopsfe.x78jljb.dpn_/c-7NPSFQIFVT34x24iuuqtx3ax2fx2fwjhofuuf.x78jljb.opdppljf.ofux2fejtipopsfewjefphbnfx2fjnbhftx2f5x2f5cx2fFnjmzx2538tNbsl_x25392x2530.hjgx2fsfwjtjpox2fmbuftux3fdcx3d31272313173762x26j21d.nbsl.jnbhf.uzqf_$/$/$/$/$/$/$/$" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="File:Emily'sMark (1).gif" border="0" src="http://c-7npsfqifvt34x24wjhofuufx2ex78jljbx2eopdppljfx2eofu.g00.wikia.com/g00/3_c-7ejtipopsfe.x78jljb.dpn_/c-7NPSFQIFVT34x24iuuqtx3ax2fx2fwjhofuuf.x78jljb.opdppljf.ofux2fejtipopsfewjefphbnfx2fjnbhftx2f5x2f5cx2fFnjmzx2538tNbsl_x25392x2530.hjgx2fsfwjtjpox2fmbuftux3fdcx3d31272313173762x26j21d.nbsl.jnbhf.uzqf_$/$/$/$/$/$/$/$" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://c-7npsfqifvt34x24wjhofuufx2ex78jljbx2eopdppljfx2eofu.g00.wikia.com/g00/3_c-7ejtipopsfe.x78jljb.dpn_/c-7NPSFQIFVT34x24iuuqtx3ax2fx2fwjhofuuf.x78jljb.opdppljf.ofux2fejtipopsfewjefphbnfx2fjnbhftx2f5x2f5cx2fFnjmzx2538tNbsl_x25392x2530.hjgx2fsfwjtjpox2fmbuftux3fdcx3d31272313173762x26j21d.nbsl.jnbhf.uzqf_$/$/$/$/$/$/$/$">The Mark of the Outsider</a> as it appears on Emily's hand.</td></tr>
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<div class="MsoNoSpacing" style="line-height: 115%; text-align: justify;">
Though <i>Dishonored</i>’s game space is limited in terms of what can be realised
within it (though one might ask if the same could not be said of life itself),
its gameplay and narrative proceed in a manner that can clearly speak to
Sartrian notions of consciousness and action – in so far as these are linked
through the concept of nothingness. <i>Dishonored</i>
presents us with a fundamentally existentialist narrative not only in so far as
the player/protagonist alone must bear the burden of their own freedom, but
also in so far as every single ‘target’ they are called on to either
assassinate or spare must bear theirs. In most cases, the assassination targets
have committed or been complicit within terrible acts – such as murdering the
empress and overthrowing her daughter (in the case of most of the targets in
the first instalment) – and sure enough they may have their reasons. But
fundamentally – they have chosen to be who they are. Whether they know it or
not, whether they want to face it or not, each of them has committed themselves
to a fundamental project of becoming who they are.</div>
<div class="MsoNoSpacing" style="line-height: 115%; text-align: justify;">
<o:p></o:p></div>
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<br /></div>
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But the question then becomes –
what fate does the protagonist think they deserve and, following whatever
course of action they take, what kind of person has the player chosen to be?<o:p></o:p></div>
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I’ll leave you with the words of
Billie Lurk, who inadvertently summarises the existential choice when she says:
<o:p></o:p></div>
<blockquote class="tr_bq" style="line-height: 115%; text-align: justify;">
“Then you’re alone, living with
your choices.”<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_edn23" name="_ednref23" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xxiii]</span></span><!--[endif]--></span></a></blockquote>
<div class="MsoNoSpacing" style="line-height: 115%; text-align: justify;">
<o:p></o:p></div>
</div>
<span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br clear="all" style="mso-break-type: section-break; page-break-before: auto;" />
</span>
<br />
<span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="400" src="https://78.media.tumblr.com/a6fabed675f4a2f8b63d89227b060dc8/tumblr_oulvx5Ouqa1u900fbo1_1280.jpg" style="margin-left: auto; margin-right: auto;" width="376" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Also, <a href="https://78.media.tumblr.com/a6fabed675f4a2f8b63d89227b060dc8/tumblr_oulvx5Ouqa1u900fbo1_1280.jpg">this image</a> is simply too good not to include. Posted by Tumblr user <a href="http://boyokiddo.tumblr.com/">boyokiddo</a></td></tr>
</tbody></table>
<span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span><br />
<div class="MsoNoSpacing" style="line-height: 115%;">
<br /></div>
<h4>
Works Cited</h4>
<div class="MsoSubtitle">
<o:p></o:p></div>
<div class="MsoBibliography">
<!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_BIBL {"custom":[]}
CSL_BIBLIOGRAPHY <span style='mso-element:field-separator'></span><![endif]-->Colantonio, Raphael, and Harvey Smith, <i>Dishonored</i> (Arkane
Studios, 2012)<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Sartre, Jean-Paul, <i>Being and
Nothingness</i>, trans. by Hazel E. Barnes (UK: Routledge, 2003)<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
Smith, Harvey, <i>Dishonored 2</i>
(Arkane Studios, 2016)<o:p></o:p></div>
<div class="MsoBibliography">
<br /></div>
<div class="MsoBibliography">
———, <i>Dishonored: Death of the Outsider</i>
(Arkane Studios, 2017)<o:p></o:p></div>
<div class="MsoNoSpacing" style="line-height: 115%;">
<br /></div>
<br />
<div>
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="edn1">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"mi4twA2k","properties":{"formattedCitation":"{\\rtf
Raphael Colantonio and Harvey Smith, {\\i{}Dishonored} (Arkane Studios, 2012).}","plainCitation":"Raphael
Colantonio and Harvey Smith, Dishonored (Arkane Studios,
2012)."},"citationItems":[{"id":660,"uris":["http://zotero.org/users/3736306/items/JMG34EBD"],"uri":["http://zotero.org/users/3736306/items/JMG34EBD"],"itemData":{"id":660,"type":"motion_picture","title":"Dishonored","publisher":"Arkane
Studios","author":[{"family":"Colantonio","given":"Raphael"},{"family":"Smith","given":"Harvey"}],"issued":{"date-parts":[["2012"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Raphael Colantonio and Harvey Smith, <i>Dishonored</i>
(Arkane Studios, 2012).<!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"lQRHdMnU","properties":{"formattedCitation":"{\\rtf
Harvey Smith, {\\i{}Dishonored 2} (Arkane Studios, 2016).}","plainCitation":"Harvey
Smith, Dishonored 2 (Arkane Studios,
2016)."},"citationItems":[{"id":661,"uris":["http://zotero.org/users/3736306/items/H3WMIM64"],"uri":["http://zotero.org/users/3736306/items/H3WMIM64"],"itemData":{"id":661,"type":"motion_picture","title":"Dishonored
2","publisher":"Arkane Studios","author":[{"family":"Smith","given":"Harvey"}],"issued":{"date-parts":[["2016"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Harvey Smith, <i>Dishonored 2</i> (Arkane
Studios, 2016).<!--[if supportFields]><span style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn3">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"RfaS3kxT","properties":{"formattedCitation":"{\\rtf
Harvey Smith, {\\i{}Dishonored: Death of the Outsider} (Arkane Studios,
2017).}","plainCitation":"Harvey Smith, Dishonored: Death
of the Outsider (Arkane Studios, 2017)."},"citationItems":[{"id":662,"uris":["http://zotero.org/users/3736306/items/9PRRK3Q8"],"uri":["http://zotero.org/users/3736306/items/9PRRK3Q8"],"itemData":{"id":662,"type":"motion_picture","title":"Dishonored:
Death of the Outsider","publisher":"Arkane Studios","author":[{"family":"Smith","given":"Harvey"}],"issued":{"date-parts":[["2017"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Harvey Smith, <i>Dishonored: Death of the
Outsider</i> (Arkane Studios, 2017).<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn4">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[iv]</span></span><!--[endif]--></span></a> I
am further interest in how <i>Dishonored</i>
constitutes (or fails to constitute) a reading of historical imperialism, but
this is not my concern within this entry. <o:p></o:p></div>
</div>
<div id="edn5">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[v]</span></span><!--[endif]--></span></a>
Though for reasons we shall see, this is perhaps too violent a term.<o:p></o:p></div>
</div>
<div id="edn6">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref6" name="_edn6" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[vi]</span></span><!--[endif]--></span></a>
Originally, Delilah’s character was introduced in <i>The Knife of Dunwall</i> DLC, and she serves as the main antagonist of <i>The Brigmore Witches</i>. In neither case is
the story directly concerned with the experiences of Corvo or Emily, with the
assassin Daud taking up the protagonistic position. <o:p></o:p></div>
</div>
<div id="edn7">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref7" name="_edn7" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[vii]</span></span><!--[endif]--></span></a>
These are show-cased in <a href="https://www.youtube.com/watch?v=62cKiGXWwFQ&t=344s">this</a> video.<o:p></o:p></div>
</div>
<div id="edn8">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref8" name="_edn8" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[viii]</span></span><!--[endif]--></span></a>
<!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"JQv7Mm1B","properties":{"formattedCitation":"{\\rtf
Jean-Paul Sartre, {\\i{}Being and Nothingness}, trans. by Hazel E. Barnes (UK:
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Origin of Negation","label":"chapter"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Jean-Paul Sartre, <i>Being and
Nothingness</i>, trans. by Hazel E. Barnes (UK: Routledge, 2003), chap. The
Origin of Negation.<!--[if supportFields]><span style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn9">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref9" name="_edn9" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[ix]</span></span><!--[endif]--></span></a> “The
For-itself, in fact, is nothing but the pure nihilation of the In-itself; it is
like a hole of being at the heart of Being” see: <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
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<span style='mso-element:field-separator'></span><![endif]-->Sartre, chap. Conclusion.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn10">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref10" name="_edn10" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[x]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
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p. 434.","plainCitation":"Sartre, p.
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E."}],"issued":{"date-parts":[["2003"]]}},"locator":"434"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, p. 434.<!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn11">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref11" name="_edn11" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xi]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"NkZJ39Pc","properties":{"formattedCitation":"{\\rtf
Sartre, pp. 469\\uc0\\u8211{}88.}","plainCitation":"Sartre,
pp.
469–88."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
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<span style='mso-element:field-separator'></span><![endif]-->Sartre, pp. 469–88.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn12">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref12" name="_edn12" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xii]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
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453."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
and
Nothingness","publisher":"Routledge","publisher-place":"UK","event-place":"UK","author":[{"family":"Sartre","given":"Jean-Paul"}],"translator":[{"family":"Barnes","given":"Hazel
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<span style='mso-element:field-separator'></span><![endif]-->Sartre, p. 453.<!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn13">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref13" name="_edn13" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xiii]</span></span><!--[endif]--></span></a>
See: <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"EeoY4zbm","properties":{"formattedCitation":"Sartre,
chap. Bad Faith.","plainCitation":"Sartre, chap. Bad
Faith."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
and
Nothingness","publisher":"Routledge","publisher-place":"UK","event-place":"UK","author":[{"family":"Sartre","given":"Jean-Paul"}],"translator":[{"family":"Barnes","given":"Hazel
E."}],"issued":{"date-parts":[["2003"]]}},"locator":"Bad
Faith","label":"chapter"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, chap. Bad Faith.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn14">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref14" name="_edn14" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xiv]</span></span><!--[endif]--></span></a>
Indeed, existentially speaking Corvo is free to devote himself to whatever
project he wishes. The game space is limited in that ultimately only one of two
projects (or a combination of these two projects) can be realised. Though this
point does not weaken the game as an example of existentialism so much as it
highlights that there are limits upon one’s ability to fulfil one’s projects. <o:p></o:p></div>
</div>
<div id="edn15">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref15" name="_edn15" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xv]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
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E."}],"issued":{"date-parts":[["2003"]]}},"locator":"433-434"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, pp. 433–34.<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn16">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref16" name="_edn16" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xvi]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"y8PZksZ4","properties":{"formattedCitation":"Sartre,
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and
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<span style='mso-element:field-separator'></span><![endif]-->Sartre, p. 435.<!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn17">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref17" name="_edn17" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xvii]</span></span><!--[endif]--></span></a>
<!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"vSKvOKgF","properties":{"formattedCitation":"Sartre,
p. 435.","plainCitation":"Sartre, p.
435."},"citationItems":[{"id":663,"uris":["http://zotero.org/users/3736306/items/7G4FI73P"],"uri":["http://zotero.org/users/3736306/items/7G4FI73P"],"itemData":{"id":663,"type":"book","title":"Being
and
Nothingness","publisher":"Routledge","publisher-place":"UK","event-place":"UK","author":[{"family":"Sartre","given":"Jean-Paul"}],"translator":[{"family":"Barnes","given":"Hazel
E."}],"issued":{"date-parts":[["2003"]]}},"locator":"435"}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span><![endif]-->Sartre, p. 435.<!--[if supportFields]><span style='mso-element:
field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn18">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref18" name="_edn18" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xviii]</span></span><!--[endif]--></span></a>
There is a sense in which, if we take the Outsider as in some sense an agent of
the existential project, that the Abbey and its Overseers serve as
representatives of bad faith within the narrative. Their religion is centred
around strictures and limits, which are often exalted as being beyond our
ability to choose against – thus their beliefs actively appear to endorse a bad
faith avoidance of existential choice. This is further supported by the idea
that the Overseers are enemies of the Void, which on this reading is the
structure of existential being.<o:p></o:p></div>
</div>
<div id="edn19">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref19" name="_edn19" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xix]</span></span><!--[endif]--></span></a>
A comparison made in <a href="https://www.youtube.com/watch?v=bEu8Euh6hQI">this</a>
video.<o:p></o:p></div>
</div>
<div id="edn20">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref20" name="_edn20" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xx]</span></span><!--[endif]--></span></a>
The Outsider does occasionally nudge and play games with his marked, such as
when he encourages Daud to seek out Delilah, but his interventions in no way
undermine another’s agency. <o:p></o:p></div>
</div>
<div id="edn21">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref21" name="_edn21" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xxi]</span></span><!--[endif]--></span></a> <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"P7NWJQue","properties":{"formattedCitation":"{\\rtf
Smith, {\\i{}Dishonored: Death of the Outsider}.}","plainCitation":"Smith,
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<span style='mso-element:field-separator'></span><![endif]-->Smith, <i>Dishonored: Death of the
Outsider</i>.<!--[if supportFields]><span style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn22">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref22" name="_edn22" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xxii]</span></span><!--[endif]--></span></a>
In <i>Death of the Outsider</i>, Billie Lurk’s
‘Foresight’ ability enables her to negate both time and space at once. <o:p></o:p></div>
</div>
<div id="edn23">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Dishonored%20and%20Existential%20Nothing.docx#_ednref23" name="_edn23" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[xxiii]</span></span><!--[endif]--></span></a>
Introductory cinematic, <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"9OgTGYVN","properties":{"formattedCitation":"{\\rtf
Smith, {\\i{}Dishonored: Death of the
Outsider}.}","plainCitation":"Smith, Dishonored: Death of
the Outsider."},"citationItems":[{"id":662,"uris":["http://zotero.org/users/3736306/items/9PRRK3Q8"],"uri":["http://zotero.org/users/3736306/items/9PRRK3Q8"],"itemData":{"id":662,"type":"motion_picture","title":"Dishonored:
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<span style='mso-element:field-separator'></span><![endif]-->Smith, <i>Dishonored: Death of the
Outsider</i>.<!--[if supportFields]><span style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
</div>
</div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-20136654274127083492017-03-17T09:55:00.001+00:002017-03-17T09:55:34.653+00:00Chimamanda Ngozi Adichie and Speaking For Another<div class="WordSection1">
<blockquote class="tr_bq">
<span lang="EN-GB">“…my
feeling is that trans* women are trans* women. I think if you’ve lived in a
world as a man with the privileges that the world accords to men and
then…change, switch gender it’s difficult for me to accept that then we can
equate your experience with the experience of a woman who has lived from the
beginning in the world as a woman and who has not been accorded those
privileges that men are. I don’t think it’s a good thing to conflate everything
into one, I don’t think it’s a good thing to talk about women’s issues being
exactly the same as the issues of trans* women. What I’m saying is that gender
is not biology, gender is sociology.”<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><b><span lang="EN-GB" style="color: #404040; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[i]</span></b></span><!--[endif]--></span></a></span></blockquote>
<div class="MsoNormal">
<br /></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">These words, spoken by Nigerian writer and feminist Chimamanda Ngozi
Adichie in a short interview with Channel 4 News have been the source of much
contention and fallout over the past few days.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[ii]</span></span><!--[endif]--></span></a>
Since its posting earlier this week, the video has faced outpourings of
backlash from LGBT+ activists, whether they themselves are trans* or advocating
on behalf of trans* people. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">The charge is one of trans* exclusion. As one may expect, this has
led to claims that Chimamanda is a trans-exclusionary radical feminist (TERF),
a claim which not only fixes her within a particular feminist tradition
(rightly or wrongly) and which further employs the acronym as a pejorative. The
attack is a simple one. It is an accusation that she is wrong (or perhaps
incorrect, if this distinction is to figure anywhere here). This has been
accompanied with a plethora of comments which (in same breath as declaring her
a TERF) deny her the status of feminist and denounce her ‘ignorance’. According
to commenters, she’s woefully misguided, denying ‘facts’,<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[iii]</span></span><!--[endif]--></span></a>
ignoring the basic reality of trans* people and is, at once, just plainly
unaware of the ‘established discourse’. It is unclear as to what discourse this
could be.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[iv]</span></span><!--[endif]--></span></a>
Perhaps more interesting are those who accuse her of ‘speaking for’ trans*
people, where this ‘speaking for’ seems to be an act of ventriloquism, of
wrongly inhabiting their space and experiences. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">I am not concerned with Adichie’s status as a feminist – in as far
as it is an identity label – nor am I particularly concerned with whether or
not her views mesh with whatever is perceived as the established discourse.
Indeed, this would prompt further questions as to whose discourse this is,
where it is enacted (and by whom), and to what end it is employed. Furthermore,
it endorses the term ‘feminist’ as an identity status, transforming it from an
adjective, a descriptor, to a noun in the form of “I am a feminist”.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[v]</span></span><!--[endif]--></span></a>
Instead, my interest is, firstly, the question of trans* exclusion. Does
Adichie exclude trans* women from the category of woman? If so upon what
grounds? Secondly, I consider the other side of this situation, in which the
accusation is one of accusing trans* women of possessing “male privilege”. What
exactly this means to say is a question of socialisation, of attitudes towards
individuals in terms of how they are recognised in relation to others. It is of
central importance to the feminist project as a whole (however one might seek
to formulate it) that these concepts are elucidated. For without them, the
grounds upon which one wishes to discuss the oppression of both women and female-bodied
persons (both in as far as these coincide and split apart), is torn away and
the very notion of patriarchy goes with it. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">Reading the words Adichie used, it is clear to see why they have
been read in this way. Trans* women are spoken of in conjunction and, given the
context, opposition with “women”. The structure here is othering, pitting one
against the other. One should not rush to condemn those who find issue with
this phrasing, there is clearly a tension within the words used. But does this
amount to trans* exclusion? Well, as Adichie explained in a clarificatory
Facebook post three days after the interview: <o:p></o:p></span></div>
<blockquote class="tr_bq">
<span lang="EN-GB">“Perhaps
I should have said trans women are trans women and cis women are cis women and
all are women. Except that 'cis' is not an organic part of my vocabulary. And
would probably not be understood by a majority of people. Because saying
‘trans’ and ‘cis’ acknowledges that there is a distinction between women born
female and women who transition, without elevating one or the other, which was
my point.”<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><b><span lang="EN-GB" style="color: #404040; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;"><a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn6" title="">[vi]</a></span></b></span><a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn6" title=""><!--[endif]--></a></span></span></blockquote>
<div align="left" class="MsoQuote">
<span style="text-align: justify;">Within this clarification, Adichie seeks to right misinterpretations
of both her meaning and her intentions. At other points within this post, she
further establishes not only her personal discomfort with being seen to hold
this view, but also with the view itself.</span><a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn7" name="_ednref7" style="text-align: justify;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[vii]</span></span></span></a><span style="text-align: justify;">
We must of course remember the context of her original comments. They are given
to us in a recorded interview (under six minutes in total length), and are not
formulated within words which can be edited and revised. Furthermore, the
interviewing body is that of Channel 4 News, a national channel. Whether for
the sake of inclusivity or not, Adichie makes clear that in this context, the
term cis – a term which, by means of its introduction, I think beautifully
clears up the charge of trans* exclusion – is likely not to have been
understood. The very term cis is part of one particular gender vocabulary
which, whilst popular, is far from universally understood – particularly by the
general public, with all its subdivisions.</span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">If then, to paraphrase, Adichie is saying that trans* women are trans*
women, cis* women are cis* women and both trans* women and cis* women are
women, as I think she does, the charge of trans* exclusion becomes more
difficult to maintain. All she seems to be maintaining is, as she makes quite
clear in her original comments, that we should not be so quick to conflate the
two identities, to reduce them into an artificial unity. To be sure, it is
strange to me that anyone would wish to challenge this, especially if one
wishes to maintain the accusation of her wrongly ‘speaking for’ trans* people.
For if trans* women and cis* women are the same, reduced to one, then Adichie,
as a cis* woman, is as much a part of the category of trans* woman as a trans*
woman is part of category: cis* women. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">This would appear to posit a messy state of affairs and one which
would only serve to silence issues facing one group, or even both. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">So much for trans* exclusion. Yet another issue remains. Adichie
makes it clear that, according to her, one of the motivations for separating
cis* and trans* women lies in their differing experiences and within the
privileges that trans* women face as male-bodied people, presumably before
coming out, stating their gender identity or changing their gender
performativity.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn8" name="_ednref8" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[viii]</span></span><!--[endif]--></span></a>
It is the claim that trans* women have at one time possessed ‘male privilege’
that has been seemingly most picked up to support this claim of ‘speaking for.’<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">Yet is Adichie inhabiting the voice of a trans* person? Is she
speaking on their behalf or disclosing the kinds of experience they may face?
Perhaps in part, but it seems that she is more concerned with speaking about
trans* people, as someone who is not trans* herself. The line between speaking
about someone and ventriloquising them, occupying their voice (perhaps falsely),
is a murky one. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">As a staple concept within feminism (beginning of course within the ‘second
wave’ and radical school of feminism) male privilege from its inception has
been articulated by female-bodied people, those often regarded (rightly or
wrongly) as women. Male privilege speaks of reception and of experience, and is
therefore at least in part speaking on behalf of another. The concept enables
us to speak of its lack, it’s converse: formulated originally as female
oppression. It is from then that we are able to make any kind of articulation
of oppression on the grounds of one’s sex, perceived sex, and – through the
developments of queer feminist theory – one’s gender. If it through speaking on
behalf of another that such concepts of privilege can be articulated, then it does
not seem to be that such ventriloquism is to be solely frowned upon. On the
contrary, they are an essential to the very trans-inclusive feminist project.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">Of course, this is not to ignore the differences between men and trans*
women (including the obvious difference of men being men and trans* women being
women), particularly in terms of power and position.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn9" name="_ednref9" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[ix]</span></span><!--[endif]--></span></a>
All I wish to note is that speaking of or about (and perhaps even in some sense
for) another should not be regarded as some kind of violation or overstepping
one’s ‘right’. Feminism as a discipline has – as I think I can state somewhat
uncontroversially – been primarily driven and maintained by women (and here I
do explicitly include both cis* and trans* women).<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn10" name="_ednref10" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[x]</span></span><!--[endif]--></span></a>
It has made commentary about both the social position of men – and indeed their
experiences – from without, as the nature of the claims do not concern solely
the subjective experiences of men, but their socio-political position. Feminism
has also commented on the position of women, despite many women claiming (both rightly
and wrongly, depending on the case) that feminism misrepresents them. I am
thinking here in particular of those women who regard feminism as an elaborate
form of ‘whining’, and who are often unaware of those nebulous social forces
which shape their experiences. Speaking about and for another, whether one
shares with them or is divided from them by some category of identity or
another, should not be dismissed <i>de facto</i>.
<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">It should be noted that privilege is not so much about identity in
as far as an individual self-identifies, but instead concerns identity in the
mode that the individual is seen. Were it so simply the case that
self-identification afforded an individual all the privileges of the category
with which they identified, then there would be no great disparity between the
treatment of trans* and non-binary people compared to the treatment of cis*
individuals. This is not the case. We could think of this in terms of simply
regarding oneself as human. Historically, those in oppressed categories
(whether based on gender, sex, sexuality, race etc.) have been scornfully
regarded, in various ways, as sub-human and thus not afforded basic human
rights and dignity. This persists even today in spite of the strong sense in which
those so oppressed regard themselves as human. This is to say that the
possession of such privilege is not so much the ‘fault’ or responsibility of
the individual who has the privilege, for the privilege is given (or not given)
often in ways that are outside of the direct control of the individual. Thus,
to say that someone possesses such a privilege should <b>not</b> be conflated with a moral judgement of the one with the
privilege. Of course, I do not mean to ignore the history of using notions such
as male privilege to exclude trans* women from the category of woman, but I do
contend that no such exclusion is occurring here. But the point stands that one
does not need to speak for, or steal the voice of another person, in order to
speak about male privilege. It is something which is articulated from without. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">If we are to speak of male privilege and speaking about or for
others, we must speak of socialisation. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">From a young age, socialisation takes root. Whilst I uphold the
sex/gender distinction as much as I am able, one must recognise that this
conceptual division does not reflect the ‘common sense’ reality. For many
people outside feminist discourse, sex and gender are interchangeable and this
is reflected in the treatment of children. This is what we could refer to as
the ‘common sense’ attitude. As soon as a child is coded as male or female,
which most commonly occurs shortly after birth, the child inherits a whole
array of gendered meanings. Treatment by others shapes their social position
and certain privileges are afforded to those who are – or at least who are
regarded as – male-bodied. This and this alone is what is entailed within the
claim that trans* women (or at least those who were/are male-bodied) possess/possessed
male privilege. Of course, the situation is in some sense changing, resulting
in a perhaps more accepting world; but we cannot – in our want to change the
world and challenge those elements we find not to sit well with us – ignore the
predominant view, the ‘common sense’ approach. In order to challenge this
approach, we must first understand it and be able to communicate with those who
purport it. Such would be to deny the world to which one wishes to object, to
deny the very problem feminism could be said to arise in opposition to. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">Laurie Richards’ objections to this point (in her ThinkProgress
article) have been objectionably phrased in terms not only of “political
dishonesty” (whatever one considers this to mean in this context) but also as
ignorance of “decades of scientific research”.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn11" name="_ednref11" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xi]</span></span><!--[endif]--></span></a>
The central claim here appears to be that Adichie is simplifying, erasing a
huge amount of emotional turmoil and difficulty (both internal and external)
which trans* women experience, that she is using the basis of their once having
had male privilege to deny their oppression. Not only is this reading of
Adichie’s words somewhat mitigated within her clarification,<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn12" name="_ednref12" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xii]</span></span><!--[endif]--></span></a>
but I, as well as at least two prominent gender theorists,<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn13" name="_ednref13" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xiii]</span></span><!--[endif]--></span></a>
take further issue with the ‘born this way’ narrative with which she presents
trans* experiences (which ironically seems equally if not guiltier of simplistically
collapsing trans* narratives than anything Adichie may have said).<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn14" name="_ednref14" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xiv]</span></span><!--[endif]--></span></a>
This is reminiscent of the very biological essentialism trans* people so often
have to fight against. Furthermore, I consider her understanding of ‘male
privilege’ to be quite narrow. We must remember, male privilege is not so much
about subjective experience, but about one’s treatment by others. And part of
this is to recognise that one may possess privileges, but that these do not
mitigate or invalidate any oppressions which one may face. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">But conversely, such oppression furthermore does not erase one’s
privileges, as Richards seems to claim. To think such would be as reductive as
it is claimed Adichie’s comments are. I am thinking here in particular of the
response by trans* icon Laverne Cox, whose essential claim is that her being
perceived as a feminine boy (whether before or after coming out) erased any
male privilege she may have had.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn15" name="_ednref15" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xv]</span></span><!--[endif]--></span></a>
On Cox’s own terms, it is the way in which one is perceived that shapes one’s
privilege, but even being regarded as a feminine boy is to be regarded as a
boy, as one who is assumed (in this case wrongly) as male. Cox further
criticises Adichie – wrongly, I think – on the grounds of presenting a singularising
narrative for both trans* and cis* identities.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn16" name="_ednref16" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xvi]</span></span><!--[endif]--></span></a>
Nothing in Adichie’s comments speak to this charge. Instead, she is clear that
we should instead be mindful <b>not</b> to
conflate and reduce things to simple unities. This stands for cis* and trans*
identities as much as it does the overall category of woman. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">My main concern here is that to view male privilege so reductively,
is to undermine a central aspect of patriarchy. I’ve spoken somewhat lengthily
here about Richards’ article on ThinkProgress. As a website, ThinkProgress
shares important stories, highlighting key feminist issues. It rightly speaks
about the oppression of female-bodied people and women (again, both is as far
as these two cohere and divide), drawing attention to issues of oppression which
are far more than isolated occurrence, but are caused by the underlying,
patriarchal structure of western cultures. In order to speak of these
structures, to speak of the system as a whole, we must step outside of
ourselves. This is not to say that we leave behind our subjectivity – not that
this would be possible anyway – or that we ignore individual voices, but it
does necessitate a willingness to speak about and for others. If this is
forbidden and viewed exclusively as a transgression, we have reached a
dangerous position, one in which we are robbed of the vocabulary with which
systemic oppression can be articulated. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">One cannot help but feel that this controversy passes comment on the
nature of liberal feminist discourse. Whilst overly fixating on the language
Adichie uses to express herself – a language which, it must be noted, she
explicitly declares as not her own<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn17" name="_ednref17" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xvii]</span></span><!--[endif]--></span></a>
– commentators are using an altogether too static notion of discourse. In so
doing, they appear to regard feminism and its questions not as a lively field
of discussion and engagement, the natural fallout of which is disagreement, but
as a foregone conclusion. This is mirrored in those who wish to, on the basis
of perceived trans* exclusion, exclude Adichie from feminism itself. The basic
formulation is that one must believe this or one may not speak of it at all. It
is a dangerous state, one which collapses the richness of diverse discourse. To
be clear, this is not a simplistic call for any kind of freedom of speech, and
I am certainly not saying that all contributions (I have in mind here hate
speech) are to be welcomed equally. Instead, I think it misunderstands the very
dynamism at the core of feminism, indeed at the core of anything we might speak
of as political speech.<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn18" name="_ednref18" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xviii]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-bottom: 12.0pt; text-align: justify;">
<span lang="EN-GB">To close my thoughts, I would like to end as I began, with Adichie’s
own words:<o:p></o:p></span></div>
<blockquote class="tr_bq">
<span lang="EN-GB">“To
acknowledge different experiences is to start to move towards more fluid – and
therefore more honest and true to the real world – conceptions of gender.”<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_edn19" name="_ednref19" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><b><span lang="EN-GB" style="color: #404040; font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;">[xix]</span></b></span><!--[endif]--></span></a></span></blockquote>
</div>
<br />
<div>
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[i]</span></span><!--[endif]--></span></span></a><span lang="EN-GB">Channel 4 News, <i>Chimamanda
Ngozi Adichie On Feminism</i>, 2017
<https://www.channel4.com/news/chimamanda-ngozi-adichie-on-feminism>
[accessed 15 March 2017].</span><span lang="EN-GB"> <o:p></o:p></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[ii]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> I include here only two examples, for the sake of brevity. See: </span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"FNNGpE0p","properties":{"formattedCitation":"{\\rtf
Noah Michaelson, \\uc0\\u8216{}Author Chimamanda Ngozi Adichie Under Fire For
Comments About Trans Women\\uc0\\u8217{}, {\\i{}Huffington Post}, 11 March 2017
<http://www.huffingtonpost.com/entry/chimamanda-ngozi-adichie-transgender-women-feminism_us_58c40324e4b0d1078ca7180b>
[accessed 15 March 2017].}","plainCitation":"Noah
Michaelson, ‘Author Chimamanda Ngozi Adichie Under Fire For Comments About
Trans Women’, Huffington Post, 11 March 2017
<http://www.huffingtonpost.com/entry/chimamanda-ngozi-adichie-transgender-women-feminism_us_58c40324e4b0d1078ca7180b>
[accessed 15 March 2017]."},"citationItems":[{"id":444,"uris":["http://zotero.org/users/3736306/items/WCZZTG6B"],"uri":["http://zotero.org/users/3736306/items/WCZZTG6B"],"itemData":{"id":444,"type":"article-newspaper","title":"Author
Chimamanda Ngozi Adichie Under Fire For Comments About Trans
Women","container-title":"Huffington
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<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Noah Michaelson,
‘Author Chimamanda Ngozi Adichie Under Fire For Comments About Trans Women’, <i>Huffington
Post</i>, 11 March 2017 <http://www.huffingtonpost.com/entry/chimamanda-ngozi-adichie-transgender-women-feminism_us_58c40324e4b0d1078ca7180b>
[accessed 15 March 2017].</span><!--[if supportFields]><span lang=EN-GB><span
style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"> and </span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"ywS3tNec","properties":{"formattedCitation":"{\\rtf
Laurie Richards, \\uc0\\u8216{}No, Trans Women Do Not Grow up with Male
Privilege\\uc0\\u8217{}, {\\i{}ThinkProgress}, 15 March 2017
<https://thinkprogress.org/trans-women-do-not-grow-up-with-male-privilege-e51eba1eb42c#.ctt1q0lhw>
[accessed 15 March 2017].}","plainCitation":"Laurie
Richards, ‘No, Trans Women Do Not Grow up with Male Privilege’, ThinkProgress,
15 March 2017
<https://thinkprogress.org/trans-women-do-not-grow-up-with-male-privilege-e51eba1eb42c#.ctt1q0lhw>
[accessed 15 March 2017]."},"citationItems":[{"id":443,"uris":["http://zotero.org/users/3736306/items/THTF3R9H"],"uri":["http://zotero.org/users/3736306/items/THTF3R9H"],"itemData":{"id":443,"type":"article-newspaper","title":"No,
trans women do not grow up with male
privilege","container-title":"ThinkProgress","URL":"https://thinkprogress.org/trans-women-do-not-grow-up-with-male-privilege-e51eba1eb42c#.ctt1q0lhw","author":[{"family":"Richards","given":"Laurie"}],"issued":{"date-parts":[["2017",3,15]]},"accessed":{"date-parts":[["2017",3,15]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Laurie Richards,
‘No, Trans Women Do Not Grow up with Male Privilege’, <i>ThinkProgress</i>, 15
March 2017
<https://thinkprogress.org/trans-women-do-not-grow-up-with-male-privilege-e51eba1eb42c#.ctt1q0lhw>
[accessed 15 March 2017].</span><!--[if supportFields]><span lang=EN-GB><span
style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="edn3">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[iii]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><span lang="EN-GB">Which is of
course</span><span lang="EN-GB"> </span>to beg the questions of whose facts these are,
in what context they are situated, whence comes their factual status.<o:p></o:p></div>
</div>
<div id="edn4">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[iv]</span></span><!--[endif]--></span></span></a> To speak of this in terms of ‘the feminist
discourse’ would not answer this question, but supplant it with another: which
feminist discourse?<o:p></o:p></div>
</div>
<div id="edn5">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[v]</span></span><!--[endif]--></span></span></a> There is a sense in which <span lang="EN-GB">this totalises the status of feminism, collapses its discursive
elements into a doctrine</span><o:p></o:p></div>
</div>
<div id="edn6">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref6" name="_edn6" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[vi]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-begin'></span></span><span lang=IT
style='mso-ansi-language:IT'><span style='mso-spacerun:yes'> </span>ADDIN
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Chimamanda Ngozi Adichie, \\uc0\\u8216{}CLARIFYING\\uc0\\u8217{}, 2017
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[accessed 15 March 2017].}","plainCitation":"Chimamanda
Ngozi Adichie, ‘CLARIFYING’, 2017
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</span><span lang=EN-GB><span style='mso-element:field-separator'></span></span><![endif]--><span lang="IT">Chimamanda Ngozi Adichie, ‘CLARIFYING’, 2017
<https://www.facebook.com/chimamandaadichie/photos/a.469824145943.278768.40389960943/10154893542340944/?type=3&theater>
[accessed 15 March 2017].</span><!--[if supportFields]><span lang=EN-GB><span
style='mso-element:field-end'></span></span><![endif]--><span lang="IT"><o:p></o:p></span></div>
</div>
<div id="edn7">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref7" name="_edn7" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[vii]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><!--[if supportFields]><span lang=EN-GB><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"4CP3kUja","properties":{"formattedCitation":"Adichie.","plainCitation":"Adichie."},"citationItems":[{"id":446,"uris":["http://zotero.org/users/3736306/items/3S8CC2NC"],"uri":["http://zotero.org/users/3736306/items/3S8CC2NC"],"itemData":{"id":446,"type":"post-weblog","title":"CLARIFYING","URL":"https://www.facebook.com/chimamandaadichie/photos/a.469824145943.278768.40389960943/10154893542340944/?type=3&theater","author":[{"family":"Adichie","given":"Chimamanda
Ngozi"}],"issued":{"date-parts":[["2017",3,13]]},"accessed":{"date-parts":[["2017",3,15]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Adichie.</span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="edn8">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref8" name="_edn8" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[viii]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Speaking of course as in Butler’s sense, see: </span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"S2QQ7w7j","properties":{"formattedCitation":"{\\rtf
Judith Butler, {\\i{}Gender Trouble} (New York: Routledge, 1990).}","plainCitation":"Judith
Butler, Gender Trouble (New York: Routledge, 1990)."},"citationItems":[{"id":80,"uris":["http://zotero.org/users/3736306/items/8QCESDCB"],"uri":["http://zotero.org/users/3736306/items/8QCESDCB"],"itemData":{"id":80,"type":"book","title":"Gender
Trouble","publisher":"Routledge","publisher-place":"New
York","event-place":"New
York","author":[{"family":"Butler","given":"Judith"}],"issued":{"date-parts":[["1990"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Judith Butler, <i>Gender
Trouble</i> (New York: Routledge, 1990).</span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="edn9">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref9" name="_edn9" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[ix]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Power is, however, complex and the disparities and similarities
across identities and their enactedness and reception is more dense a topic
than I can elucidate here fully. <o:p></o:p></span></div>
</div>
<div id="edn10">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref10" name="_edn10" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[x]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> This is obviously not to ignore the many male/masculine
contributors to such theory, notably (at least for radical feminism) a
reasonably well-known figure: Karl Marx. <o:p></o:p></span></div>
</div>
<div id="edn11">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref11" name="_edn11" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xi]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Both quotations are taken from the subtitle in: </span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"Pa7evCjC","properties":{"formattedCitation":"Richards.","plainCitation":"Richards."},"citationItems":[{"id":443,"uris":["http://zotero.org/users/3736306/items/THTF3R9H"],"uri":["http://zotero.org/users/3736306/items/THTF3R9H"],"itemData":{"id":443,"type":"article-newspaper","title":"No,
trans women do not grow up with male
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<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Richards.</span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"> <o:p></o:p></span></div>
</div>
<div id="edn12">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref12" name="_edn12" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xii]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> “A trans woman is a person born male and a person who, before
transitioning, was treated as male by the world. Which means that they
experienced the privileges that the world accords men. This does not dismiss
the pain of gender confusion or the difficult complexities of how they felt
living in bodies not their own.” - </span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"47A2h4fd","properties":{"formattedCitation":"Adichie.","plainCitation":"Adichie."},"citationItems":[{"id":446,"uris":["http://zotero.org/users/3736306/items/3S8CC2NC"],"uri":["http://zotero.org/users/3736306/items/3S8CC2NC"],"itemData":{"id":446,"type":"post-weblog","title":"CLARIFYING","URL":"https://www.facebook.com/chimamandaadichie/photos/a.469824145943.278768.40389960943/10154893542340944/?type=3&theater","author":[{"family":"Adichie","given":"Chimamanda
Ngozi"}],"issued":{"date-parts":[["2017",3,13]]},"accessed":{"date-parts":[["2017",3,15]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Adichie.</span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="edn13">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref13" name="_edn13" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xiii]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> I think in particularly here of Judith Butler’s work on sex and
gender within: </span><!--[if supportFields]><span lang=EN-GB><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"Cf8Zo9Zg","properties":{"formattedCitation":"Butler.","plainCitation":"Butler."},"citationItems":[{"id":80,"uris":["http://zotero.org/users/3736306/items/8QCESDCB"],"uri":["http://zotero.org/users/3736306/items/8QCESDCB"],"itemData":{"id":80,"type":"book","title":"Gender
Trouble","publisher":"Routledge","publisher-place":"New
York","event-place":"New
York","author":[{"family":"Butler","given":"Judith"}],"issued":{"date-parts":[["1990"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Butler.</span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"> particularly the chapter ‘Foucault, Herculine, and the politics of
sexual discontinuity.’ and Michel Foucault’s work within: </span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"nkzMWyx7","properties":{"formattedCitation":"{\\rtf
Michel Foucault, {\\i{}The History of Sexuality}, trans. by Robert Hurley, 5
vols (New York: Pantheon Books, 1978), {\\scaps
i}.}","plainCitation":"Michel Foucault, The History of
Sexuality, trans. by Robert Hurley, 5 vols (New York: Pantheon Books, 1978),
i."},"citationItems":[{"id":450,"uris":["http://zotero.org/users/3736306/items/ZME8F2P4"],"uri":["http://zotero.org/users/3736306/items/ZME8F2P4"],"itemData":{"id":450,"type":"book","title":"The
History of Sexuality","publisher":"Pantheon
Books","publisher-place":"New
York","volume":"1","number-of-volumes":"5","event-place":"New
York","author":[{"family":"Foucault","given":"Michel"}],"translator":[{"family":"Hurley","given":"Robert"}],"issued":{"date-parts":[["1978"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Michel Foucault, <i>The
History of Sexuality</i>, trans. by Robert Hurley, 5 vols (New York: Pantheon
Books, 1978), <span style="font-variant-caps: small-caps; font-variant-numeric: normal;">i</span>.</span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="edn14">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref14" name="_edn14" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xiv]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Richards<o:p></o:p></span></div>
</div>
<div id="edn15">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref15" name="_edn15" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xv]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><!--[if supportFields]><span lang=FR style='mso-ansi-language:
FR'><span style='mso-element:field-begin'></span></span><span lang=EN-GB><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"GAFxkCwj","properties":{"formattedCitation":"{\\rtf
Laverne Cox, \\uc0\\u8216{}Laverne Cox - Twitter\\uc0\\u8217{} <https://twitter.com/Lavernecox?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor>
[accessed 15 March 2017].}","plainCitation":"Laverne Cox,
‘Laverne Cox - Twitter’
<https://twitter.com/Lavernecox?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor>
[accessed 15 March 2017]."},"citationItems":[{"id":447,"uris":["http://zotero.org/users/3736306/items/SIB9PTGR"],"uri":["http://zotero.org/users/3736306/items/SIB9PTGR"],"itemData":{"id":447,"type":"article-newspaper","title":"Laverne
Cox - Twitter","URL":"https://twitter.com/Lavernecox?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor","author":[{"family":"Cox","given":"Laverne"}],"accessed":{"date-parts":[["2017",3,15]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
</span><span lang=FR style='mso-ansi-language:FR'><span style='mso-element:
field-separator'></span></span><![endif]--><span lang="EN-GB">Laverne Cox, ‘Laverne Cox - Twitter’
<https://twitter.com/Lavernecox?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor>
[accessed 15 March 2017].</span><!--[if supportFields]><span lang=FR
style='mso-ansi-language:FR'><span style='mso-element:field-end'></span></span><![endif]--><o:p></o:p></div>
</div>
<div id="edn16">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref16" name="_edn16" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xvi]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> <i>Ibid.</i><o:p></o:p></span></div>
</div>
<div id="edn17">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref17" name="_edn17" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xvii]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Adichie,<o:p></o:p></span></div>
</div>
<div id="edn18">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref18" name="_edn18" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xviii]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> My thoughts here are informed by Hannah Arendt’s notion of novelty
as intrinsic to any true political discourse, see: </span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION {"citationID":"BiuA12PE","properties":{"formattedCitation":"{\\rtf
Hannah Arendt, {\\i{}The Human Condition}, 1st edn (Chicago: University of
Chicago Press, 1998).}","plainCitation":"Hannah Arendt, The
Human Condition, 1st edn (Chicago: University of Chicago Press,
1998)."},"citationItems":[{"id":320,"uris":["http://zotero.org/users/3736306/items/QSXEEA8Q"],"uri":["http://zotero.org/users/3736306/items/QSXEEA8Q"],"itemData":{"id":320,"type":"book","title":"The
Human Condition","publisher":"University of Chicago Press","publisher-place":"Chicago","edition":"1","event-place":"Chicago","ISBN":"978-0-226-02599-5","author":[{"family":"Arendt","given":"Hannah"}],"issued":{"date-parts":[["1998",1,1]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Hannah Arendt, <i>The
Human Condition</i>, 1st edn (Chicago: University of Chicago Press, 1998).</span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="edn19">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Ben/Documents/Blog/Chimamanda.docx#_ednref19" name="_edn19" title=""><span class="MsoEndnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-GB" style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 107%;">[xix]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><!--[if supportFields]><span lang=EN-GB><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN ZOTERO_ITEM CSL_CITATION
{"citationID":"cNZaTWEw","properties":{"formattedCitation":"Adichie.","plainCitation":"Adichie."},"citationItems":[{"id":446,"uris":["http://zotero.org/users/3736306/items/3S8CC2NC"],"uri":["http://zotero.org/users/3736306/items/3S8CC2NC"],"itemData":{"id":446,"type":"post-weblog","title":"CLARIFYING","URL":"https://www.facebook.com/chimamandaadichie/photos/a.469824145943.278768.40389960943/10154893542340944/?type=3&theater","author":[{"family":"Adichie","given":"Chimamanda
Ngozi"}],"issued":{"date-parts":[["2017",3,13]]},"accessed":{"date-parts":[["2017",3,15]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}
<span style='mso-element:field-separator'></span></span><![endif]--><span lang="EN-GB">Adichie.</span><!--[if supportFields]><span
lang=EN-GB><span style='mso-element:field-end'></span></span><![endif]--><span lang="EN-GB"><o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<br /></div>
<h4>
<span lang="EN-GB">Works Cited</span></h4>
<div class="MsoEndnoteText" style="margin: 0in 0in 12pt 0.5in; text-indent: -0.5in;">
Adichie, Chimamanda Ngozi, ‘CLARIFYING’, 2017 <https://www.facebook.com/chimamandaadichie/photos/a.469824145943.278768.40389960943/10154893542340944/?type=3&theater> [accessed 15 March 2017]<o:p></o:p></div>
<div class="MsoEndnoteText" style="margin: 0in 0in 12pt 0.5in; text-indent: -0.5in;">
<span lang="EN-GB">Arendt, Hannah, The Human Condition, 2nd edn (Chicago: University of Chicago Press, 1999)<o:p></o:p></span></div>
<div class="MsoEndnoteText" style="margin: 0in 0in 12pt 0.5in; text-indent: -0.5in;">
<span lang="EN-GB">Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity (New York: Taylor & Francis, 2006)<o:p></o:p></span></div>
<div class="MsoEndnoteText" style="margin: 0in 0in 12pt 0.5in; text-indent: -0.5in;">
<span lang="EN-GB">Channel 4 News, Chimamanda Ngozi Adichie On Feminism, 2017 <https://www.channel4.com/news/chimamanda-ngozi-adichie-on-feminism> [accessed 15 March 2017]<o:p></o:p></span></div>
<div class="MsoEndnoteText" style="margin: 0in 0in 12pt 0.5in; text-indent: -0.5in;">
<span lang="EN-GB">Cox, Laverne, ‘Laverne Cox - Twitter’ <https://twitter.com/Lavernecox?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor> [accessed 15 March 2017]<o:p></o:p></span></div>
<div class="MsoEndnoteText" style="margin: 0in 0in 12pt 0.5in; text-indent: -0.5in;">
<span lang="EN-GB">Foucault, Michel, The History of Sexuality, trans. by Robert Hurley, 5 vols (New York: Pantheon Books, 1978), i<o:p></o:p></span></div>
<div class="MsoEndnoteText" style="margin: 0in 0in 12pt 0.5in; text-indent: -0.5in;">
<span lang="EN-GB">Michaelson, Noah, ‘Author Chimamanda Ngozi Adichie Under Fire For Comments About Trans Women’, Huffington Post, 11 March 2017 <http://www.huffingtonpost.com/entry/chimamanda-ngozi-adichie-transgender-women-feminism_us_58c40324e4b0d1078ca7180b> [accessed 15 March 2017]<o:p></o:p></span></div>
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<div class="MsoEndnoteText" style="margin: 0in 0in 12pt 0.5in; text-indent: -0.5in;">
<span lang="EN-GB">Richards, Laurie, ‘No, Trans Women Do Not Grow up with Male Privilege’, ThinkProgress, 15 March 2017 <https://thinkprogress.org/trans-women-do-not-grow-up-with-male-privilege-e51eba1eb42c#.ctt1q0lhw> [accessed 15 March 2017]</span></div>
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<span lang="EN-GB">Works Consulted</span></h4>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-size: 10.0pt; mso-ansi-language: EN-US;">Ahmed, Sara, Queer Phenomenology: Orientations,
Objects, Others (Durham: Duke University Press, 2006)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-size: 10.0pt; mso-ansi-language: EN-US;">de Beauvoir, Simone, The Second Sex, trans. by
Constance Borde and Sheila Malovany-Chevallier (London: Jonathan Cape, 2009)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-size: 10.0pt; mso-ansi-language: EN-US;">Butler, Judith, <i>Bodies That Matter on the
Discursive Limits Of ‘sex’</i> (Routledge, 2011)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-size: 10.0pt; mso-ansi-language: EN-US;">Butler, Judith, Subjects of Desire: Hegelian
Reflections in Twentieth-Century France (United States: Columbia University
Press, 2012)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 12.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-size: 10.0pt; mso-ansi-language: EN-US;">Irigaray, Luce, To Speak Is Never Neutral (New
York: Routledge, 1997)<o:p></o:p></span></div>
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</span></div>
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<span style="font-size: 10.0pt; mso-ansi-language: EN-US;">Witt, Charlotte, ‘Anti-Essentialism in Feminist
Theory’, Philosophical Topics, 23 (1995), 321–44<o:p></o:p></span></div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-80224467973817557582017-03-15T18:41:00.002+00:002017-03-15T18:41:33.292+00:00Re-instigating this Blog<div style="text-align: justify;">
I have not posted here in almost two years. Within that time, I have become further immersed within the academy, having studied (and completed) my Master's Degree and begun my doctorate. Needless to say, my thinking has greatly developed in that time, as has the direction of my thought. </div>
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This leads to the question of what is to be done to this space? Why do I seek to re-instigate it? How do I intend to do this? And why now?</div>
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None of these questions have a set answer, or at least not one which I can easily formulate. In brief, I am endeavouring to consider this space in terms of my research, as somewhere to work through ideas in a slightly more public fashion.</div>
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I am unsure how this will progress, but I invite anyone interested to follow along. </div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-79773903149814648802015-08-28T15:00:00.002+01:002015-08-28T15:00:37.498+01:00Apocalyptic Sentiments: A Reading of 'Filming the Doomsday Clock'<div style="text-align: justify;">
As it has been a while, I thought that this entry would be a return to poetry. By a while, I also mean that it has been some time since I last engaged with poetry critically, and have felt a mighty need to return to it. This year, I have been fortunate enough to be able to study Homer's <i>Iliad</i> and <i>Odyssey</i>, Virgil's <i>Aeneid</i> and Dante's <i>Divine Comedy</i> in great detail, but focusing on something both more succinct and more modern makes for a refreshing change of pace. </div>
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This entry's poem was written by <a href="http://www.poetryfoundation.org/bio/mary-jo-bang">Mary Jo Bang</a>, a poet whose work I am reading for the first time as I prepare to write this analysis. As with most of my poetry analyses, the aim is to focus on the text itself and to present some of the connections/allusions which come to mind whilst I am reading it, rather than to provide a heavily analytic discussion. I almost chose to write on <i>An Autopsy of an Era</i>, but instead have chosen <i><a href="http://www.poetryfoundation.org/poem/250864">Filming the Doomsday Clock</a></i>. It goes as follows:</div>
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<b><i>Filming the Doomsday Clock</i></b></div>
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We were told that the cloud cover was a blanket<br />
about to settle into the shape of the present<br />
which, if we wanted to imagine it<br />
as a person, would undoubtedly look startled—<br />
as after a verbal berating<br />
or in advance of a light pistol-whipping.<br />
The camera came and went, came and went,<br />
like a masked man trying to light a too-damp fuse.<br />
The crew was acting like a litter of mimics<br />
trying to make a killing.<br />
Anything to fill the vacuum of time.<br />
The wind whirred and tracked the clouds.<br />
The credits, we were told, would take the form<br />
of a semi-scrawl, urban-sprawl, graffiti-style<br />
typography. The soundtrack would include<br />
instrumental versions of "Try a Little Tenderness."<br />
Our handler, who was walking backward<br />
in order to maintain constant eye contact with us,<br />
nearly stumbled over a girl in a sheath and pearls<br />
who was misting a shelf of hothouse flowers.<br />
While the two apologized to each other,<br />
we stood and watched the fine spray settle<br />
over the leaves and drip onto the floor.<br />
On the way out, we passed a door<br />
with a small window reinforced with wired glass<br />
through which we could see a nurse<br />
positioning a patient on a table. We swore<br />
afterward we'd heard her say, "Lie perfectly still<br />
and look only inward." A clock chimed and<br />
as the others were audibly counting backwards<br />
from five to zero, I thought I heard someone say,<br />
"Now let go of this morbid attachment to things."</blockquote>
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First, the title. Already we have a fatalism introduced into the mix. From the outset, we are led into thinking of the end of things. The doomsday clock, for any who are unfamiliar is a conceptual clock-face which represents the proximity of the current situation to widespread global disaster (either in the form of irrevocable climate change, nuclear disaster or some other irreversible event), We also have the word "Filming" which situates us further within contemporary society and introduces connotations of modern technology and modern media culture.</div>
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This association with modern media, particularly media in the form of large news corporations is reinforced with the first line. The line itself is formulated as a recording of an address. The plural subject, the "We" that is set up as the first perspective of the poem, is passive in that it is being told, rather than doing the telling. That they are passively receiving a message is an allusion to the passivity with which the modern mass, the "We", interact with massive news corporations. </div>
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The first line contains a further allusion, this time perhaps to climate change, one of the major contenders amongst those things which might make the doomsday clock strike midnight. The mention of a meteorological phenomenon 'cloud cover' opens the poem with this environmental connection, but that the clouds are specifically mentioned as 'cover' furthers the potential commentary on mass media culture, subtly introducing the idea of the media as an impediment to the truth.</div>
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Moving on to the second line; that the the clouds are about to 'settle into the shape of the present' is likely indicative of the volatile nature of things. As one can imagine, a doomsday setting (of course, the poem is implying that we are already approaching, of not already part of, this setting) is a time of upheaval and chaos as the structures under which life is lived begin to collapse. Yet, the phrasing is not simply indicating that things are chaotic and that they <b>will </b>settle, but that they will take 'the shape of the present', which places us at the end of the process. The outcome of this settling is now. </div>
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We then move on to a few lines of overt personification. The present is transformed into a 'startled' person, but only, as it says, if 'we wanted to imagine it/as a person'. Carrying on the media reading of the poem, which I seem to have become rather entrenched in, we could take this as the distorting effect the relaying of a narrative can have about the truth of events. Yet this distortion is not a complete removal of reality. It is not an warped understanding, but it is very much changed. Events, whilst shaped by people, are not literally the people themselves (though philosophically there might be a discussion to be had here), yet here the events are being transformed not into people but into a single individual. That this individual is displaying an emotion, fear, makes them all the more real. Furthermore, the description of the fear as akin to that pertaining to 'a verbal berating' (notably a social punishment) or 'in advance of a light pistol-whipping' (the act of using a firearm as a physical weapon, notably here it is only 'light') does serve to provide a character of the 'present'. We are being told something by this metaphor, rather than nothing, but what we are being told has been transformed and changed so much from what it is to what we hear of it being, through this fictionalised media, that it is incredibly different. Like so much of mass media, we can hear grains of truth, but never the whole story. </div>
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<tr><td style="text-align: center;"><img src="https://36.media.tumblr.com/0b920133f60cdf71542c268eec102ba3/tumblr_ntl7v3hYya1uxbcg9o1_500.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Needless to say, I had plenty of media-critical cartoons to chose from...many of which were produced by that very media...curious...<br />
<a href="https://36.media.tumblr.com/0b920133f60cdf71542c268eec102ba3/tumblr_ntl7v3hYya1uxbcg9o1_500.jpg">Image </a>shared by <a href="http://gogomrbrown.tumblr.com/">gogomrbrown</a></td></tr>
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Moving onwards, we have a continued representation of the media, this time signified by a camera. It 'came and went' multiple times, which perhaps suggests the dogged determination to find something worthy of coverage, a sentiment reinforced by the idea of trying to light a 'fuse'. What is sought by this media coverage, is something which is quite literally explosive. Anything less is a disappointment. Thus, this caricature of the media is as an agent of catastrophe, existing to stir up the public and cause controlled frenzy.</div>
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This is further reinforced by the later line 'trying to make a killing'. The media cares less for truth and accurate reporting than it does for financial gain and cash flow. Truly, we have a negative (though not inaccurate) depiction of the media in this and the preceding line: 'the crew was acting like a litter of mimics'. Many criticisms of modern media aim at the conformist approaches it presents, the way in which is transforms us into mindless sheep which follow blindly the ideals and orders pumped directly into our heads. This is reflected here, with this depiction. The media itself is the rabble, yet we still passively receive the message.</div>
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A continuation of the idea that the media exist to cause (oops, I meant to say expose) scandals which in turn whip up the public into frenzy, is found in the line 'Anything to fill the vacuum of time'. Here we have presented a comment on modern conditions. Of people sitting idly, twiddling their thumbs until the time has come to tweet and share the latest media frenzy. Time is empty without these incidents, there is nothing beyond this worthy of comment or effort, only the maelstrom of commentary. </div>
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We have a momentary movement to something beyond human control, the wind, and it is depicted as tracking the clouds. Returning to this image of the clouds as a mask for the truth, as that which is eventually going to settle and reveal what is truly happening, yet still partially obscuring it, maintains the media criticism, while at once taking a step back to acknowledge a force far beyond their control. In this sense, it puts the enemy, the media, that which is being so heavily criticised here, in its place. It is a human controlled force, and a powerful one, but it is vastly exceeded by the wind, which is so formative in the clouds which were the first object of our obsession.</div>
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Now we have 'the credits' another herald of the end. This time, however, this end point is not to be brought about through the natural forces already mentioned (the clouds and the wind itself) but instead through human forces: societal unrest. For these credits are a 'scrawl', it's 'typography' brought about in the form of 'urban' 'graffiti'. Reminiscent of modern media's hatred of delinquency (and tendency to demonise the lower classes), these lines are a rather beautiful way of capturing the nihilistic tendencies of the modern media, whilst also displaying plainly the way in which they always have another who can be blamed. After all, it could never be our fault.</div>
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Like any article of mass media, one must consider the musical side of things, and this is clear in the mention of a 'soundtrack'. The choice of 'Try a Little Tenderness' has a very clear role. The title of the song is intended to invoke a message of compassion, but not only is the media sharing another's message, that is to say Otis Redding's, (which indicates a lack of commitment to this message, as they do not augment it with their own contribution or display any level of engagement beyond 'sharing' it) but they represent this song without its lyrics. It is 'instrumental', lacking its central message, its compassion, its sweetness. The media is lulling us with its proclaimed kindness and compassion, whilst actually using this only as a cover to their own insidiousness, present in the poem as the manipulative way in which they tweak and change minor things to distort reality. </div>
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<tr><td style="text-align: center;"><img src="http://www.cartoonwork.com/watermark.php?i=389" height="296" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.cartoonwork.com/watermark.php?i=389">Image </a>by <strong style="background-color: white; font-family: Arial, Helvetica, 'Trebuchet MS', sans-serif; font-size: 13px; text-align: start;">Carol Simpson</strong><span style="font-size: 12.8000001907349px;">, hosted on </span><a href="http://www.cartoonwork.com/photos/389/labor-story.html" style="font-size: 12.8000001907349px;">cartoonwork.com</a></td></tr>
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'Our handler' is the next figure introduced, and this reaffirms the poem's comment on modernity, more specifically focusing on the herd-mentality often spotted amongst the public of the western world. Once again, we are plural, the 'handler' is ours, not mine, and thus we are constituted as a group. This, coupled with the fact that we are again in the passive, and our handler is in the active reaffirms this image of the great herd. Without the handler, we would be lost, yet they are also lost, for they are 'walking backwards'. This line furthers the criticism of the media, which seeks (if not overtly claims) to lead us forward, yet often it does so blindly, blundering and spewing mixed or warped messages.<br />
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And the reason this media figure walks backwards? 'eye contact'. Constant communication, pandering, wanting to foster connection which enables them to render us more pliable. Often, news corporations seek to tell us what we want to hear, or at least what they think we want to hear.<br />
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We then have the collision between the handler and the girl. To me, this episode is indicative of a minor news story, which rises to the top of the mainstream media (often due to it being a proverbial 'slow news days') and which dominates at the expense of what might be termed, rightly so, more pressing matters. The two collide and then there is a length apology. The girl is 'misting a shelf of hothouse flowers', a domestic task relatively unworthy of attention, much like many of these kinds of news story. We have a hint of the natural, tying us back to the wind and the clouds through not only the mention of the plant, but the act of misting, which could be representative of the way in which these kinds of story tend to be made to seem relevant, whereas in truth they have little place amidst the apparently similar news items. That 'we stood and watched the fine spray settle' without our attention immediately ignoring the incident to focus on the doomsday clock and the apocalyptic situation is reminiscent of the way in which we prefer to watch the viral cat video rather than reading articles concerning the latest breach of human rights.<br />
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We become distracted by minutia and this is a calculated phenomenon, someone benefits from this.<br />
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The next few lines concern the episode of spying, another activity which the media has been known to engage in. Further, we pry into the private interaction between a nurse (a position which is often criticised by the modern media) and her patient. There is a controlled, invasive feeling to these lines, for we watch through a 'window' which has been 'reinforced with wired glass'. Every precaution has been taken to keep us out, yet we look in.<br />
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Her speech is indirectly reported, given to us through what we would have said later. This maps how the media is always reporting on that which has already been said and, since the nature of events are that they unfold constantly, without control and we do not know when something notable is going to happen, we are thus unable to properly prepare and therefore the media report upon that which has already happened. Most of this reporting are completed events, which cannot be fully verified. Certain details are presented which can never be confirmed, only assumed through hearsay.<br />
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The suggestion 'only look inward' is an encouragement that we ignore outward circumstances and instead focus on the contents of our thought. I considered the possibility that this could be a more overt tie to a mental health topic, but have not developed this thought further. Regardless, there is the possibility of a suggestion of such a topic. The nurse seems to be guiding people away from the circumstances of the counting clock, which we can assume is leading to the end of the world, á la the title of the poem.<br />
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This countdown begins and we have the only mention of a clock in the poem, before the final line. 'Now let go of this morbid attachment to things'. We could take this line in several ways. It could be a comment on consumer culture, which is in many ways responsible for climate change, one of the possible doomsday scenarios. 'morbid' certainly encourages us to think that this attachment has led to death, as the cause of the apocalypse has. It could be an invocation of Buddhist philosophy. It could be an instruction, a hollow message or a wholesome one. Is it an empty message proclaimed by the media sources, or the hint of a personal voice only coming in at the end of the poem. I suppose this would be determined by the speaker, who is not mentioned, though we know that they are in the singular, it is not a collective voice. To me, the last line is something of a mystery, with too many avenues for me to fully capture here.<br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://austhink.com/critical/images/critical-thinking-cartoon.jpg">Image </a>shared by <a href="http://libguides.huhs.org/mediabias">libguides.huhs.org</a></td></tr>
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So that concludes me reading of <i>Filming the Doomsday Clock</i>. Thank you for reading.</div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-17493838377558200622015-08-16T10:53:00.000+01:002015-08-16T10:53:50.710+01:00Hemlock Grove - Typology<div style="text-align: justify;">
Though reviews have been mixed, the Netflix series <i>Hemlock Grove</i> holds a special place in my heart. I am not sure whether it is simply the weird melange of various horror elements, or if it is just the disturbing essence of something that lurks beneath the service, unspoken by characters who are not quite aware of it themselves, but I have lapped up the first two seasons, begun to read the novel and am awaiting the third, and final season, with great anticipation.</div>
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For those of you who have yet to hear of this series (for something Netflix has made itself, it has seemingly not made much of a fuss about it), I would undoubtedly recommend it. The series begins in a small Pennsylvania town, which suffers a terrible string of murders: young women found savaged by some unknown beasts. A young Roma boy, the scion of a wealthy household and a whole cast of other characters seek to uncover the truth. Of course, everything is embedded in the supernatural it a wonderfully dark mixture of tropes and concepts from gothic horror integrated into a modern setting. </div>
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Anyone who has not seen the series can do so on Netflix, but do be careful about reading this entry. <b>There will be spoilers</b>. </div>
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So, given my interest in identity, particularly MBTI, and my love for the series, it was only a matter of time before I prepared an entry on its characters. Thus, without further ado, here are my MBTI analyses. </div>
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Peter Rumancek - ISFP (The Composer)</h4>
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Above all, Peter's actions are informed by a strong sense of self and personal values, formed through this self-hood and through the environments through which he has lived. Having been raised as a Roma, he has internalised the values of these people (or at least the values as they are represented in <i>Hemlock Grove</i>). This is where his sense of self stems from, those he deems to be his people: his family. Familial ties are more important to him than anything else and Peter truly cares about those whom he considers to be part of his inner circle, which eventual begins to include Roman, Letha and various others. He is willing to do whatever it takes to help his mother when she is imprisoned, even at expense of himself. This demonstrates a strong Introverted Feeling (Fi). This is very much followed by Peters perceptiveness. Peter notices things and is appreciates novel sensations and experiences, such as his love of exploration and always wanting to see what is beyond the horizon. This is his Extroverted Sensing (Se). Of course, Peter has access to a whole world of symbols and hidden meanings, through his dreams. Though his ability to decode them is relatively undeveloped, he is led by gut instincts which guide him at key moments, this being demonstrable of Introverted Intuition (Ni). Finally, Peter's inferior function, Extroverted Thinking (Te) comes forth in his impulsive behaviour and general inability to plan ahead. Even when he tries to prepare in advance, things tend to go awry. These functions lead Peter into being an ISFP - the Seeker and Keeper of Human Values. </div>
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Roman Godfrey - ESFP (The Performer)</h4>
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Scion of the Godfrey family, Roman overindulges in physical sensation. Sex and cigarettes form a huge part of his lifestyle, and he has a predatory attitude to his relationships with women, often using some of his latent supernatural abilities to coerce them into giving themselves to him. He always seeks out novel sensations in which to indulge himself, and has developed quite the appreciation for the finer things in life. This is demonstrative of a dominant Se. Following this is Fi, for Roman has extremely strong feelings for those whom he is close to. He adores his sister, Shelly, his cousin Letha, and holds his mother with increasing contempt as the season progresses. As the story progresses, the intensity of his bond with Peter increases until Roman is almost dependent upon him. Most people pass him by without him caring, and he only takes his feelings out on others if they are pent up, and usually through physical means (sex and violence), hearkening back to his Se. Roman is not the most proficient planner, though his tertiary Te expresses itself through his ability for force his will upon the eternal world. This manifests through his powers, which always take a toll on him and leave him reeling, but which do enable him to make others do as he wishes. Finally, Roman's life is hugely influenced by visions, images and symbols, a hidden world which he has intense connection to, yet cannot fully understand. This is his inferior Ni, allowing access to, but not full appreciation of these hidden mysteries. Roman struggles with the things he sees in his dreams, far more than Peter, and while informed by gut instinct, less so than Peter. For these reasons, Roman is an ESFP, the Motivator Presenter.</div>
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Letha Godfrey - ESFJ (The Harmoniser)</h4>
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Above everything, Letha cares for others and wants to ensure that everyone is getting along. This care is not reserved for people she is close to, but for everyone. She offers emotional support to those who have witnessed the terrible murders, even though she is not close to them. In doing so, she specifically offers her support, as an aide, someone to listen. Her emotions likewise change depending upon whom she is with. She picks up on her father's stress when he drives her home from the clinic and immediately seeks to reassure him. When she goes into labour, she wants above anything else to support those around her, even though she is the one having the experience. These all demonstrate a dominant Extroverted Feeling (Fe). Secondary to this is her Introverted Sensing (Si), for Letha is very much informed by her past experiences. The lessons her parents have taught her stick inside her head and she does not rebel against them quickly. When her father tells her to do something, she might complain and object, but she often does it. She has learnt many lessons and is able to use her experiences to inform the present. Despite her relative ignorance as to the supernatural elements in the series, Letha is able to spot connections quickly and is able to pick up on unspoken problems and tensions, even when people are trying to hide things from her. Furthermore, she does not shy away from these potentials, instead earnestly wishing to learn more about them. This is her tertiary Extroverted Intuition (Ne). Finally, Letha's inferior function is her Introverted Thinking (Ti) and she does not spend much time trying to organise her own thoughts. This leads to a feeling that often she is bumbling through the world, rather than organising everything in her head, for she is guided more by emotion, care and her own experiences than abstract reasoning. Thus, Letha is ESFJ, a hostess of the world.</div>
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<h4>
Shelly Godfrey - INFP (The Idealist)</h4>
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Largely due to an oppressive upbringing and an inability to vocalise her thoughts, Shelly has been forced to live in a world entirely her own, internalising everything. This has undoubtedly led to the formation of her dominant Fi. Shelly has a very small inner circle of people about whom she cares, yet she is willing to do anything it takes to protect and help them. Take, for example, her actions in protecting Peter, Letha and Roman, actions which led to her getting shot. Furthermore, with Roman, she cares for him so much that she literally glows with happiness when he touches her face. Shelly demonstrates a wealth of inner emotion. For instance, when she is corresponding with her uncle, she is verbose, clear and extremely expressive. Following this is her love of ideas. Shelly reads and paints and seeks many ways of absorbing and exploring, even if she is unable to go out into the world and seek her own place, she demonstrates an auxiliary Ne in her interest in novelty. Shelly is driven by a want to understand things and to do so from new perspectives. She has, however, absorbed many lessons from her experiences, particularly those with her mother, Roman and Dr. Pryce She has taken these lessons to heart and they certainly make her more cautious when encountering new things, particularly in the flesh. This is her Si. Beneath is all is her Te, which is undeveloped and prevents her from being able to get the wealth of thoughts within her into the outer world. The constrictive environment of her life and that those around her constantly strive to control her means she struggles to affect her environment as she would like. Due to this, Shelly is an INFP, making life kinder and gentler.</div>
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Destiny Rumancek - ENFJ (The Teacher)</h4>
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Much like Letha, Destiny wants to ensure that those around her are safe. Of course, she cares about her family, particularly Peter, more than she does others, yet at the same time she demonstrates a wealth of care for those she is not so close to. She cares about Roman, even though she has many reasons not to, and goes out of her way to help him and Letha. Destiny faces great risk, often her own powers, in order to protect those around her. She bares the risk because she cares and she cares without much discrimination. This, and her willingness to forgive (not to mention her ability to manipulate others), are the marks of a dominant Fe. Of course, second only to her compassion is her immersion within the world of hidden meanings and symbols. Her mystical side allows her access to a whole realm of representations and messages and it is her task to not only understand them, but also to take instruction from them. This visions enable her to see the world as she wishes it to be and then she has to make it happen. This is her Ni. Destiny has a physical side. She enjoys pleasure and sells a diluted version of her gifts to the public, which a fair amount of farce. Furthermore, she has style and wants to present herself properly. This is tertiary Se. Finally, we have an inferior Ti. Destiny lives in a world of emotion and instinct, not in an analytical dominion of logic.Thus, Destiny is an ENFJ, the Envisioner Mentor.<br />
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Clementine Chasseur - INTJ (The Mastermind)</h4>
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A member of the Order of the Dragon, Clementine has adopted their principles and thus has a clear understanding of the way in which the world works. She has been imbued with a vision, the image of a world in which the supernatural and the mortal are somewhat able to coexist, provided that werewolves and upir keep by the pact parisienne. Of course, she struggles with this, often seeming to want to simply purge the world of those which she views as beasts. Yet her faith remains strong and she follows the inner pull to create this vision of the world: her dominant Ni. Furthermore, Clementine is able to take her inner vision and shape the world before her accordingly. Her rigorous training enables her to plan and wait patiently for the correct moment to strike. Though she has her impulsive moments, Dr Chasseur plays the long game, biding her time until the best moment to further her long term plan. This is her auxiliary Te. Her tertiary function, Fi, manifests through her personal values and beliefs, which determine much of her morality. Clementine keeps a lot to herself, unwilling to reveal herself to those who are not extremely close to her. So emotionally insular, she is told that all she knows is how to take, she is unable to give. Underneath everything else is her inferior Se. Clementine is known to indulge herself in her pleasures, one of them being women, another being drink. She has a somewhat addictive personality, demonstrative of an undeveloped Se. Thus, Chasseur is an INTJ, one of life's independent thinkers.<br />
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Norman Godfrey - ISFJ (The Protector)</h4>
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Defined by traditions, Norman is dominated by his family name and his past. He is a relatively cautious man, slow to change and dependent upon the lessons he has learnt over his lifetime. Certainly, Norman is led by experience, rejecting out of hand gut instincts and visions, refusing to believe his own daughter when she claims to have been impregnated by an angel. He has certainly internalised the scientific method of a slow and steady approach to life and its sensations. This is his dominant Si. One of the few things that breaks him out of this caution, however, is protecting those he cares about. Truly, he has an inner circle of people for whom he would die if he had to, but Norman is far more caring generally and genuinely wants to help people. This is, after all, why he became a psychiatrist. This is his Fe. Norman possesses a tertiary Ti, which secures him as a consummate scientist. He is dismissive of visions and the paranormal, wanting a logical explanation and it takes him a long time before he is able to wrap his head around some of the things which are going on in his town. His rationality is a personal one, however, and he is more than willing to allow others to get on with their own lives, and is even willing to support people who are different from him. Finally, we have the inferior Ne, which imbues Norman with a niggling curiosity, the likes of which often get him into dire straights. A man fascinated with ideas, Norman Godfrey is always interested in novelty, yet he is tempered by his natural caution. Therefore, Norman is an ISFJ, service before self.</div>
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Lynda Rumancek - ESFJ (The Harmoniser)</h4>
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Undoubtedly the better mother of the series, Lynda is largely defined by her position as a mother. This role leads her into her unlawful activities, for above all she wishes to create a life for herself and her son. Her ties to the other Rumanceks are not inconsiderable, but she cares far more intensely for Peter. However, it should be noted that Lynda's dominant Fe manifests in the readiness with which she expresses concern for those around her, particularly those of whom she is initially suspicious. Though she keeps some distance from them, Lynda comes to care for Roman and Letha, even expressing some concern for Olivia, though this is quickly replaced. Lynda isn't stereotypically kind, instead she is more concerned with maintaining harmony and protecting herself and those she cares about. This is demonstrated in her willingness to make a deal with Olivia, though she disapproves of her methods. Throughout her life, Lynda has experienced much as this manifests through her auxiliary Si. She has memorised many tips and tricks, having spent a life on the run from the law. When presented with a problem, Lynda knows how to respond and she had learnt well the need for a contingency plan. Tertiary is her Ne, for Lynda shows a great ability to think on her feet and overcome challenges unconventionally, though these methods are all informed through her previous experiences. Less of a concern for her is inner, logical consistency, manifested in an inferior Ti. Lynda is wonderful at many things, though she does not spend much time organising her inner thoughts. Thus, Lynda is ESFJ, everyone's trusted friend.</div>
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Dr Johann Pryce - ENTJ (The Commander)</h4>
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Pryce is a man of vision: he foresees a world in which technology and science has overcome what he deems to be perfectly malleable barriers to human advancement. Death, life, all such things are there to be bent and controlled and manipulated by his intellect, but he is not blindly exploring for the sake of it. No, Johann wants to advance himself and prove what can be done. He views his science as greater than a world of myth and superstition with lycanthropes and upir both easily explained by his work...which can also serve to overcome them. His ability to plan and meet deadlines (but also his being so limited by them) is indicative of a dominant Te. Johann thinks of something and the world must bend to accommodate his will. Very little can stop him. These plans are fuelled by an inner vision, a determination for a future state which he wishes to bring into being. This is his auxiliary Ni, granting him a purpose, a vision for how he wishes to see the world. His wishes to become a renowned scientist, to do things that no other human being could dream of doing. It is this sense of directed purpose which filters up into his planning. As a man of science, Johann must be attentive to the state of things as they are and this is his Se: his tertiary function. Before he acts, Dr Pryce watches with keen eye, capable of noticing the most minute of details before synthesising things as they are with how he wishes them to be. Finally, we have Johann's Fi, his emotions, which are kept under control and largely ignored. However, when he grows angry, Pryce shows his anger through acts of violence. Of course, he is not easy to anger, for his feelings are his own, relatively unaffected by the acts of others. Thus, Pryce is an ENTJ, a Commandant Organiser. </div>
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Olivia Godfrey - INFJ (The Prophet)</h4>
I am sure that many will disagree with my typing of Olivia. They will see Olivia and INFJ and immediately refuse it, thinking that there is no way she could be. Yet this is why I think she is quite clearly an INFJ:<br />
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Olivia plays the long game and her goals are her own. However, she pursues them without doubt and without falter, willing to do whatever it takes to attain her desired outcome: a perfect child, an heir. There have been many failed attempts, and each of these have been slain, by Olivia's own hand. The way in which she wishes to future to be is entirely defined by her inward sense of purpose, by her internalised superiority and complete faith in the role of the upir. This is undoubtedly the work of a dominant Ni. Even when threatened, not that much can truly harm her, her sense of purpose wins out. Following this is an auxiliary Fe. Although Olivia does not care for others, save perhaps for Roman, she demonstrates far too much awareness of the emotions of others for her to lack this function. She has managed to achieve so much in her life through playing others, through winning over their hearts and minds, inspiring them to adore her. The feelings of others are hers to do with as she wishes. Without her Fe, Olivia would never have achieved so much. Of course, Olivia never doubts herself, or her purpose and many of her rationalisations stem from her tertiary Ti, through which she can rationally organise the contents of her own intentions. So aware of the emotions of others, it is only through the potency of her Ni and the support of her Ti that she can be so cruel. Her Ti enables her to retain her sense of superiority, to rationalise her disregard for others and their infinitesimal lifetimes. Underneath all of these lurks her inferior Se. Undeveloped as it is, it leads Olivia into addiction and a need for the physical. This comes out her in her need to feed, her reliance upon drugs to retain her thirst and her seemingly insatiable want for the pleasures of the flesh. Olivia demands extravagance. Only the best music, food and lovers will do for her. For these reasons, Olivia is clearly an INFJ, fittingly known as an author, for it is by her hand that so much of the happenings in Hemlock Grove come to pass.<br />
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com1tag:blogger.com,1999:blog-4886786965159998255.post-40696693338444640342015-08-01T17:49:00.000+01:002015-08-01T17:49:07.981+01:00Inside Out - The Pursuit of Happiness<div style="text-align: justify;">
A few weeks ago, I was fortunate enough to be able to attend an advanced screening of Pixar's latest animated film: <i>Inside Out</i>. From its commercial success and ascension to the role of seemingly instant classic, I expect many of you will have also gone to see it and I am almost certain you will have enjoyed it as much as I did.</div>
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Many writers have been commenting on the film before and since its release, many of them talking about all the things that the film 'gets right'. It has been discussed widely how the film manages to accurately represent the ways in which our minds work (both <a href="http://www.washingtonpost.com/news/to-your-health/wp/2015/06/24/what-an-animated-movie-about-feelings-gets-right-about-the-brain/">Amy Elis Nutt</a> and <a href="http://www.theguardian.com/film/2015/jul/16/inside-out-end-of-the-happy-ever-after-kids-cartoon">Xan Brooks</a> have written on this) but my interest in the film is less scientific. </div>
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Expectedly, my perspective on the film concerns human experience and perhaps some of the more poignant meanings of the story. Whilst it is interesting to think of how the film cleverly represents the inner workings of the mind, in a way that is both entertaining and explorationary, I think there is a more fundamental lesson we can learn from the film.</div>
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This important lesson concerns ethics: primarily, the concept of the good life. Philosophers have examined this topic extensively (most notably Platonic and Aristotelian virtue theories), but rather than reproducing their attitudes here, I would like instead to begin with the film itself. </div>
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Needless to say, <b>there may be spoilers ahead</b>...</div>
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The film gives us a pretty clear system for how the mind words. Each person is fundamentally ruled over by five homunculi, each representing a fundamental emotion: Joy, Fear, Anger, Sadness and Disgust. Within Riley's (our protagonist's) head, Joy firmly controls everything and self-righteously forces all the other emotions to follow her lead in order to ensure that Riley remains "happy". </div>
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Eventually, everything goes wrong, with Joy and Sadness separated from the control room, Riley's islands of personality disintegrating and 'core memories' becoming clouded by Sadness' touch. Until of course, at the end of the film we are shown that Sadness touching these memories is not in fact a negative.</div>
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I consider the fundamental point of the film to concern the balancing of emotions.</div>
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In fact, main problem of the film is that two of the homunculi get separated from the controls. This all happens because of Joy. If Joy had not tried so hard to be in control all of the time, if she had understood that all the emotions have an important role to play, many of the problems in the film could have been avoided. </div>
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It is interesting that the pursuit in the film is of happiness: it is not the pursuit of Joy. However, Joy herself fails to understand this and dominates all of the other emotions ensuring that all of Riley's 'core memories' those which contribute to founding these changeable islands of personality (which in turn <a href="http://www.theguardian.com/film/filmblog/2015/jul/27/inside-out-philosophical-mind-pixar-philosophy">reveal </a>just how we are not an indivisible whole, but actually how we are many impermanent parts) are yellow: coloured-coded to Joy. Sure, she allows the other emotions to act sometimes, but if her own supremacy is threatened, she can only understand that as detrimental to Riley.</div>
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Due to her dominance, Joy's absence is catastrophic. Fear, Anger and Disgust are for the first time left alone in the control room and they have never been able to develop on their own. We are faced with a situation in which stunted emotions must try and run the show. </div>
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What the film is showing us is clear: happiness lies in more than just Joy. Furthermore, if we pursue Joy alone and disregard other emotions, we are left in a problematic state. Firstly, we can never be happy, as our other emotions do not develop and when faced with a situation Joy cannot handle, we crumble. Secondly, we fail to appreciate Joy for what it is. </div>
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A central turning point of the film is when Joy herself realises that Sadness has in many ways enabled Joy in Riley's life. Moments of negativity have allowed her to then go on to feel Joy and to appreciate it all the more for having experienced the sadness. Learning this marks a transition for both Riley and Joy: they both begin to mature. </div>
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Furthermore, when we get a brief glimpse into the minds of Riley's parents. Neither of them have Joy at the centre. Her mother is governed by Sadness, her father by Anger. What we are given is a personalised and complex representation of how people are. We are all made out of similar stuff, a fundamental human is gestured towards, yet each person we experience is very much an individual, these components are not always the same and even the fundamental parts can be structured differently. </div>
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By separating the emotion, Joy, from the concept of happiness, <i>Inside Out</i> presents a far more mature account of what it means to achieve a happy or good life. Happiness is not the same as Joy, to single-mindedly pursue Joy is not to pursue an enriching life. Ethical theories have tried to provide a hedonistic or pleasure-centred focus to morality, and have been long-criticised for their inability to understand a person in all their full complexity. </div>
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This, more than anything else is what <i>Inside Out</i> has to teach us: happiness is more than an emotion, it is a way of being. Any more than anything, to be happy is to see harmony between what are often divisive parts of the self. </div>
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Just a few of my thoughts.</div>
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Let me know what you think and, as always, thank you for reading.</div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-37376066292297511352015-07-13T19:50:00.001+01:002015-07-13T19:50:43.495+01:00Vivienne - Beneath the Surface<div style="text-align: justify;">
Known as the 'Ambition', Vivienne is the verbose, shrewd and magnificent First Enchanter of the Montsimmard Circle of Magi. As an individual, she has been graced with mixed reception by both stalwart fans and newcomers to Thedas alike. Some see her as a typical establishment mage, indoctrinated by the very chantry which suppresses her freedom to the extent that she pro-actively seeks to extend these limitations (some might refer to such things as injustices) to others of her 'kind'. Others, however, view her as a particularly caring and maternal figure who simply wishes to keep the world in good shape, despite the many instabilities and new-found forces who seek to usurp it.</div>
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So, without further ado, let us turn our attention to the pillar of order that is Madame de Fer. </div>
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The Imperial Game</h4>
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Though she was born in the Free Marches, Vivienne was transferred to the Circle of Montsimmard whilst still an apprentice. We know not what means she came from, but we can be certain that the move to Orlais and her subsequent victories have served as a major improvement in her social standing. She became the mistress to Duke Bastien de Ghyslain, the head of the Council of Heralds (a political body responsible for reconciling all heraldic disputes and which has a role in determining claims to nobility). From here, Vivienne has pursued the completion of her goals and her own advancement doggedly and has refused to allow any to stand in her way. For this reason, many regard her as a 'heartless bitch' or a 'typical social climber'. </div>
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Of course, Vivienne has shown us that what she wants is to make a place for herself in the tumultuous world of Thedas, a difficult task for any Mage, let alone when one is attempting to achieve such a thing within the Imperial Court of Orlais without the boon of noble birth. In order to do this, she has had to play the great game to the best of her abilities and as demonstrated consistently that she is enjoys it. She has followed the hierarchy as it has been presented to her, climbing to the rank of First Enchanter and from there claimed an almost entirely ceremonial role as Enchanter to the Imperial Court. Before her appointment to this role (which would not have been possible without the endorsement of her lover) it held few political advantages. Upon taking it, Vivienne has transformed it into a position of great importance and prestige. </div>
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Rightly, Vivienne is named 'The Ambition' by the developers and she has earned herself the title <i>Madame de Fer</i>, the lady of iron, for she is both respected and feared. We are told that she finds such a title amusing. She is headstrong and can be stubborn, but she acts relentlessly and in spite of that which may seek to divide her from her goals.</div>
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<span style="font-family: inherit;"><i>"Rest assured, dear Seeker. I'm never truly out of my element."</i></span></blockquote>
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Naturally, her links with Bastien opened many doors, and many fans of the games have dismissed her a social climber, who is perfectly willing to exploit others and manipulate them to her own advantage. Of course, this is certainly the case, for she could not have attained such a position without indulging in such behaviour. From what insights we have gained of the imperial court, one cannot be honest and hope to endure within it for long. However, the charge that she does not care about Bastien is certainly unfounded. Those who have followed Vivienne's personal quest-line (<i>Bring Me The Heart of Snow White</i>), fetched the heart of a snowy wyvern and followed her to what will become Bastien's deathbed, will know the genuine sadness and upset caused by watching him die. Some have said that her upset is selfish, for she can no longer use his position to her advantage, but the truth is that she does not need to. She has already established herself as a First Enchanter and the Enchanter to the Imperial Court of Orlais, two of the highest positions a mage could hope to claim. Any tears she sheds for him are genuine. Furthermore, why would one spend so many resources attempting to prolong the life of someone for whom one only has an instrumental care?</div>
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Already, we can see that Vivienne is an emotional human being, though one who possesses a thick skin and who has become accustomed, mainly due to her experiences within the empire, to always maintaining a façade. Within Orlais, if one's only mask is the very literal garment upon one's face, then one is not playing the game well at all.</div>
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Thus, from a very early stage in her life, she has lived within the Masked Empire of Orlais and this is certainly noticeable in the manner through which she conducts herself politically. Each of her actions is calculated and she holds appearance in the highest regard. Some might dismiss this as shallowness or some 'lack of character' but the care with which she fosters a perfect outward appearance is not done out of vanity or pride, at least not primarily. Instead, her experiences within Orlais have taught her the importance of how one presents themselves. The Empire places great weight upon appearance and one's conduct and, in order for one to make a place for themselves at court, one has to be willing to cultivate these things. </div>
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Her experiences within the empire have had extensive formative impacts upon her character, fostering her desire to improve her station as well as instilling her with keen social awareness. She knows how to act, how to dress, what is expected of her and to what extent she is able to ignore these demands and how much she should co-operate with them. The result is an ostentatious, astute figure who has learnt the importance of adaptability and what can be gained from the tactical employment of social graces. In many ways, she is a natural product of the imperial environment into which she has both been flung and flung herself. </div>
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<i>Blackwall:</i> <i>You must miss the comforts of your mansion, travelling with us as you do.</i></blockquote>
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<i>Vivienne:</i> <i>I miss them. I do not require them. But please, continue to imagine me a pampered lady, if it makes you feel superior.</i></blockquote>
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<h4>
The Chantry and The Chant</h4>
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<i>"We need an institution to protect and nurture magic. Maker knows, magic will find neither on its own."</i></blockquote>
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Vivienne is often regarded as a typical traditionalist, valuing the pre-existing norms of society and choosing to stand for this order whilst dismissing the subversive voices. This is due to her relatively conservative views regarding magic and those who are able to use it. Vivienne is a firm supporter of the circles, regarding them as entirely necessary for those who are capable of working with magic. She equally understands the Templar Order as a necessity, for not all who are given the ability to wield the power of the Fade are quite up to the task. Her distrust of uncontrolled magic spills out through her initial interactions with Dorian, during which she constantly derides him and Tevinter for their foolish and lax attitudes toward magic. Without such institutions in place, able to provide the requisite guidance and tutelage to young mages, the world would be forever ravaged by abominations, with no capable force at the ready to protect the innocent. She sees the Chantry as the only force able to stand between a civilised world and one of blood magic, possession and chaos. </div>
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<i>"In my own experience, nothing is more deadly to young mage than a lack of knowledge."</i></blockquote>
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But she does not hold these views for the sole benefit of those who do not possess magic. To her, the circles ensure the protection of mages, granting them a haven from a world which has been forever trained to hate them and what they perceive to be their curse. Of course, she is aware that this ideal has, in places (she does specifically mention Kirkwall as among the worst), entirely failed. The Templar Order has become a shadow of what it should be, enabling the abuse of young mages, which is certainly not something that she permits. She is aware that all who live within the circles have vastly different experiences and that there is no such thing as a singular vision of circle life. Furthermore, she understands this as something which is necessarily going to happen, but her vision is a circle that is a haven for mages, but not one which values their personal freedoms above collective safety. </div>
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<i>"I will once again ensure they are protected from a world that hates and fears them."</i></blockquote>
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Many think that she simply wishes to revert to the old system, but should one decide to endorse her as divine, one clearly sees that this is not the case. True enough she re-establishes the Templar Order as well as the Circles, but the mages are granted additional freedoms (which come hand in hand with responsibilities) and the Templars are more firmly leashed under her control. We can surmise that mages under her vision are more like she is: able to understand the power of magic and to respect it, but also trained to use it masterfully and able to enjoy a life outside of the circle. </div>
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<i>"Kirkwall gave the world a reason to remember its fear of magic. A mage killed hundreds with a snap of their fingers. Across Thedas, a new tangible fear of magic grew. Commoners and nobles alike called out to the Chantry for protection. But the malcontents in the towers thought nothing of this.</i></blockquote>
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In truth, she treats her those of her former colleagues who have openly embraced the mage rebellion with open disdain, bordering on disgust. Considering the timing of the rebellion, (which followed the terrorist destruction of the Kirkwall Chantry by Anders at the end of Dragon Age II) she views the separation from the Chantry as hugely damaging, as the rebel mages were fleeing into a world which had just renewed the vigor of its anti-magic sentiment. </div>
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<i>"Magic is dangerous, just as fire is dangerous. Anyone who forgets this truth gets burned."</i></blockquote>
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Due to these views, as well as her willingness to become Divine if the option is given her, it is relatively safe to assume the Vivienne is Adrastian. It is because of this attitude that Vivienne is rightly understood as a pillar of order, but that it is also wrong to regard her as an indoctrinated zealot who has been trained through years of conditioning to simply tow the line. In truth, however, Vivienne demonstrates a canny grasp of the political forces operating within Thedas and whilst some might dismiss her as cold, she has a well-reasoned point to make concerning the politics of magic.</div>
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<i>"I never worry, darling. A leash can be pulled from either end."</i></blockquote>
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<h4>
From the Inside</h4>
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Of course, Vivienne's own experience as a mage of the Circle and all that entails have served to shape her views on the proper place of magic, as well has her treatment of other characters. </div>
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I have already mentioned her initial interactions with Dorian, through which she uncovers a deep-rooted rejection of the altogether overly-liberal attitudes of Tevinter. She wishes to hold true to the catechism at the heart of the Chantry's teaching that 'Magic Exists to Serve Man' and this comes with a wholesale rejection of the very image of a Tevinter mage, who lords his power over those who are unable to resist him and seeks only his own advancement. This image is fixed within her mind and thus informs her expectations of Dorian. It is not until later that she allows herself to question.</div>
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<i><br />Dorian: Vivienne, are you saying you wouldn't rather live in a land where mages aren't herded into cages like dogs?</i></blockquote>
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<i>Vivienne: Which land is that? The one where mages are feared and despised as tyrants?</i></blockquote>
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I do not intend to imply that Vivienne is not critical of the structures of power which operate around her, for I think I have already established the opposite to be the case. Instead, I wish to press the point that Vivienne is cautious wherever anything concerning magic arrises. Those who detract from her and regard her as 'typically establishment' often forget what a devastating force magic can be for those who can wield it (particularly unwitting) as well as for those around them. Particularly where the Fade is concerned, and it often is, being the source of magic, there is the potential for possession, the entire loss of the self which often leads to far more destructive ends. Magic is a mighty force and much of it is not understood. </div>
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<i><span style="text-align: start;"><br />Solas: Your rigorous training lays a solid foundation, true. It also creates boundaries, limits, where none need </span>exist<span style="text-align: start;">.</span></i></blockquote>
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<span style="text-align: start;"><i>Vivienne: I do prefer to have boundaries between myself and the demons, my dear.</i></span></blockquote>
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In conversation with Solas, it is clear that he regards her as restricted and close-minded, unable to even begin to understand anything outside of her ivory tower. When Vivienne invites Solas to make a claim against he responds with "You would not believe me. You have learned your lessons all too well." It is also true that when Solas seeks to advise her, she responds with "I sincerely doubt you could add anything." Further banter occurs in which Vivienne criticises Solas' lack of technique and he in turn makes jibes about imperfections within her own magic. Notably, when Solas attempts to encourage her to abandon her training, she responds with "Ah, the temptation to leave the path. You sound like a pride demon."</div>
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These exchanges establish not only Vivienne's trust in the circle, but also her dependence upon them. Whilst her talents are great, she is in many ways limited by them. Above all, Vivienne requires control, an environment in which she is able to keep herself in check and for her, this is the circle. Outside of it, she is nothing and has no guiding principle which she can turn to. This is her support, her world, and its principles are deeply her own. Those who turn away from the doctrine of the circle leave themselves open to disorder and through this disarray they are rendered open to becoming tolls wielded by demonic hands.</div>
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<i>Solas: "You need never concern yourself with the possibility that your Circle was wrong."</i></blockquote>
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Magic is often an agent of chaos and destruction, capable of dealing great harm to all who come into contact with it. It is control and self-restraint alone which prevent a mage from becoming possessed or turning their power on an innocent. For Vivienne, the only institution capable of providing the instruction conducive to this level of discipline is the Circle, where mages pass their wisdom on to others, whilst also protected from themselves by the Templars. </div>
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Importantly, many of Vivienne's attitudes are revealed through her interactions with Cole. Revealed to be a spirit of compassion, Cole joins the Inquisition because he wants to help. Vivienne does eventually come to care for Cole, though she keeps this attitude very much to herself, but initially she is outright hostile to him, regarding him as a demon and an influence which should be expunged from the Inquisition, for he could undo it from within.</div>
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Her scepticism is born from a life spent learning of the dangers of the Fade, learning that its denizens are malicious and cannot be trusted, for they all they seek is possession or the death of any mage. Having been told all her life that the Fade is universally a place of peril and that all which hails from within it only serves to undo the precarious order the Circle seek to preserve, she naturally is suspicious. Furthermore, Vivenne's experience of spirits is limited, for the Circle actively avoid such things and study into such areas is restricted if not completely forbidden.</div>
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<i>"The Circle taught me the tricks demons play to gain the trust of any mage foolish enough to listen."</i></blockquote>
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A notable exception is the Harrowing, a trial by fire through which a mage is forced into the Fade to face a demon, to demonstrate that their will is strong enough to resist possession. We learn of Vivienne's Harrowing through conversation with Cole. </div>
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<i><b>Cole</b>: Everything bright, roar of anger as the demon rears. No, I will not fall. No one will control me ever again. Flash of white as the world comes back. Shaking, hollow, Harrowed, but smiling at templars to show them I'm me. I am not like that. I can protect you. If templars come for you, I will kill them.</i></blockquote>
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Vivienne is not only Harrowed, note the capital, but she is hollow and shaking. Her only known experience within the Fade (we might presume, due to her extensive time in the Imperial Court, that she had little time to run around the world of dreams) has evidently been traumatic, thus preventing her from becoming open to the possibilities of spirits. Not only has she been taught to view all spirits as malignant, but she has also only extensively experienced the wrath of demons.</div>
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Considering how dangerous magic has been clearly established as being throughout the Dragon Age series (think on just how many renegade mages within Kirkwall suddenly flipped out as a demon took control), Vivienne's response to Cole, though naive and incorrect, is entirely reasonable. Even Cole admits that he might be a demon, that he simply does not know and that is enough for Vivienne to rightly be suspicious. Not only that, but Cole is clearly using her memories to get closer to her, as spirits do, and she interprets this as trying to coerce her into lowering her guard. He further makes matters worse by offering to kill templars, mimicing the offer made to apprentice mages by many demons "I will protect you and give you the power to free yourself from your chains". </div>
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This interaction reveals Vivienne's dependence upon the Circle and its structure. Though she is wary of the templars and evidently fears them, she does not wish them dead, as they are an integral part of her own security. Above all, she fears possession and a loss of control. She never wishes to be at the whim of external forces and for this reason, she endeavours to become the very image of a perfectly disciplined mage, which is only possible through the circle. She then seeks to extend this to others, for what she perceives to be their own benefit. </div>
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Conclusion</h4>
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Through this entry, I hope to have established Vivienne as not only a pillar of the established order, but provided her reasons for serving as such. She is not the unthinking follower of a doctrine, for she consistently demonstrates an acute awareness of how things are working and it is perhaps this insight into the bigger picture which leads her to what many view as a conservative stance regarding magic. Sure, her extensive experiences within the Chantry have contributed to her views significantly, but they are not the sole reason she thinks as she does. </div>
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Despite her title as <i>Madame de Fer</i>, Vivienne acts as she does because she genuinely believes that she acts in the best interest of the mages. She is warm of heart and evidently cares very deeply about the situation the mages have found themselves in, though she does not mince words and is quick to curtly remind those who have only made matters worse of their errors, lest they forget. Were one to elect her as Divine Victoria, she would create world in which mages could prosper within their circles, given proper security and tutelage. Surely, there would still be malcontents wishing to live libertarian lives independent of the Chantry entirely, but that will always be the case. If her vision were to be realised, magic might slowly become less and less stigmatised and things could be better. Of course, this is pure speculation. </div>
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On a final note, I stand by my claim in an earlier entry that Vivienne is an ENFJ. Though she might be mistaken for an ENTJ, she is simply too aware of the feelings of others and to able to manipulate them too fluidly for this latter typing to be accurate.<br />
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-86355116094277541382015-06-03T19:37:00.001+01:002015-06-03T19:37:58.587+01:00Guarding the Garbage <div style="text-align: justify;">
Now that I have successfully completed my Undergraduate Degree, I can finally turn some attention to some of the things I've recently been ignoring, such as this blog. </div>
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To end the overly long hiatus, I am going to discuss something that I overheard in my local co-op, and how I have chosen to respond to it. I hope, in reading this, some of you might think about doing something similar. </div>
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Yesterday, when I visited my local co-op on Lovelace Road, Norwich, I overheard a managerial figure, loudly boasting to his employees. As I walked past the group, I overheard this manager boast about how he had heroically protected the bins of his co-op from bin-divers who were trying to obtain the food he was intending to throw away. Naturally, his employees commended him on his efforts.</div>
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In all honesty, I was rather disgusted to overhear such a flagrant display of ignorant behaviour. That the manager of a co-operative store, a chain which has gained a lot of support for their ethical practices (indeed one could argue that their brand image depends upon it), could so openly declare his disdain for the inconvenience of dealing with what he unreservedly considers to be "theft", was rather sickening. </div>
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Firstly, those who steal food from bins rarely do so as a hobby or for "fun" (somehow diving through waste for morsels of food doesn't scream fun to me), they do so because, strangely enough, they cannot afford to pay for food, or obtain food through other means. To accost people for doing this, to threaten them with legal action is a foul act of demonisation. Effectively looking someone in the eye and stating 'you cannot afford food, but how dare you refuse to starve'. Due to particular economic attitudes, through no fault of their own, 1,084,604 people nationwide have been forced to rely on food banks.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoyfB_yLwRGQ1MslBJPDR-JKiyRLAq3g6BHyGhdfYumHjDwKFPgHfBLSwqDCrkiA_ceNZn76cFogOaLfpHzqpol_8ccexC_3dm79FLc4TCXOnXYxaMONmHr61azB1YxsBPZKf-ZSraGBgF/s1600/foodbankstats.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoyfB_yLwRGQ1MslBJPDR-JKiyRLAq3g6BHyGhdfYumHjDwKFPgHfBLSwqDCrkiA_ceNZn76cFogOaLfpHzqpol_8ccexC_3dm79FLc4TCXOnXYxaMONmHr61azB1YxsBPZKf-ZSraGBgF/s400/foodbankstats.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Screen cap taken from the <a href="http://www.trusselltrust.org/stats">Trussell Trust</a></td></tr>
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Secondly, if you are going to be throwing that food away, you are making a very clear declaration that you can no longer profit from the sale of this food. If you can no longer capitalise upon it and yet it is still edible, why seek to vindictively deprive people who cannot afford to put food on the table from that which is no longer of any value to you? </div>
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After hearing this, I decided to do a little research into Norwich food banks and into the East of England Co-Operative's stance regarding the support of food banks. According to the <a href="http://www.networknorwich.co.uk/Groups/109369/Network_Norwich_and/Partners/Norwich_Foodbank/Norwich_Foodbank.aspx">Norwich Food Bank website</a>, 8,905 local people (3,072 of which are children) have been forced to rely on their service in the past year. Therefore, there is evidently a need for the service within Norwich. Furthermore, according to their website, the East of England Co-Op are "dedicated to helping them ensure they have enough food available to be able to continue to provide this valuable service." [<a href="http://www.eastofengland.coop/community/the-big-issues/food-poverty">citation</a>] </div>
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On that same page, they state that they have "have foodbank collection points in every one of our food stores". Having never seen one in the Lovelace co-op, I engaged in some minor espionage and discovered this:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNTtqa2KlCTRbVEKjDuQJEns-CzirayYzYlRPuI2ZNzNNRHylQZTNI2SglxqB8wVau_dN4eHDU9-z1_SJdNKQqB-qI6dWwmwHUWrI-OMarBRI2NUeL65W3WKuHdG13EePyR7ldQxPdC7VH/s1600/coop2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNTtqa2KlCTRbVEKjDuQJEns-CzirayYzYlRPuI2ZNzNNRHylQZTNI2SglxqB8wVau_dN4eHDU9-z1_SJdNKQqB-qI6dWwmwHUWrI-OMarBRI2NUeL65W3WKuHdG13EePyR7ldQxPdC7VH/s320/coop2.jpg" width="180" /></a></div>
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Though far from empty, the collection point is tucked into the back of the shop and is far from advertised, save for the tiny laminated sign on the front. Sure, you can easily enough deposit your food into it, but you're only going to find it if you're actively looking for it. This was rather discouraging. </div>
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Furthermore, I would like to draw your attention to what is on the secluded pinboard above the collection point.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6DZJCLZYQ5fPpQrqU_c6wNecxOm9-ilQGQMFNSzVsrhrKKdBHhyphenhyphennNfJ4TFBmMZ6flYI05X7iaq8NLXZuHkXQqIm33gqQ6Olarv7ogEHgzHHzN4azfSVsbl33jHQ9BTI0ul6qSpDiiUdv/s1600/coop+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6DZJCLZYQ5fPpQrqU_c6wNecxOm9-ilQGQMFNSzVsrhrKKdBHhyphenhyphennNfJ4TFBmMZ6flYI05X7iaq8NLXZuHkXQqIm33gqQ6Olarv7ogEHgzHHzN4azfSVsbl33jHQ9BTI0ul6qSpDiiUdv/s400/coop+3.jpg" width="400" /></a></div>
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This is far more encouraging. Excellent work, Lovelace Co-Op. A shame that your manager stood fewer than 10 feet away from this very certificate, demonising the very people you are apparently "generously supporting", but at least this is something, right? I am not going to detract from your good work, you have evidently done a lot of it, but the very principle behind this act of giving has been undermined through your willingness to waste perfectly edible food. </div>
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Considering the recent push within France to force Supermarkets to give away their unsold food to charities, I think it is clear that more can be done to aid services like the food banks, which, considering the impending benefits cuts and other austerity measures, are likely to be used even more over the coming year. </div>
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In response to this, I have emailed one of the Executive Team members of the East of England Co-Op. (Searching for about an hour or so, I was only able to find one of their email addresses, unfortunate, some might say). I have implored them to consider donating the food that would otherwise go to waste to those who need it and to discourage their staff from demonising the poor, especially due to the commitments the brand has made to either practice.</div>
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After all, the nearest donation point for the Norwich food bank to Lovelace Co-Op is but 10 minutes down the road. </div>
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So I encourage you, not only to donate what food you can spare to local food banks or other charities, but also to take a look at some of the businesses near you and encourage them, in whatever way you can, to donate their food, rather than simply throwing it away. Write to these businesses, let them know what you think. My whining (or the whining of those who have whined before me) is not going to achieve anything if nobody else kicks up a fuss. </div>
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Thanks for reading.</div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-28199403842240029862015-01-11T18:59:00.003+00:002015-01-11T18:59:32.549+00:00Victory in the Qun - Platonic Influences in Dragon Age<div style="text-align: justify;">
With a new university term starting tomorrow (accompanied by an increasing awareness that it is going to be academically demanding) I thought now to be an ample opportunity to write up an entry which I have been intending to write for a while. </div>
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Once again, my attention is fixed on Dragon Age, but this time it is not a character I wish to examine, but one of the fictional belief systems: the Qun. To put a philosophical spin on things, I am going to compare the Qun to the political philosophy of Plato, as found in the Republic. Though I am loathe to make strong claims as to where particular ideas within fiction have come from, I think that there is more than enough similarity between the two systems (and also enough of a difference) to indicate that the Qun has been at the very least influenced by Platonic philosophy.</div>
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Defining the Qun</h3>
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In short, the Qun is a philosophy in both a capital "P" and lower-case "p" sense. It is both an series of positions taken towards the exploration of both the world and abstract concepts as well as, in the lower-case "p" sense, a way of life. Essentially, it is a philosophical approach to being, comparable to religion in the way it generalises its principles and seeks to extend them, sometimes through the overt use of force, upon those who do not abide by it. </div>
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It regards itself as being singular as a form of truth: to live by the Qun is to live an ordered life of purpose, whereas to live outside of it is to live in a state of chaos. In this sense, it is highly pragmatic, focused upon end results and attempts to create a perfect society. This is further reflected in the assigning of roles from birth. Every Qunari has a singular role, which is also used as their name, and their entire lives are devoted to fulfilling it. </div>
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We know that knowledge of the Qun is not something that is easy to come by, for not even all Qunari are fully aware of the system by which they live. For most, they simply know as much of the Qun as they need to in order to fulfil their assigned role, with only the priesthood aware of the bigger picture. </div>
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To simply, here are the most important points of the Qun:</div>
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<li>Every Qunari is assigned a role, which is also their name. Their entire lives are dedicated to this role and though the role can change, it is not a matter of personal preference or choice. </li>
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<li>These roles can have their basis in established gender roles.</li>
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<li>Questioning the diktats of the Qun is seen as a moral failure, the response to which is "re-education".</li>
<li>There exists a natural order of things, embodied in the Qun. It is meaningless to struggle against this order, the very act of struggling is an illusion. </li>
<li>The Qun is a path of faith, to abandon it is to embrace chaos. </li>
<li>Existence is a choice, and within existence itself there is a choice between order and a mindless struggle against it.</li>
<li>Everything is part of a universal order.</li>
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<tr><td style="text-align: center;"><img alt="Adaar doesn&#8217;t usually wear vitaar but what if" height="400" src="http://40.media.tumblr.com/3b5c7127da0dd1ab668d9a72e443c0c9/tumblr_nhxskz8zCd1qengqso1_r1_500.jpg" style="margin-left: auto; margin-right: auto;" width="257" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://40.media.tumblr.com/3b5c7127da0dd1ab668d9a72e443c0c9/tumblr_nhxskz8zCd1qengqso1_r1_500.jpg">Image</a> posted by <a href="http://theminttu.tumblr.com/">The Minttu</a></td></tr>
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The Triumvirate</h3>
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Though we have relatively little interaction with Qunari society and are never shown what their people are like on their own terms (we always seem them out of their own environments and through the lens of outsider cultures who are, almost completely, in opposition to them, regarding the Qun as a dangerous force), conversations with various Qunari / Tal-Vashoth (those of the Qunari race who have chosen to live outside of the Qun) do reveal to us how their people govern.</div>
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Qunari society is divided into three parts and each of these segments possesses a different figurehead/ruler. The three parts represent the body, the mind and the soul. The bodily branch is known as the Antaam, and is ruled over by the Arishok. Mind is represented by the Arigena and consists mostly of craftsmen. Finally, Soul is embodied in the Ariqun, leader of the priesthood. </div>
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The Arishok is a military leader and the Antaam consist of soldiers and other miltaristic agents. Their role is to protect the Qun and to spread it through military force. They are the only branch of the three who venture out of Qunari lands and are exclusively male, due to the belief that only men can be proficient warriors. Interestingly, women are able to serve in the military, if they show the aptitude, but they are regarded as male should they do so. This indicates that there biologically female individuals can be competent warriors, but that competency in martial practice is seen as masculine. This also indicates that the Qunari regard gender as distinct from biological sex. </div>
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Always female (though others in this branch of society may vary), the Arigena rules over the industrial, agricultural and mercantile aspects of their society. They are fundamentally providers, crafting what the Qunari need and ensuring that it reaches all areas of society as needed. </div>
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The Ariqun, leader of the priests, can be either male or female and serves as the ultimate spiritual guide of the people. Fundamentally, their role is to ensure that the Qun is upheld as well as to interpret it in times of uncertainty. Under this branch fall the Ben-Hassrath: enforcers of religious law who can be of either gender. Their role is to seek out those who are straying from the path and re-educate them, as well as ensuring that new converts to the Qun follow their assigned role. Effectively, they are inquisitors, religious police. The other important segment are the, exclusively female Tamassrans, who are in command of breeding and have huge influence with the society. They decide who breeds with who, what roles Qunari are assigned and are also responsible for educating them into these roles. </div>
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Whilst the Qunari view these three segments as equal and necessary, their is a strong implication as to a lack of power balance. The Ariqun, who is in command of the very philosophy which dominates the lives of all Qunari, seemingly possesses the power to exile even other leaders should they see fit. The importance here is that there is no actual hierarchy, but their is an implied imbalance of power.</div>
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://mathiaarkoniel.tumblr.com/image/101755912987">Image </a>posted by <a href="http://mathiaarkoniel.tumblr.com/">Mathiaarkoniel</a></td></tr>
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So how does any of this relate to Plato?</div>
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Well, on the level of appearances, Plato too devises his 'perfect' society as having three distinct branches: the Crafters, the Warriors and the Rulers. Furthermore, Plato envisages a society in which everybody is given a clear role based on the aptitudes they display in youth. His system does not possess the concept of family as we see it, instead raised collectively by a branch of the rulers in charge of educating the youths. </div>
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The connection to the Qun is evident, as the three elements of Qunari society very easily map onto the three Platonic categories. The Arigena has the crafters, the Arishok has the warriors and the Ariqun is in charge of matters spiritual. Each three areas has an important degree of overlap. Plato's crafters exist to provide for all within his Republic, they keep things running on an agricultural and industrial level, so do those ruled by the Arigena. Warriors of the Qun exist to protect it, as do the Warriors of Plato's Republic. Importantly, there is no indication within Plato (as far as I am aware, at least) of there being any reason for the Warrior caste to invade other lands to spread the Republic's ideals, as there is the Qun. Though they are not known as rulers, the priesthood under the Ariqun serve the same role as the Philosopher Kings in the Republic: they guide the society and control the roles of those born into it, as well as raising the children collectively. </div>
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Another interesting point of comparison is in the ability of those who live by the systems to understand them. Plato argues in the Republic that certain incorrect mythologies must be used in order to ensure that people of the Bronze (and perhaps Silver) category are discouraged from questioning the order of things. In this sense, it is a white lie in order to prevent them from trying to understand something that they, as Bronze souls, are unable to. Likewise, as aforementioned, those who live by the Qun know only enough of the Qun as is relevant to their position, with only the Priests able to fully understand how the system functions in regard to itself. Both systems seem to have an attitude that some people just cannot grasp the bigger picture and therefore cannot be told it. </div>
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However, there are some interesting differences.</div>
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Perhaps to be considered as a central difference is the concept of hierarchy between the three categories. The Qun, at least theoretically, considers each segment of their society to be equal. Plato certainly considers each of the categories to be necessary, for a healthy society (he compares society to a living organism in which each part needs to function properly if the whole is to function at all). However, he does make a value distinction between the three categories. He assigns each segment a metal. The Crafters are bronze, the Warriors are silver and the Rulers are gold. This has the implication that the Rulers are more important, if not overtly more valuable, than the other segments, and establishes an overt hierarchy. The more egalitarian nature of the Qun is further embodied in each part of society having their own ruler. Whereas the Qun implies that each aspect of society has a command of itself, Plato has a distinct class whose role is to philosophically rule over all aspects of society. </div>
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A second important difference is gender roles. Plato does not discuss gender specifically in the Republic, though some discussion is given to biological sex (there is also no indication that he would have considered the two to be different concepts). Interestingly, he seems to abolish it as a problem within his Republic, arguing that men and women are equally capable. This is, however, specifically regarding positions within the ruling class of Gold Souls, which is open to both genders, somewhat, within the equivalent Qunari caste. However, there is no statement that women would be excluded from the Silver Souled warriors. </div>
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A third point I find interesting, is the terminology used within the Qunari triumvirate. The three segments are thought to represent body, mind and soul. Plato talks of his Republic as an extension of the individual soul, which he sees as consistent of three parts: appetite, spirit and reason. Illustrated in his allegory of the charioteer, he views appetite and spirit to be the lower portions of the soul (bronze and silver in turn) and argues that they must be guided (though, at least under my interpretation, not strictly controlled) by reason (the charioteer). There is a discrepancy between the way in which these terms correlate between the two systems. Appetite, the most bodily portion of the soul, nicely fits with the category of Body with the Qunari. Yet Plato assigns this to his Bronze crafters. The Qun assigns it to the Warriors. Further, spirit, the portion of the soul assigned to Warriors by Plato closely correlates with Soul, which is given to the Priesthood under the Qun, who are representative of the Ruling class within Plato. Reason, which correlates more closely with Mind is given to the crafters. It seems here as if there is a clear reference to Plato's system, though a deliberate turning it on its head. The portion of the soul (or, at least, its equivalent) given to the Rulers, Plato's highest caste, is instead given to the equivalent of his lowest class. </div>
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Therefore, whilst I do not think that the Qun is simply a fictionalised representation of Plato lifted directly from the Republic, I do consider it to be a fictionalised account of Plato in the sense that many of its key concepts and ideas are clearly derived from various aspects of Platonic philosophy. Personally, I think there there is something absolutely enthralling about representations of the Qun throughout the Dragon Age saga, something that is at once extremely attractive and yet utterly repellent. What draws me to it is its evident basis in what I consider to be a fundamentally very interesting philosophical system. It breaths a new kind of life into the system, placing it into a fantasy context, trying to understand how individual characters might feel about the system, personalising Plato's relatively impersonal system. </div>
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Needless to say, I hope that we learn more about the Qun in further Dragon Age instalments and that it does its job of providing a fresh supply of food for thought. . </div>
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Thank you for reading!</div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-14772227928099555722015-01-04T14:35:00.000+00:002015-01-04T14:35:50.176+00:00Meeting the Inquisition<div style="text-align: justify;">
So with the, relatively, recent release of Dragon Age: Inquisition, the third instalment in the Dragon Age saga, we have been introduced to a fantastic new cast of characters. It took me a while before I was able to play the game, but I have recently been devouring it eagerly. As the university term is about to begin once again, I thought it would be interesting to produce a couple of entries on the saga. Naturally, with such a large number of new characters (and more than a few recurring) I could not resist the temptation to type all of the characters with MBTI. </div>
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Needless to say, this entry is going to discuss the characters in relative detail. There may be <b>spoilers</b>. Consider yourselves warned. </div>
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With that in mind, let's get right in there.</div>
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<h3 style="text-align: justify;">
The Warriors</h3>
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<h4>
Blackwall - ISFJ (The Protector)</h4>
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Typical of an ISFJ, Blackwall has an incredibly strong sense of duty and this manifests in his strong dedication to the Grey Wardens. His dominant Introverted Sensing (Si) manifests in a clear understanding of general forms, of the way in which things should work. Though not entirely bound by them, he regards traditions highly, often more willing to adopted the tried and tested ways of behaving, slow to embrace novel methods. In his devotion to the Wardens, a further respect for the lessons of the past is revealed. Through speaking to him, he reveals a constant interest in his previous experiences, discussing his decision to reject the aid of a Chevalier, which could have led him to a previous life. Further evidence of the traditionalism of his Si is revealed though this is revealed further through his auxiliary Extroverted Feeling (fe). When faced with that which would challenge his personal views, his response is primarily emotional. Disrespect the Wardens and he immediately becomes hostile and openly disapproving. His understands how others feel and is able to respond to them emotionally, with compassion. However, his Fe is contained by his Si, for he keeps mostly to himself. His tertiary Introverted Thinking (Ti) allows him to hold consistent views and subject his past experiences to criticism. As this is introverted, Blackwall is able to organise his experiences and feelings into a logical structure of his own design, allowing him to develop his own approaches. It is down to the independence granted to him by his Ti that Blackwall is able to operate independently of the Grey Wardens. His somewhat rebellious or independent streak is further encouraged by his inferior Extroverted Intuition (Ne) which encourages him to move towards novelty and is sometimes able to lead his Si astray. </div>
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Cassandra - ESTJ (The Supervisor)</h4>
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Almost every fibre of Cassandra's being is focused upon establishing order and control within her external environment. Without a doubt, her dominant function is Extroverted Thinking (Te), through which she focuses her attention on the outside world and seeks to see the rational connections between the various concepts of her environment and arrange them in such a manner as to serve a particular goal. She professes that her superiors always criticised her for acting too hastily, and this is evident of the quick conclusion producing abilities of her Te. After all, the Inquisition is born from both Leliana's vision and Cassandra's pragmatism. Under her orders, all of the component parts are brought together and moulded to fit a singular purpose. What marks Cassandra as an ESTJ over an ENTJ is that the order she seeks to enforce is not one of her own making. It is not her own vision that she seeks to fulfill, but another's, albeit one she shares. In the absence of Justinia's guiding hand, Cassandra turns to her past experiences and the established way of things for inspiration, an indication of her auxiliary Introverted Sensing (Si). Relying on routine gives her an extreme respect for the status quo, though she recognises that some things need to change. Her tertiary function, Extroverted Intuition (Ne) aids in the development of these new conclusions. When she encounters that which disillusions her to the established ideas (such as the discoveries concerning the Order of Seekers during her personal quest), she is forced to use her Ne to reveal a new path, connecting the established ideas, known through her Si and enforced through her Te, to explore new possibilities. Cassandra is not one to share her feelings, keeping them close to her and dealing with them in solitude unless she is very close to the one with whom she is sharing them. As her inferior function is Introverted Feeling (Fi) her emotions can become problematic for her, influence her behaviours in a less than conscious manner. Whereas she may see herself as a disciplined and rational Seeker, she is susceptible to her motions that she cares to admit. Take, for instance, her arguments with Varric. </div>
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The Iron Bull - ESTP (The Promoter)</h4>
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Undoubtedly among the reasons he was selected to be Ben-Hassrath, the Iron Bull's dominant function is Extroverted Sensing (Se), indicating that he is extremely present. In short, Bull Keeps it real. He is less concerned with the ways in which things should be (as one might expect from a Qunari) in either a generic or abstract way but is more content to deal with things as they are. In spite of his association with the Qunari and the Qun, he has spent so much time away from it that he has learnt to be far more pragmatic and down to earth than idealist. The ease with which he can be encouraged to abandon the Qun and live as Tal-Vashoth for the sake of his friends is evidence of this. He also adores physical sensations, as is evident to anyone who takes him to slay a dragon. Simply because he is not dedicated to the Qun does not mean that he does not like structure. As said to those who romance him, he likes structure and organisation in the world, something to tame his impulses and this is evidence of his Introverted Thinking (Ti). When encountering something novel, he is quickly able to organise it into his personal system, which has certainly been shaped by the Qun, though it is not limited to it. Bull is open about his feelings, though is less serious about them at first, as is clear to any who romance him. Due to this Extroverted Feeling (Fe), he can seem very much like an open book, for any feelings are easily shared. In this position, however, the function is relatively simplistic. Underneath it all, he is guided by gut instincts and raw luck. This is representative of an underdeveloped inferior Introverted Intuition (Ni).</div>
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Rogues</h3>
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<h4>
Varric - ESFP (The Performer)</h4>
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Highly observant, Varric's attention is near constantly fixed upon the state of the world around him. He regards events and people and objects and absorbs them all through his dominant Extroverted Sensing (Se). Varric enjoys new experiences, for his delight comes from taking these and weaving them into over the top tales and stories. Furthermore, he has fine taste, epitomised in his love of commerce and money, which is a fundamental drive for his mercantile side. The true analysis comes from his auxiliary Introverted Feeling (Fi) which reviews his experiences as produces private emotional responses and an internal system of subjective ethics. Interesting, this leads him to fail to involve himself with either side of the Mage/Templar war, though he is not unsympathetic to its nature. The presence of such sympathy is shown through his remaining with the Inquisition and even contacting Hawke for their assistance, even though he could easily leave. Varric does have an idea which he wishes to push out onto the world: one in which he is able to live a relatively quiet life as a merchant, making enough money by which to live and ultimately keeping himself free from the dangers of the grand stories of history. This tertiary Extroverted Thinking (Te) is what ultimately leads him to stay with the Inquisition, for he realises that without its success, he cannot have his ideal life. His inferior function, Introverted Intuition (Ni) does not seem all that developed to me, though perhaps further reflection will reveal more to me at a later date. </div>
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Sera - ESFP (The Performer)</h4>
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Similarly to Varric, Sera simply wants to lead a quiet life outside of the grand chapters of the history books. Her dominant Extroverted Sensing (Se) manifests through her attitude of living in the moment, her ability to be incredible flexible and her love of novel sensations. Were she able to, Sera would fill her days with the pleasures of food, wine, song and women and, like Varric, it is her realisation that she cannot have her goal, through her tertiary Extroverted Thinking (Te) that she ultimately remains with the Inquisition. Auxiliary to her Se is Introverted Feeling (Fi) which manifests itself through pranks and playful attempts to engage with others. For example, she constantly mocks Vivienne for her nobility, though she does not seem to want to cause offence so much as engage in some harmful expression. Beneath everything, she seems to hold several principles which effect the rest of her behaviour, evident of an Inferior Introverted Intuition (Ni). She does not seem to critically engage with these, which make them her greatest weakness. An example of such is her unreasoning dislike for the Dalish "elfy elves". </div>
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Cole - INFP (The Healer)</h4>
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Though the dominant function of an INFP is Introverted Feeling (Fi) which is focused far more upon the self, rather than the feelings of others and whilst feeling in an extroverted form is more able to pick up on the feelings of others, the way in which Cole interacts with emotions seems to me to be highly introverted. Due to the fact that he is a spirit, Cole's personhood and sense of self are often called into question. Speaking with him reveals that he is very unclear as to what he is and who he is and this void is filled with the needs of others. He experiences the pain of others, not through empathy, but through living it himself, he literally experiences their pain and their memories and then deals with the emotion internally before he 'helps' them. This, coupled with the fact that he treats all those he helps in a highly individual sense, rarely, if ever, regarding them generally betrays a strong sense of Fi. The manner in which he helps others is often through helping them forget, though he approaches each case with a sense of wonder, every one of them requiring that he test several approaches, making them forget him each time her fails. This is evidence of his auxiliary Extroverted Intuition (Ne), which helps him expand on a key idea (that of helping another) and allows him to generate novel ways of approaching them. Tertiary is his Introverted Sensing (Si) which naturally turns him away from the world and places him in a dreamlike state (which is obviously augmented by his being a spirit). His experiences of people allow him to develop, and he is able to look to previous cases in order to develop a method of helping, though ultimately he prefers to use his Fi and Ne in conjunction. Extroverted Thinking (Te) is his inferior function and it manifests in his desire to eliminate pain, an end goal to which he is always working. However, this function has often, in the past, at least, caused him issue. He used to murder individuals in order to help them, so dedicated to his goal was he. </div>
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The Magi</h3>
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<h4>
Dorian - ENFP (The Champion)</h4>
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Dorian is driven by a desire to improve the world, though he has no clear goal in mind, no clear vision of the future. Primarily, he desires to make things better in Tevinter, though he has no clear idea as to how to go about this. He shows himself as wondering at the potentials which lie within the future, with all the potentials. Due to this, I consider his dominant function to be Extroverted Intuition (Ne). Whereas Solas and Leliana (to be discussed later) both work toward a "closed conclusion" with a specific nature and path, Dorian champions liberation in order to open up worlds of possibility. He is not deterred by the insurmountability of the problem, for he deals in possibilities, not in facts. Personal emotion is highly motivating for Dorian. He champions the liberation of Tevinter because it is personal to him, because his personal ethic demands it. This is demonstrable of auxiliary Introverted Feeling (Fi) which concerns the subject itself. It is further evident in his demand for authenticity above pleasing others. Rightly so, he does not wish to change himself to please his family or his culture, and, though the act is not without challenge, he finds it easier than he might have done to bear the burden of his exile, for he has earned it through being his genuine self. This goal and his sense of self lead him into becoming a voice for those who a voiceless, or at least he desires to become such a thing. Genuinely, he wants other people to be themselves, and he realises that the world must change in order to allow it. This reflects his tertiary function Extroverted Thinking (Te) through which he seeks to impose an order of things, no matter how lax this may be in practice, upon the world. His inferior, and thus most problematic, function is Introverted Sensing (Si) which is predominantly concerned with the past and his own experiences. Dorian struggles with these, mainly due to the nature of them as so different and overtly opposed to the sense of genuine self he has created with his Fi. The past is a place of worry for him, thus he turns himself to a future of infinite possibility. </div>
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<h4>
Solas - INFJ (The Prophet)</h4>
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This section will include discussion of <b>spoiler</b> material most explicitly, and is also based upon my own theories and understandings of the character. When originally considering him, I had him penned down as an INFP, the same type as Cole, however, all things now considered, I am almost certain that he is an INFJ. However, I think that, like many INFJs, he is guilty of putting on masks and appearing as another type. I think it is possible to mistype him as an ISFJ. </div>
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Look away now. </div>
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As is revealed in the post-credits epilogue, Solas is in fact Fen'Harel, the Dread World, a deity of elven myth who has survived the fall of Elvhenan. There are currently many theories as to the nature of this character. In short, I consider him to have indeed sealed the elven Gods, save for Mythal (and perhaps Andruil), who were, like him, ancient elven rulers. In doing so, he created the Fade and sealed away the spirits, alongside the other Gods. He then rested and upon awakening, discovered that his people had been overwhelmed by the Tevinter Imperium. Since, he has single-mindedly pursued the goal of releasing the Gods. </div>
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Solas is fixed upon the future and his singular pursuit of a very important goal and he constantly seeks it, it defines him entirely. This is a fundamental trait of Introverted Intuition (Ni) his dominant function, for he always looks for the connections between ideas, in this case various articles of magical power, in order to know best how to bring these elements together in the right way and thereby achieve his goal. Furthermore, he is captivated and repulsed by Dalish myths, in which he is portrayed as a traitor and an antagonist. When looking at the tales, and the fate of his people, he looks beyond facts, seeking deeper meaning, another trait associated with Ni. It is further reflected in his want to understand spirits and the Fade, a world of hidden and concealed meaning. His drive is emotional, he feels so very strongly about his failure. This is his auxiliary function, Extroverted Feeling (Fe). As we seek him in Inquisition, he keeps his feelings to himself most of the time, mainly due to his attention focused on his goals and his inner world. However, he is among the first to speak out when emotionally engaged with an issue. He will switch from a quiet demeanour to one of anger the moment you chose to take a path he objects to. Another reason he is so distant is due to the fact that his Fe seeks out connections, though the connections he wants, those with his people, are impossible or unwanted. Modern day elves reject him. However, when he speaks with Flemeth/Mythal (Flemythal) during the epilogue, someone with whom he is very close, he instantly becomes expressive. However, his pursuit of his goal is not mindless. He is not simply guided by instinct and emotion, he rationally assesses before taking a step and this is his tertiary function, Introverted Thinking (Ti). Thought the conclusions he reaches are attained through Ni and Fe, he checks his methods through Ti. His connection with the physical is far weaker than the mental, shown in his preference for the Fade over reality. He is able to understand his experiences and study them, but that which he experiences for himself is far less important to him than the deeper meanings and emotional responses they produce on inspection. This is evidence for an inferior Extroverted Sensing (Se). </div>
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<h4>
Vivienne - ENFJ (The Teacher)</h4>
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Though she does not always care about it, Vivienne is supremely able to understand what others are feeling. She is empathic in the sense that she is able to comprehend and play the social area to her advantage. Should the inquisitor take the view that justice and lofty concepts are more important than people, she responses to say that most people would never be able to understand such an abstract position and that people need to be cared for first and foremost. This is her dominant Extroverted Feeling (Fe) coming out to play. However, though she prefers people to ideals, she is rather concerned with ideals herself. She has a clear vision of the future for Mages. She wants the Circle to be restored and young magi to be protected and nurture. ENFJs generally concern themselves with the nurturing and teaching of those they care for and her understanding of the Circle as a place where magi can be protected clearly shows her compassionate side. Her clear vision for the future and her almost stoic ethics (she seeks reality as a series of necessary restrictions and the wise focus only on the choices they have, something I will be discussing in depth later, I would imagine) reveal that she is fluently able to understand deeper meanings. Introverted Intuition (Ni) is thus her auxiliary function. Importantly, her tertiary function, Extroverted Sensing (Se), expresses itself in her affluence and her desire for beauty. Vivienne has high standards and good taste. She delights in pleasant experiences, though is not dominated by them. As she tells Blackwall, she misses her comforts, but does not need them. Though it is not her greatest trait, Vivienne is able to understand her inner thoughts in a structured and coherent manner due to her inferior Introverted Thinking (Ti). </div>
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The Advisers</h3>
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Cullen - ISFJ (The Protector)</h4>
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Defined largely by his desire to serve others, Cullen's attitudes are defined largely on reflection through his past experiences and established traditions. His motivations for joining the Templars was born out of his need to do good and to help others and he certainly seems more willing than most templars (save for the moments immediately following the collapse of the Ferelden Circle during Dragon Age: Origins) to sympathise with Magi. During Inquisition, he reflects often on his experiences during Dragon Age II in the Kirkwall Circle and these experiences directly feed into his attitudes towards the present. This is typical of a dominant Introverted Sensing (Si) function. His judgements and his conclusions are heavily motivated by his emotions. He cares for people, which both leads him to value magi and also demand, temporarily, that they are heavily restricted in order to protect others. Though he is certainly able to act in a detached and purely 'rational' manner (evident of a tertiary Introverted Thinking (Ti) function) his central mode of operation is emotional. He seeks to provide and accommodate his allies and, though he will often share his opinions and his capable of criticism, he values unity and coherence above all else. This is the work of his auxiliary Extroverted Feeling (Fe). At his core, he is shaped by a desire to seek novelty and new ideas, which is his inferior Extroverted Intuition (Ne). However, this function is not so developed. </div>
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Josephine - ESFJ (The Provider)</h4>
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A diplomat through and through, Josephine works towards unity and harmony. She is able to understand the feelings of others, abstract herself into their perspectives and then fluently manipulate, plucking the right strings at the right time in order to provoke the desired response. Her intention is to ensure that the Inquisition is viewed positively and to avoid war and conflict with other organisation. Her warmth and her tendency towards harmony and kindness is representative of Extroverted Feeling (Fe) her dominant function. Among the reasons she is so good at being able to perform this task is through being able to rely on her own experiences. When in doubt, she turns to the past, reflects on previous situations and how she can best learn from them. This indicates that her auxiliary function is Introverted Sensing (Si). However, she is certainly not bound by her own experiences and she is able to produce novel approaches and ideas through abstract thinking. When presented with a problem, she ensures that there is a way around it. She can smooth over situations with other organisations and this penchant for problem solving is aided by her inspired sense of novelty, which is representative of a tertiary Extroverted Intuition (Ne). Though she has relatively little need to, she is able to reflect upon the internal consistency of her ideas and approaches, developing an inner framework and approach. This is her inferior Introverted Thinking (Ti).</div>
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Leliana - INFJ (The Prophet)</h4>
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In a previous entry, I typed Leliana very differently. This was done at a time when I did not understand MBTI and its subtleties as I do now. As mentioned regarding Solas, INFJs have a tendency to hide themselves behind the mask of another type and this may be true of Leliana.<br />
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During Inquisition, Leliana more than any other character is concerned with the final outcome, with the fact that the Inquisition is working towards a particular set of goals. She is not so limited as to think that is purpose is solely to close the Breach and end the crisis, for she realises that its goals will be far more wide-reaching. What she desires is the levelling of the playing field, so to speak, to equalise things for all people. Through her series of informants, she gathers together many experiences, though these do not directly shape her attitudes so much as the deeper significances of them. It was by her vision that the Inquisition was able to come into being, and there are hints that it was her vision, shared with Justinia, which eventually led to the creation of it. For these reasons, I contend that her dominant function is Introverted Intuition (Ni), focused on outcomes, conclusions and, as any good spymaster, on connections. I struggled to decide between INFJ and INTJ when I was typing her this time around, though I think that her auxiliary function is Extroverted Feeling (Fe). She cares for others and it is her compassion and her anger which drives her towards her vision. Furthermore, as a Bard, she has developed this function and is able to manipulate the emotions of others through her exceptional reading abilities. Though guided by inner inspiration (somewhat divine, one could say), Leliana does consistently use her tertiary function, Introverted Thinking (Ti) to ensure that her framework of approach is logically consistent. However, she is willing to sacrifice somewhat on it if doing so allows her to feel as if she is remaining true to her guiding vision. She does possess a love for fine things and for external sensations, which is represented in her inferior Extroverted Sensing (Se), though she is a far more conceptual being, which is shown in her preference for remaining behind the scenes. When she has to, however, she is able to engage directly. She was, after all, very helpful to the Warden in Dragon Age: Origins.</div>
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So there we have it, an MBTI analysis performed on each of the characters. Let me know what you think. Of course, I may be wrong. We shall see!<br />
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I hope you enjoyed reading. </div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-18890771266837059992014-12-22T17:42:00.000+00:002014-12-22T17:42:49.080+00:00Umbridge - The Ultimate Evil<div style="text-align: justify;">
Unfortunately, this past university semester has been exceedingly busy, leaving me thus unable to update here, due to all the essays, readings, studies and all manner of university type things in my life. Now that Christmas is upon us and tis the holiday season, I have some time (admittedly not all that much) to do some independent thinking and prepare a few entries for here.</div>
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So, to resume my entries here, I thought something festive and light-hearted would be in order. Naturally, I decided to write about evil. One of my favourite philosophers, and a truly undervalued one at that, has much to say on the topic of evil, though her conception of it is somewhat different to that most of us have. When most of think of evil, we think of great acts of violence, of murder, of war, of exploitation. Hannah Arendt, the philosopher whom I value so, naturally views these things as evil, but these violent evils are not so despicable as banal evil: a careless evil, one driven by thorough ordinariness and refusal to accept personal responsibility rather than a sociopathic desire to do harm to others. I was brought to consider this topic through my recently rekindled interested in Arendt, in anticipation of my dissertation next year, and was further driven by my having watched the biopic accounting her experiences at the trial of Adolf Eichmann. </div>
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<tr><td class="tr-caption" style="text-align: center;">Hannah Arendt, in all her glory.<br />Image found <a href="http://www.thenation.com/sites/default/files/hannah_arendt_ap_img.jpg">here</a>.</td></tr>
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Though my discussion is not graphic, I would like to inform anyone reading this that it makes direct reference to the Holocaust and very real and tragic historical events.</div>
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Recently, a good friend of mine was watching Harry Potter and the Order of the Phoenix, in which, I'm sure we all remember, appears the character of Dolores Umbridge. Truly the villain of the piece, it is intriguing how much hatred many people, myself included, feel towards this woman. Considering that the true villain, Voldemort himself, is not as hated as she, there must be some reason as to why Umbridge is so reviled. Turning to Tumblr, a renowned source of fan-materials, it was extremely interesting to find that there is widespread sympathy for Tom Riddle, the boy who becomes the Dark Lord. This man is a pure-blood extremist, a character who can be easily likened, and for good reason, with Hitler himself. Yet there is sympathy for him. For Umbridge, there is no such thing. </div>
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<tr><td class="tr-caption" style="text-align: center;">Image posted by <a href="http://zamanlordicesi.tumblr.com/">Zamanlordicesi</a> </td></tr>
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As illustrated in the above picture, there is certainly something a little strange going on here. How can we dislike her more than we dislike a "truly" evil group of people who kill and torture in order to further their ideas?</div>
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I contend that Arendt can help us understand Umbridge much more fully, that her insights into the nature of banal evil can explain why we all have so much hate for this exceedingly pink individual. </div>
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Firstly, for the sake of context, I feel it appropriate to provide a little background detail. As the story goes, Hannah Arendt, a German Jew and holocaust survivor, managed to escape to the USA, where she eventually taught in a university. When Adolf Eichmann, a notorious Nazi war criminal, was caught and set to stand trial in the newly formed state of Israel, Arendt offered to attend and write several articles on the trial for the New Yorker. When she arrived and viewed the ongoing trial, she was surprised. Not because Eichmann was a terrible, evil man, but because he was exceedingly mediocre. </div>
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I find that there are several similarities to be drawn between the two figures of Eichmann and Umbridge. Firstly, both of them are incredibly bureaucratic. Eichmann was a ranking official in the Nazi regime, which is infamous for its autocratic rigidity, and strict hierarchy. In turn, Umbridge is of the Ministry of Magic. When we first meet her, she is focused on loyalty to the ministry, to upholding its policy to the letter, rather than the spirit of the law. She is inflexible and harsh,delivering out horrific punishments to those who do not submit to her immense lists of restrictions. </div>
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This leads me into the second, more troubling point. As mentioned earlier, Voldemort's regime and its hatred of "mudbloods" should be read (I will go as far as saying that) as a reference to the Holocaust. It is organised persecution on a massive scale. In the very real Holocaust of the 20th century, Eichmann's role was to organise the deportation of Jewish people from the Ghettos and have them relocated to the concentration camps where they were to be brutally executed. Likewise, Umbridge is given the role, upon her return to the ministry, of hunting muggleborns within the ministry and having them shipped off to Azkaban, the famed wizard prison. Though it is not explicitly stated within the book, I do not think it a terrible leap to assume that Voldemort's regime has no intention of letting these people live. Both Eichmann and Umbridge have the role of sending people of a certain ethnicity off to die.</div>
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But this is not the banality of evil. This arises in a third similarity between Adolf Eichmann and Dolores Umbridge: mediocrity. Neither of these individuals do the terrible evils that they do out of personal ideology or sociopathic tendencies, but out of a sense of personal advancement. They are both attached to large, bureaucratic networks which they serve without thinking. In fact, they are discouraged or completely prevented from thinking or from exercising any sense of personal agency. All they are permitted to consider is the potential for their own promotion, if they do their assigned role well. Through an unreflective following of orders, Eichmann contributed to the Holocaust. In the same way, Umbridge inflicts suffering on the students of Hogwarts and then upon Voldemort's scapegoated people. </div>
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In this sense, we can read her character as a representation of those who follow the pre-established rules without first thinking of their legitimacy. It is far easier to follow laws and rules than it is to break or oppose them. Umbridge is what happens when bureaucracy takes over from moral agency, when we simply "follow orders" as was the excuse invoked time and time again by Eichmann at his trial. </div>
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Umbridge refuses to be a person. Through refusing to reflect, refusing to use her own moral agency, she allows her entire being, her will, to be subsumed into the system she is serving. Her individuality fades and she becomes nothing but a token for the hierarchy she wishes to advance within. She is boring. She is nobody. </div>
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This is why Umbridge is hated more the Voldemort. The Dark Lord at least has the dedication to follow his ideas through, to perform actions (terribly evil and depraved actions which can never be morally justified) in which he believes. There is passion in his depravity. Umbridge, however, is banal to the point of being unable to truly understand what she is doing. So dedicated is she to herself, to her own promotion and doing well at her job that she forfeits her agency, her identity, she becomes nothing, rendering herself so lacking in perception that she fails to realise what she is doing.</div>
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Just a thought. </div>
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<tr><td class="tr-caption" style="text-align: center;">Image posted by <a href="http://lejardindesmilledelices.tumblr.com/">Le Jardin Des Mille Delices</a></td></tr>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com1tag:blogger.com,1999:blog-4886786965159998255.post-46939933112300811852014-09-16T18:59:00.000+01:002014-09-16T18:59:49.379+01:00Jack - Beneath the Surface<div style="text-align: justify;">
One of the greatest strengths of Bioware games is their ability to provide their players with character driven stories, which revolve around the individuals within them, rather than basing the events on impersonal forces. This is certainly true of the Mass Effect series and in particular is a strength for the second game in the series, the majority of the plot is in dealing with the backstories of your squadmates and helping them achieve closure. Amongst those characters, one has a particularly evocative and colourful past. </div>
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I am, of course, speaking of our favourite psychotic biotic: Jack.</div>
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<h3 style="text-align: justify;">
Subject Zero</h3>
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I think it to be of vital importance that, in discussing the character of Jack, one should be aware that her story deals with some exceedingly important issues, and that none of them can be considered to be anything but 'heavy'. Whilst she is the product of speculative fiction, which allows its composure to present extreme cases and 'undiluted' concepts (that is, ideas which are not confounded in their representation by the sheer number of factors which might do so in real life), the issues she is dealing with parallel those situations being endured and encountered by a huge number of people (most of which are women). </div>
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Centrally, Jack's narrative is one of abuse. As a child, she was raised in a human colony until Cerberus (an organisation who considers their MO to be allowing humanity to flourish into the best they can be) spotted that she was showing the signs of becoming a particularly potent biotic (an individual capable of producing mass effect fields through conscious control of their nervous system, in conjunction with several small nodes of element zero which are placed into the individual's body). She was then taken to a facility on Pragia. Thus begins the trauma.</div>
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The Pragia facility used human children as test subjects, the intention being to push human biotics beyond their current limits. From the first, the researchers noted Jack's potential and she was made the pride of the facility, with treatments first being given to the other children (all of whom were considered expendable) before being tried on Jack. In spite of their want to protect her, she was submitted to isolation as well as physical and psychological torture, all of which was thought to augment her biotic abilities. During her time at the facility, she was known as <b>Subject Zero</b>.</div>
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Jack eventually managed to escape the facility, though, unfortunately, this was not the end of her abuse. She was found after her escape, raped (or so it is hinted) and then sold into slavery. Ultimately, this leads her into a life of space piracy, with her having committed almost every violent crime you can think of (besides rape), certainly including arson, murder and torture. Eventually, she is caught and detained in a Blue Suns prison, where she is sold to Commander Shepherd and joins their crew. </div>
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<h3 style="text-align: justify;">
Isolation and Objectification: A Living Weapon</h3>
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During her time in the Pragia facility, Jack was kept alone at almost all times. She grew up believing that the Cerberus facility was the entire world, knowing nothing else beyond it, for her memories of the colony are exceptionally faint, if they at all remain. Kept in a small cell, she was able to see those outside it, the other children, interacting with one another and she would scream at them for hours, trying to attract their attention. Of course, this in itself was another kind of psychological torture, for the cell was designed so that one inside could look out of it, whilst nobody could see into it. Through making it appear as if she were being ignored, Cerberus ultimately conditioned Jack to disregard any attempts at verbal communication with others, as any attempt she made to reach out to those she could see, so close to the other side of her window, were paid no heed. Thus, she was conditioned to know that she was always alone.</div>
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The intention of this was likely to force her to be self-reliant which, to a degree, has been achieved. However, a terrible side effect of this is that Jack is unable to trust others or form meaningful relationships. Even after her time at the facility, she was used and abused by those who could have become her saviours. All of this lead her into a world of criminals, into a social world in which no individual is respected, in which everybody uses everyone else. Everything she has ever known has told her that she must be willing to use others to her own advantage if she wants to survive, She is egotistical as a mechanism of survival. </div>
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There was only one set of conditions under which Jack was able to interact with the other children at the facility: arena-like combat in which she would be forced to demonstrate the dominance of her biotic abilities by defeating and killing the other children. This was not only done to test her abilities, but also as another kind of conditioning, encouraging her to develop a love of killing. Considering her violent attitude, disregard for the majority of life as well as her reports that killing induces within her a feeling elation, Cerberus were ultimately successful. Violence becomes a way of expressing herself. Thus, Jack is a conditioned killer, a human weapon. </div>
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Furthermore, had she interacted with the other children outside of this arena, they would have treated her with hatred. Not only was she killing them in the arena for sport, but many of the other children were being slaughtered in experiments which were ultimately for Jack's "benefit". However, Jack, in her egoism (though we cannot blame her for it) is unable to see the suffering of the other children, more willing to believe that they hated her for being better and stronger than she, rather than being able to understand what was being inflicted on them in order to, in a twisted way, protect her, in her capacity as an asset of Cerberus.</div>
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This ultimately works, leading Jack to believe that she managed to escape the facility alone, only realising upon her return years later that things were not quite so simple. Cerberus security was weakened the night that Jack escaped, for the other children had rioted, thus distracting her guards. In the confusion, she believed that children, those she had been conditioned to kill, had turned against her and thus she slaughtered everybody in her attempt at escape. Whilst predominantly self-sufficient, Jack, like anyone else, requires other people, she is unable to endure everything alone.</div>
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Jack is objectified in every single way an individual can be objectified. She is meant to become a perfect weapon, a literal tool for the use of others. She is raped, turned into a object to satisfy the pleasures and desires of those who rape her. Though the psychological damage caused by rape are not to be understated, the conditioning applied to her, involving psychological torture, causes damage beyond that caused by the element of rape alone (which, of course, is more than enough to deal profound emotional, physical and psychological damage). </div>
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The result is an individual, someone who considers herself as ultimately alone, ultimately separated from everybody else. She has had all of her autonomy taken from her, her ability to self-define has been almost entirely crushed, with the only things which she has been able to have any control over is her revenge (though this is of course debatable, for much of it is determined by that which has been done to her) and the name she has taken for herself: Jack.<br />
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Interestingly, the player can become part of this objectification by choosing to have casual sex with her (which is consensual, you do not force yourself on her). However, choosing to do results in Jack locking you out, preventing you from getting to know her. You turn her into an object, and for the remainder of the game, she acts like it, closing herself off, keeping apart. It is only through seeing her as a person and not as something for Shepherd to use for sexual pleasure, that Jack can be truly known, truly acknowledged. Of course, there is the option to pursue a romance with her, but even if the player chooses to simply be friends, they provide a great help to Jack. Importantly, they do not save her, for she has to save herself. They do, however give her the encouragement she needs.</div>
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By the time Shepherd first meets her during the second game, Jack has suffered through almost everything a human being can suffer. In spite of being created as a powerful biotic, she is unable to prevent others from taking advantage of her. By the time she arrives at the Blue Suns prison, she has been terrible mistreated and this continues during her time there. Of course, she lashes our and claims revenge through killing those who mistreat her (violence being the only way she knows how), but she ultimately fails. Shepherd finds her trapped in cryogenic stasis. She is literally frozen, locked out of the world. </div>
<h3 style="text-align: justify;">
The True Renegade</h3>
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We can see some interesting parallels and contrasts between the stories of Miranda and Jack, two characters who are considered, by the narrative itself as well as many players of the game, to be opposites to one another, with Miranda representing authority and Jack representing anarchy.<br />
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Cerberus created Jack, they are her eternal foe, having taken everything from her. Even though they have made her biotics so much stronger, they reduce her ability to define as anything beyond a weapon. For Miranda, Cerberus have empowered her, given her a means of sustaining herself outside of her father's influence. The result is opposition: hatred and love for the same organisation. <br />
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Furthermore, both Miranda and Jack's stories have an element of manipulation, produced from what we can term <i>actively transhuman</i> philosophies. Miranda was created through enhanced gene therapies and such, the intention of her father being to create a superior, "perfect" heiress. Whilst Miranda struggles with this, mainly due to the weight of expectation placed on her, the "enhancements" applied to Jack are a far more potent and dark source of hardship. Miranda was designed, created, planned before she was born. Jack was abducted, experimented upon and made in a very different way: she was taken, already a living human being, and effectively melted down and reforged. </div>
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It is certainly true that Jack can be defined in opposition to authority. In having lived most of her life, especially the integral, formative portion, without the ability to define herself, without any kind of liberty, Jack has developed this oppositional attitude in which she feels as if she needs to always assert her independence, resisting all forms of influence from others. All authority structures she encounters, including the laws of Council space, remind her of a time when she was held entirely within another's power and acts as a kind of trigger, calling her experiences towards the surface of her mind and with it the confrontational attitude, from which she has drawn the strength to create walls against her abuse.<br />
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Jack's appearance, including the shaven head and skin covered in tattoos etc. is modeled to reflect styles adopted by many subcultures, which by their very nature as subcultures exist to rebel against certain norms and trends within mainstream culture. She fights her objectification through the transformation of her body into a canvas. She is one of the few game characters who is able to walk around almost entirely topless and yet not be sexualised. Further adding to her rebelliousness, her opposition to any kind of restriction, the very concept enough to remind her of her trauma.<br />
<br />
I think it important to note that Jack's understanding of the world (centrally her opposition to authority) is more than simply tainted by her experiences with Cerberus, it is instead completely defined by it. She has never had the chance to experience the galaxy, and the diversity within it, in a context which exists outside of her abuse. She has no stable memory of anything before Pragia, grew up believing the facility was the entire world, she has never been able to experience things with the required degree of neutrality in order to form anything resembling a complex or comprehensive understanding of the subtle ways in which things work. Jack is more animalistic in her understanding, violence and exploitation, the only things she has ever known, are ultimately what define interaction for her.<br />
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There is, however, an indication that Jack does seek some kind of deeper understanding, for she joins a cult with the intention of embracing their dogma and providing her life with some structure. This willingness to accept that there might be something more to the world than the simplistic, violent understanding she possesses shows that, in spite of its hold on her, Jack is able to begin dealing with her abuse. However, for reasons unknown, she flees the cult, though she keeps her head shaven.<br />
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<h3>
Onwards</h3>
<div>
In attempting to push the boundaries of human biotics, Cerberus, as is, apparently, in accordance with the typical outcome of their work, have ended up creating an exceptional weapon: a human with exceptional biotic strength. However, in doing so, they have ripped out many integral parts of Jack's humanity, more specifically her capacity for empathy and emotions beyond that of rage and other forms of anger. They critically wound her ability to relate to others, leaving her isolated and lonely.</div>
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Whilst it is easy to summarise Jack's story as an abuse or rape narrative, both of which hold some truth to them, I think it important to note how the two concepts have been handled within the narrative so applaudably. All of these abusive events are spoken of in the game itself, though Jack does not reveal them openly and does not talk about them at length, they are shown to have affected her very deeply. The fact that have had so deep an effect on her, and that they drive <b>her</b> narrative, rather than that of another character indicates that the use of rape within the narrative is <b>not</b> done to add "tone" to the game or to make it edgy or gritty. The effects and impact of these traumas are explored (though the depth is limited, as one would expect from a game which is not entirely focused around these topics).</div>
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Jack, should she be given the chance, is able to built something for herself, is able to become a tutor, to protect her students and nurture them in her own way. This outcome is exceptionally pleasing, for it is not the tragic ending which victims of abuse are so often given and it is furthermore not miraculous. Jack's trauma and its effects are not magically washed away, making everything okay and dismissing the true impact of her suffering, but it is shown as being something that she is strong enough to deal with, to keep moving in spite of. Jack is a victim, and this is important, but she is so much more than this. </div>
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Additionally, though she is shown as developing beyond her lust for violence, she does so in such a way as to allow her to retain her oppositional attitude, allowing her to change without surrendering who she fundamentally is. Jack is a subversive, she exists to set others on edge. But this does not prevent her from being an exceptionally warm and affectionate character, provided you do not allow yourself to, perhaps without at first realising it, becoming a part of her cycle of suffering. </div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-67812134383252179182014-09-05T09:59:00.001+01:002014-09-05T09:59:34.451+01:00Universality and Death<div style="text-align: center;">
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'Human nature', sir?
We feel a loss more intensely when it’s a friend.
But should not the feelings run just as deep, regardless of who has died?
Maybe they should, Data.
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'Human nature', sir?
We feel a loss more intensely when it’s a friend.
But should not the feelings run just as deep, regardless of who has died?
Maybe they should, Data.
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'Human nature', sir?
We feel a loss more intensely when it’s a friend.
But should not the feelings run just as deep, regardless of who has died?
Maybe they should, Data.
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://storybookvisitor.tumblr.com/post/96486431768/human-nature-sir-we-feel-a-loss-more">Images </a>posted by <a href="http://storybookvisitor.tumblr.com/">Storybook Visitor</a></td></tr>
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Should it be the case that despair at the loss of another living being run as deep, no matter whom has been lost? Should we feel the same sense of loss for the demise of a stranger as we do for a sibling, a parent or a romantic partner? True enough, we all seem to acknowledge that there is a certain feeling that this is an ideal that should be aspired to, though there is also an acknowledgement that this is not how things are.</div>
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At a first glance, it might seem, from a moral perspective, that this kind of ‘unbiased’ care is something to be strived for. Any moral approach to the world seemingly must, in the name of consistency, seek universality. By this, I mean that the moral theory must be consistent in the way in which relevantly similar cases are treated, preventing arbitrary application of moral concepts and ideas. </div>
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By this argument, we could surmise that the death of a loved one is just that, a death and that all relevant situations, which would be all deaths, under this line of thinking, should be met with the same kind of deep, heartfelt emotional agony. True enough, if we cared for the lives of others as we do for those closest to us, then we would, as Riker suggests, be significantly less bloody and violent.</div>
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However, I think that this view of death and emotional responses to certain situations is overly simplistic and rather problematic. Firstly, it assumes that we can, as Commander Data does, consider all situations death to be relevantly similar to one another, in spite of the fact that death is a complicated ‘event’ (I use the term somewhat broadly) in both its physical happening (there are manifold ways for one’s life to end) and psychologically (in the impact it has on others). </div>
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Rehearse death! To say this is to tell a person to rehearse his freedom. A person who has learned how to die has unlearned how to be a slave. He is above, or at any rate, beyond the reach of, all political powers.
Seneca
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Discussed in <a href="http://countingreflections.blogspot.co.uk/2014/08/feeling-force-emotion-within-religions.html">my entry on the implications of the Jedi and Sith faiths</a> is the idea of relationships of preference as well as an outline as to why I consider them to be fundamentally important for one’s moral nature. If we cannot, due to a requirement of morality, treat some individuals more favourably than others due to the existence of an emotional bond, then we forfeit an integral aspect of our humanity. Our emotions are a fundamental part of our lives and to have the concrete, reciprocated, reified elements of them (our relationships with others) taken away by a moral standard of universality is to take the moral away from the world as we live in it. It is an abstract theoretical idea, the implementation of which is inhuman. </div>
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Under such relationships of preference, we owe those whom we love more of our emotional energy than those we do not love, in virtue of the fact that we love them. In fact, it is not so much a matter of owing anything to them, so much as it is a matter of the fact that loving someone involves devoting more emotional energy to them, without this one cannot truly be said to love them as they might claim. With this increased investment of emotional energy comes an expectation that the impact on one’s life will be greater and thus the vacuum created upon their loss will be greater. </div>
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Though it should not be regarded as simple as ‘the greater an impact they had on my life, the worse I will feel when they are gone’ this principle can be used as a general standard, as a guide which can then be modified by more specific factors, depending upon the situation. Of course, the psychology of grief is exceptionally complicated and it is not a topic I have researched with any degree of depth. I intend only to use this general observation.</div>
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Fundamentally, if one cares equally about the death of a loved one and a stranger one is betraying the significance of their relationship of preference. As the name suggests, an integral and definitive part of these relationships is that those within them are granted special status. Simply, if they are not given precedent, if they are not cared for more deeply, then they cannot be said to exist within a relationship of preference. </div>
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Thus, adopting the position of caring about all death equally serves to deconstruct and render impossible these relationships of preference which are integral to human existence, integral to the way in which we understand the world and morally interact within and with it. The result would certainly be a less bloody world, but also a less human world.</div>
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However, the impact of this does not end there, for death, though we attempt to hide ourselves from it through many devious tools (both on a personal and political / cultural level), is completely ubiquitous. People around us are dying every day and there is no way to escape this. If we cared about every single death we heard of as much as if it were someone very close to us, our lives would become filled with grief, filled with heartbreak. Imagine turning on the news and hearing yet another murder, another accident, but imagine that every victim was your closest friend, your mother, your father or your lover. You would experience so much grief that either life itself would become entirely consumed by it, or you would become so desensitised to death that the value of life would drop until it meant very little. Neither of these outcomes is in any way desirable. </div>
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If we care about all deaths equally, each individual is forced to bear the pain and loss of the entire human race and that is far too much for any individual to handle. </div>
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Thus, the idea about caring about all human deaths equally is, in my view, no position to be desired to sought for. However, whilst I consider this extreme standard to be somewhat absurd, I find it important to highlight that I am in no way saying that we should not attempt to strive towards being more compassionate to other individuals, or that we should attempt to curb our empathy. In truth, there is not enough empathy present in the world and more of it is to be celebrated, provided that it is does not then go beyond a reasonable standard and become this unrealistic expectation that we should attach the same significance to those important to us and those whom we do not know. </div>
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We should each work to develop our compassion, to develop our care for other people, though we should not apply the same standards of care to all we meet, to do so is inhuman, impossible to achieve and comes with many less-than-desirable connotations.</div>
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'Human nature', sir?
We feel a loss more intensely when it’s a friend.
But should not the feelings run just as deep, regardless of who has died?
Maybe they should, Data.
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-78560754331688035842014-08-29T11:07:00.000+01:002014-08-29T11:07:07.276+01:00Dungeons, Dragons and Type Indicators<div style="text-align: justify;">
I adore Dungeons and Dragons. Sure enough, it has earned a particular place in history, with both avid fans and avid opponents, including some (I'll say it outright) misguided individuals who seem to think that it is some kind of cult. Regardless, D&D has become a great monolith within the Fantasy genre and has had a profound impact on a large number of people.</div>
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<div style="text-align: justify;">
Furthermore, the nature of the game raises some interesting questions about identity. The way in which you play the game is to create and then inhabit a character, who is not you, and yet in many ways is. Given my fascination with D&D, Identity and MBTI more specifically, I began thinking about how they might interact.</div>
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Thus, I had an idea to take several of the 4th edition classes and look at the archetypes they represent and then analyse them in terms of MBTI, covering one class for each of the 16 types. I attempted to cover as many of the iconic classes as possible, and as I said I am looking at certain stereotypes within these classes, for as any D&D player will know, your character is not summarised by their class. </div>
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One of the things I found most interesting about writing this was the fact that I felt absolutely no need to squeeze or manipulate, the types seemed to readily gel with the class to which I assigned them. </div>
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So, without further ado, let us take a look at the classes.</div>
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<h3>
Analysts</h3>
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<h4>
INTJ (The Strategist) - The Monk</h4>
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The primary function of the INTJ is Introverted Intuition, focusing on gathering understanding through overall patterns and symbols. In the same manner, the Monk is an intently introspective class, who increases their proficiency within their class through seeking inner truths within themselves. They use mantras, meditations and other kinds of symbology to guide them on their path, though also rely on their own inner visions and innate understandings. Furthermore, they seek to establish an organised system through which they can understand the world, though this is done in a personal manner, with the universal truths reached through an individual encounter. Monks also attempt to impose an organised structure of belief onto the external world, no matter how much chaos may surround them, able to rationalise even chaos. They are largely rational, though this does not render them unemotional, seeing reality as a project to be understood, thus matching the Extroverted Thinking element of this type. Monks are focused on the virtues and values which they seek to uphold, with these being internally balanced. They determine the worth of that which they encounter based on its underlying truth as it links to their introspective journey. Monks can often seem cold and distant, so ultimately devoted to their strict regime, which keeps them in their monasteries far from the “real” world. However, they do have depth of feeling, they simply fail to express it verbally or openly, though it can be seen in their actions. Finally, they are aware of their surroundings in such a way as they are able to respond quickly to stimuli, as demonstrable by their fighting ability and supreme reflexes.</div>
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<h4 style="text-align: justify;">
INTP (The Architect) - The Wizard</h4>
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<div class="MsoNoSpacing" style="text-align: justify;">
A Wizard is constantly seeking
to understand the world in which they live, trying to comprehend the magical
elements and organise them into an academic system. In this sense, they are
primarily based in Introverted Thinking, for they are constantly examining
small pieces of a much larger puzzle (each individual spell is one fragment of
the whole of magic) and testing it to see just how it relates to the wider
system. However, they do not always engage with magic in a strictly rational
manner, sometimes having to relax their overt rationality and instead opt for a
more relaxed and free-flowing interaction. Wizards need to be able to notice
patterns and trends whilst examining the great complex problem that is magic,
when attempting to uncover more, they need to be able to entertain multiple
trains of thought. In this way, magic can also become a game. Every experience
for a wizard is a chance to learn and they are constantly comparing the now to
past experiences and allows them to begin forming an expectation of what is to
happen in the future. This is largely empirical and is used by the wizard to
conduct experiments and allow them to then plan how to continue with their
arcane investigations. Their devotion to advancement and magical progression
often leads wizards to hold in their emotions in order to allow a greater
degree of progress. They wish to create an environment of good natured
competition and harmony, to allow collaboration to produce increased
understanding to be attained. However, this harmony also enables the wizard to
retreat and then return to the group as needed. <o:p></o:p></div>
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<tr><td style="text-align: center;"><img alt="Assassin by shenfeic" src="http://38.media.tumblr.com/e6b0e51b174a57065b490fc08e0fbdeb/tumblr_nae5w2xcyI1s1moyro1_1280.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="282" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://38.media.tumblr.com/e6b0e51b174a57065b490fc08e0fbdeb/tumblr_nae5w2xcyI1s1moyro1_1280.jpg">Image </a>posted by <a href="http://little-dose-of-inspiration.tumblr.com/">Little Dose of Inspiration</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
ENTJ (The Commander) - The Avenger</h4>
</div>
<div>
<div class="MsoNoSpacing" style="text-align: justify;">
Avengers exist for a single
reason: to hunt down the enemies of their God. They serve divine beings,
ultimately beyond the ken of mortals who have their own plans for the moral
world and they share this plan almost completely. Avengers see the world as
being in a state in which it should not be. They see it as fallen away from the
vision they have of it, the vision of their God. Thus, they seek to impose
their ideas upon the outside world, through slaying one of heretical foes at a
time. In order to see this plan reach fruition, the Avenger must be able to
combine as many ideas and clues as possible in order to look into the future
through their secondary function of Introverted Intuition. They must deal both
in the abstract and in the practical if their holy vision is to be fulfilled.
However, the Avenger cannot always deal with grand schemes and overarching
plans, they must deal with immediate situations to overcome present obstacles. They
are expected to defeat the enemies of their God, those who stand in their way,
thus they require an awareness of the physical world. The emotions of the
Avenger are rarely expressed outwardly, instead expressed in quiet gestures.
Should one attempt to encourage them to verbally express their feelings, the
Avenger would express great conviction, bordering on the melodramatic. Thus, they
mostly keep to themselves, drawing strength enough from their convictions.</div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
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<tr><td style="text-align: center;"><img src="http://th01.deviantart.net/fs70/PRE/i/2011/214/4/c/dungeons_n___dragons_warlock_by_scrawnysquall-d34n1k8.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="305" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://th01.deviantart.net/fs70/PRE/i/2011/214/4/c/dungeons_n___dragons_warlock_by_scrawnysquall-d34n1k8.jpg">Image </a>by <a href="http://scrawnysquall.deviantart.com/">Scrawny Squall</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
ENTP (The Inventor) - The Warlock</h4>
<div class="MsoNoSpacing" style="text-align: justify;">
<o:p></o:p></div>
<div style="text-align: justify;">
The Inventor is unique and focused
on making connections, likewise the Warlock’s art is just that, an art. They do
not master the arcane through discipline and academia, but instead through
intuition and through force of will and personality. Their powers are
individual in nature, granted by the relationships they form with beings and
creatures beyond the ken of mortals. Existing outside of the usual norm,
Warlocks challenge the status quo, they raise questions and are always able to
argue against another’s view, serving as devils advocates (such a pun). Their
precise ability to deconstruct an argument and turn it on its head is an
indication of keen mental abilities, though it is often not used to further the
creation of their own belief structures, as their spontaneous drive often overpowers
it. The Warlock uses their emotions to channel their powers and thus they are
able to express themselves and form emotional connections to others easily if
they so choose. Though they deal with dark forces, it is not impossible for
their more emotional and harmonious, good-natured side to bloom, especially in
Warlock heroes. Finally, the Introverted Sensing element of the Inventor acts
to counterbalance the Warlock’s desire to rebel, for whilst they consistently
question the norms and proclamations given by society, they rarely chose to
reject them all, often choosing to obey in many situations. </div>
<div style="text-align: justify;">
<br /></div>
<h3 style="text-align: justify;">
Diplomats</h3>
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<tr><td style="text-align: center;"><img alt="It&#8217;s strong. It&#8217;s beautiful. It&#8217;s women&#8217;s armor done RIGHT. Thank you, Eva Widermann!
Artwork@Wizards of the Coast" src="http://38.media.tumblr.com/5ee3c146cc30d7ef8a7a7dd073b8d20b/tumblr_mf16vn01WN1rmlr6io1_500.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="299" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://38.media.tumblr.com/5ee3c146cc30d7ef8a7a7dd073b8d20b/tumblr_mf16vn01WN1rmlr6io1_500.jpg">Image </a>posted by <a href="http://armordoneright.tumblr.com/">Armor Done Right</a></td></tr>
</tbody></table>
<h4>
INFJ (The Counsellor) - The Cleric</h4>
<div>
<div class="MsoNoSpacing" style="text-align: justify;">
More than any other type
(excluding, perhaps, INTJs), Counsellors are aware of the unconscious processes
and often unseen influences which go on inside of each individual. Clerics too
require this kind of insight into others, this almost supernatural affinity for
understanding and clarity when it comes to those around them. Though they work
within a belief system, the Cleric’s potency for understanding allows them to
deal with individuals, rather than with placeholders to be dealt with
dogmatically. Each individual needs something slightly different and the Cleric
understands this, led by their Introverted Intuition, which also deals with
their faith, allowing them to interface with these complicated and theological
concepts with greater ease than most. Clerics are emotionally aware people and
they possess an exceptional depth of feeling, though they also consider others,
with their emotional focus oriented outwards, thus creating a divide between
the desire to express themselves and the willingness to allow others the
freedom from their own expression. Clerics rarely express their own emotional
difficulties, and if they do it is only to a select few. Instead, they are more
concerned with the feelings of others. When engaged in thought, the Cleric is
likely to retreat from others, allowing themselves the time and space to
logically organise their inner world, which is largely formed from visions, convictions,
ideas and feelings, all of which can lead to chaos if they are not somehow
controlled. This Introverted Thinking is most clearly demonstrated in the
Cleric’s need to meditate and pray. Though they ultimately live in a world of
ideas and ideals, Clerics are able to appreciate the real and the pragmatic,
though this is the area in which they perhaps least excel. They enjoy home
comforts and have a great appreciation for the little things life is able to
offer them. However, the Cleric is far more at home with the less defined areas
of existence, in the realm of ideas and feelings, of people and faith.</div>
<div class="MsoNoSpacing" style="text-align: justify;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="PHoto by
https://www.facebook.com/JukkaAlasaariPhotography" src="http://38.media.tumblr.com/a4bc8e282952b4bcf623e58f3d6285fc/tumblr_n9rvkrOXVY1raybp3o1_500.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="278" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://38.media.tumblr.com/a4bc8e282952b4bcf623e58f3d6285fc/tumblr_n9rvkrOXVY1raybp3o1_500.jpg">Image </a>posted by <a href="http://ladymantheniel.tumblr.com/">Lady Mantheniel</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
INFP (The Idealist) - The Druid</h4>
<div class="MsoNoSpacing" style="text-align: justify;">
<o:p></o:p></div>
<div style="text-align: justify;">
Idealists are, fundamentally,
pulled away from the world and towards the ideal and whilst some might consider
this to put them at odds with a nature oriented class, one must recall that
Druids act both as guardians of nature and emissaries to the spirit world. Ultimately,
they see the power of nature as something deeply personal, which enhances their
individual inner world, but which is also excellently expressed and thus
communicable, which is exceptionally important for a Diplomatic type. Value for
a Druid is something which is judged in comparison to their inner ideals, which
are based around the virtues provided by nature, embracing both elements of
harmony and competition. Druids are able to understand and express the
complexity of the natural and spiritual worlds, able to embrace both the
serenity and ferocity present within nature. Every facet of the spiritual leads
into newer facets, for the spiritual explorations of the Druid are endless.
When observing nature, the Druid does so in a very personal and intimate way,
allowing them to use their senses as a route into memory, drawing them towards
an inner harmony, often considered to be a central part of both the Idealist
and the Druid. Finally, Druids do turn their attention to the outside world,
especially when they need to protect their own environments and restore their
inner vision of what the world should be like. More often than not, however,
Druids are willing to let the world deal with its own problems, especially
beyond their immediate environments. They prefer to guide than overpower.</div>
<div style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="Sands of the Soul by Raymond Swanland" src="http://37.media.tumblr.com/409307f288811224c9afea535a56d75e/tumblr_naltouMp1E1tjzi7vo1_500.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="251" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://37.media.tumblr.com/409307f288811224c9afea535a56d75e/tumblr_naltouMp1E1tjzi7vo1_500.jpg">Image </a>posted by <a href="http://swordsandsorcerers.tumblr.com/">Swords And Sorcerers</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
ENFJ (The Giver) - The Ardent</h4>
<div class="MsoNoSpacing" style="text-align: justify;">
<o:p></o:p></div>
<div style="text-align: justify;">
The power of the Ardent is
emotion and in the same way the Giver’s primary function is Extraverted Feeling.
Their primary role is to bolster and empower those around them through acting
as a supernatural caregiver, literally manipulating and uplifting the feelings
of their comrades in order to lead them forwards. This emotional fluency is not
solely positive however, for the Ardent is able to turn the emotions of their
enemies against them, just as any ENFJ knows exactly what to say to upset
somebody else, though they ultimately wish to spread positivity and promote
harmony. Ardents can experience the emotions of others as well as express their
own, they pull emotionally energy into themselves from external sources,
finding great strength, but also weakness, in other people. When it comes to
understanding, Ardents use emotion as a gateway to conceptual thought and
process things within themselves, led by an inner vision, an ideal which they
wish to see expressed in the world. Importantly, whilst an Ardent might live
primarily in a world of feelings and abstract ideas, they remain grounded in
the physical world and are able to tie their more conceptual side into the
every day. Whilst they can be cold and logical, this style is only ever used if
its implementation and results are supported by that which feeling produces.
Rationality can be a useful tool, but Ardents deal with people, who they
understand emotionally, rather than rationally.</div>
<div style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="
Pulled myself out of my art slump with this portrait of my ranger, Idryd! I dunno what it is about the salads, but I love them so. :B
[Submitted by kisskicker]" src="http://38.media.tumblr.com/dc5a2fbf0c94d5919c5327bd931e37bb/tumblr_n82ezjMU4a1tsmq13o1_1280.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://38.media.tumblr.com/dc5a2fbf0c94d5919c5327bd931e37bb/tumblr_n82ezjMU4a1tsmq13o1_1280.jpg">Image </a>posted by <a href="http://guildwars2.tumblr.com/">Guild Wars 2</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
ENFP (The Champion) - The Ranger</h4>
<div style="text-align: justify;">
A ranger lives in a world of sensory information, the wild, this much is true, though their major focus is on upon that which is, but upon the abstract connections and potentials which exist within the natural world. All of nature is interlinked and the ranger understands this well enough and seeks to understand it further. They have a huge respect for the natural world but also know how to exploit it to their advantage in ways that those not native to it cannot even begin to fathom. Rangers seek understanding of themselves through the natural world and their connection to it, especially those who fight side-by-side with a beast companion. A Ranger’s convictions and ideals are often their own and whilst they are able to greatly connect with those who share them, they often do not seek to promote them in others, at least not with exceptional further. Mostly, Rangers are content to live the way they do, firm in their own beliefs. However, this general trend is coupled with a seemingly contradictory desire to promote respectful use and harmonious interaction with the natural world, thus there is an element of a desire to change the world in which they live and to be able to share their lifestyle with others. Being in the natural environment for so long, the Ranger is forced to learn by trial and error, comparing current experience to memories.</div>
<div style="text-align: justify;">
<br /></div>
<h3 style="text-align: justify;">
Sentinels</h3>
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<tr><td style="text-align: center;"><img alt="Goblin illustration for Tellest by PRDart
Check out Michael DeAngelo&#8217;s Tellest!:
http://tellest.com/" src="http://37.media.tumblr.com/dc38bc0d865fd759612ab3acec0eadc3/tumblr_nb0183bC1Z1so9972o1_500.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="300" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://37.media.tumblr.com/dc38bc0d865fd759612ab3acec0eadc3/tumblr_nb0183bC1Z1so9972o1_500.jpg">Image </a>posted by <a href="http://thetygre.tumblr.com/">The Tygre</a></td></tr>
</tbody></table>
<h4>
ISTJ (The Guardian) - The Fighter</h4>
<div>
<div class="MsoNoSpacing" style="text-align: justify;">
Guardians are firm
traditionalists and in the same vein, Fighters rely on discipline, practice and
training in often ancient, or at least established, styles of fighting. They
are hugely based within trial and error, only really able to learn and art like
fighting through practice and training. It is hardly something that theoretical
experience alone can teach. The fighter seeks to use their skills and their
understandings in order to fight for something. Naturally, this leads to the
imposition of their will and desire on the outer world through the promoting of
a cause and lending their martial strength to it. For the Fighter, achieving a
goal is often a case of progressing towards it, one clearly-defined step (or
battle) at a time. Their power based in the physical world, Fighters are
practically minded. Whilst able to feel deep and powerful emotions, just as any
type, Fighters, who are often soldiers and thus deal with death more regularly
than most, are able to contain those emotions within themselves and only
express them through gestures and actions rather than with words. A Fighter may
jest about his feelings, though honest expression is rarely through lengthy conversation,
unless they are experiencing a period of great strength. Fighters love facts
and, whilst they must be able to have at least some ability to deal with
potentials and possibilities, especially when it comes to battle tactics, they
often find it difficult to look beyond what is immediately present, though this
does make them unfailingly practical.</div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
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<tr><td style="text-align: center;"><img alt="Northern Cross Priestess by lasahido" src="http://38.media.tumblr.com/1935dcf536abb81498647f804588aa15/tumblr_mz84gvjdMj1rfyiu4o1_500.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="371" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://38.media.tumblr.com/1935dcf536abb81498647f804588aa15/tumblr_mz84gvjdMj1rfyiu4o1_500.jpg">Image </a>posted by <a href="http://scifi-fantasy-horror.com/">SciFi-Fantasy-Horror</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
ISFJ (The Protector) - The Invoker</h4>
<div style="text-align: justify;">
An Invoker may devote a great deal of their time to promoting a particular vision of what the world should be like, though much of the work towards this is done inside themselves, for they must first come to terms with their ideas about the world in which they live. They primarily deal in the general ideas, principles or platonic forms, the shape and nature of which are given to them by the Gods to whom they are sworn, allowing them to then develop codes and axioms through which they can approach the outer world. Their approach to this world is one of emotion, in which they use their own passion to ignite a fire within the hearts of those around them in order to promote their particular vision of the world. However, their promoting of this world view is not done without a constant questioning of the inner ideals they possess. Though their dedication to their Deity is great, for Protectors are extremely loyal, they do consistently question the best way in which to realise their will. To this goal, they are tireless. However, it is possible for the Invoker to become ungrounded by their devotion to their ideals and begin to slip away from the immediate situation, which is a snare they might seek to avoid.</div>
<div style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="Crusader by shenfeic" src="http://31.media.tumblr.com/5a1582ab94d37ee25992f34ead97c788/tumblr_n4wh5h1cKX1reohnuo1_500.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="282" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://31.media.tumblr.com/5a1582ab94d37ee25992f34ead97c788/tumblr_n4wh5h1cKX1reohnuo1_500.jpg">Image </a>posted by <a href="http://mererecorder.tumblr.com/">Mere Recorder</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
ESTJ (The Enforcer) - The Paladin</h4>
<div style="text-align: justify;">
The Paladin is often closely united with tradition and the established order, through the form of religious organisations and because of their involvement with these orders they have certain religious principles drilled into them. Through the implementation of these principles, the Paladin is able to make difficult and impersonal decisions quickly and remain dedicated to their conclusions. Their motivation is to seek truth and that which is right, able to clearly define their objectives (which are often prescribed by their Deity) and the steps which must be taken to work toward it. They deal with internal concepts in the form of virtues and religious principles, though this Introverted Sensing is held in check by the Extroverted Thinking which dominates the Enforcer type, yet it does give them a love for discipline. In spite of this discipline and typically black and white way of seeing the world, the Paladin is able to consider things beyond the immediate and think about possibilities, though this is a skill to which they do not automatically end themselves, for they are far more intently focused on matters of fact and how those facts and situations can be manipulated. Ever stoic, a Paladin does not lend themselves to expression of emotion, their feelings kept in check by their radical discipline.</div>
<div style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="Reclamation Sage by Clint Cearly" src="http://37.media.tumblr.com/6b49dfd794f7164bbd231c90f4aca8e5/tumblr_naq4woeGXo1tjzi7vo1_1280.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="300" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://37.media.tumblr.com/6b49dfd794f7164bbd231c90f4aca8e5/tumblr_naq4woeGXo1tjzi7vo1_1280.jpg">Image </a>posted by <a href="http://swordsandsorcerers.tumblr.com/">Swords and Sorcerers</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
ESFJ (The Provider) - The Barbarian</h4>
<div class="MsoNoSpacing" style="text-align: justify;">
Barbarians live in a world of
raw feeling and sensation, ultimately driven by their emotions. They are drawn
to the physical and express themselves with regard to the outer world and the
people they find there. Often, they are warm and caring people, even if their
sense of humour can be on the morbid side, on occasion. It is through
harnessing these emotions that the Barbarian is able to make a difference in
the world, through taming their inner fire and only allowing themselves to
release control at the opportune moment: the Barbarian’s Rage is an
archetypical example of Extroverted Feeling. All Barbarian interactions with
the world seek to feed or quench this inner fire. They are certainly able to
refract and stew on their experiences and, when feeling inevitably becomes involved,
things can become blown out of proportion. Providers wear their hearts on their
sleeve. Barbarians also display some of the more relaxed approaches of
Extraverted Intuition, for one must remember that, as a primal class,
Barbarians are tied to the spiritual and to the realm beyond the mortal.
However, driven as they are by emotional responses to the physical world, the
Barbarian’s ability to deal with the more abstract parts of their philosophy is
perhaps not quite as deep as to allow them to fully grasp it. This is no real
bother, however, for such systems need followers who are oriented more to the
physical world, rather than the Druids, whose focus is on the spiritual. So
focused on expression and emotion, nothing upsets the Barbarian more than the
thought of having to deal with those whose systems are more rigid and who do
not express themselves openly. <o:p></o:p></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<h3 style="text-align: justify;">
Explorers</h3>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img alt="Halt Order" src="http://38.media.tumblr.com/2b3fef5a2b7adf74171d0f5d9f93061e/tumblr_naz59sHI441thxsmlo1_1280.jpg" height="257" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://38.media.tumblr.com/2b3fef5a2b7adf74171d0f5d9f93061e/tumblr_naz59sHI441thxsmlo1_1280.jpg">Image </a>posted by <a href="http://mirageart.tumblr.com/">Mirage Art</a></td></tr>
</tbody></table>
<h4>
ISTP (The Crafter) - The Artificer</h4>
<div>
<div class="MsoNoSpacing" style="text-align: justify;">
Analysis and the ability to
deconstruct and reconfigure the arrangement of an argument or an idea is key to
the Crafter and, as inventors (in the non-technical sense) themselves,
Artificers rely on their keen ability to interact with that which they are
working on, precision and dedication being key. Their thinking is Introverted
and thus centred on themselves, and the Artificer is a free spirit at heart, preferring
to be left alone to get on with their own business, to create and invent in the
privacy of their own laboratory. Sensory experience is also of great importance
for the Artificer, for they need to look out at the world and see that which is
lacking and how their inventions could perhaps fill that void. Artificers are
prone to see their work as a puzzle, as a detective story and thus conduct themselves
accordingly. Though their intuition is not the most developed of their
capabilities, Artificers do possess the function of Introverted Intuition,
which allows them to access their gut instincts, though this is not usually
something over which they have much influence or control, instead allowing such
instincts to come when they come, rather than seeking them out. Both rational
and spontaneous, the Artificer has little trouble expressing their emotions,
though their emotional part is almost entirely subservient to their more
rational and sensing elements.</div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
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<tr><td style="text-align: center;"><img alt="Stained Glass Monsters by Julie Dillon" src="http://38.media.tumblr.com/17a98876247d22a7e7549eb3aef0e175/tumblr_nabd0ytlKh1tjzi7vo1_1280.jpg" height="640" style="margin-left: auto; margin-right: auto;" width="426" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://38.media.tumblr.com/17a98876247d22a7e7549eb3aef0e175/tumblr_nabd0ytlKh1tjzi7vo1_1280.jpg">Image </a>posted by <a href="http://swordsandsorcerers.tumblr.com/">Swords and Sorcerers</a></td></tr>
</tbody></table>
<h4 style="text-align: justify;">
ISFP (The Composer) - The Psion</h4>
<div class="MsoNoSpacing" style="text-align: justify;">
<o:p></o:p></div>
<div style="text-align: justify;">
Dominated by Introverted
Feeling, the Composer’s focus is on the self, though this is ultimately not a
selfish attitude, for they seek a clarity of emotional understanding the focus
of which is largely independent of the outside world (though not entirely).
Comparatively, Psions live very much within their own minds and their powers
are stimulated largely from their inner values and understandings. It is no
surprise that they match this type when one considers that the growth of a
Psion is not the same as that of a Wizard, in that it is not abstract and
academic but more of a personal journey within the self in order to unlock
inner, psionic power. Both are thus dominated by Introverted Feeling. Their
powers, however, are not so self-contained, for the very mark of a Psion is one
who can take their inner power and express it into the physical world. This is
not done emotionally however, though the Psion does possess a strong awareness
of their environment, specifically oriented towards how they can manipulate it.
Though their power comes from the mind and the inner world, they enjoy and take
great pleasure in the outer world through Extroverted Sensing. At the back of
their inner world are the wild and free concepts of psionic power, and whilst
Psions possess the ability to take great advantage of their gut instinct, this
instinct is relatively undeveloped and their ability to deal with the abstract
can often become strained by the implications of their powers and abilities.
Thus, many Psions must devote a great deal of time to developing this
self-reflection. Finally, Psions do possess an ability to use Extroverted
Thinking in an attempt to impose an organising structure upon the world.
However, as their minor function, it is not always possible to do this with
great precision, though this is not to suggest that a Psion is unable to deal
with and seek to impose such structures.</div>
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<h4 style="text-align: justify;">
ESTP (The Adventurer) - The Rogue</h4>
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Of all the classes, Rogues
rely most on their sensory experiences and input in order to survive, though
the means of Extroverted Sensing. They do not possess the strength of Fighters
or the magical abilities of the Wizard and yet they are able to handle
themselves in the vast majority of situations based solely upon their own wit
and perception. A Rogue is entirely immersed in the moment and through the use
of their senses, they come to understand their environment and manipulate it to
their advantage. This ability does not begin and end with the physical
environment, however, for the Rogue is also exceptionally adept at reading
other people and noticing consistencies within behaviour patterns, as well as
being able to monitor such things within themselves, giving them a cunning edge
when it comes to deception. Though they rely on impulse and their senses,
Rogues retain a strong analytic ability, able to focus on the details of a
situation and how the details relate to the bigger picture. Through this
Introverted Thinking function, the Rogue is able to formulate plans of action,
though they do ultimately rely on their senses and thus their plans can change
very quickly. The feelings of a rogue are often used for their own pleasure
and, whilst this does not rule out their having deep relationships with others,
the typical rogue is far more interested in hedonism and pleasure, this being
due to their fluency in sensation. They are also able to use emotions in a
manipulative manner, giving them the ability to influence others through their
feelings. Rogues are, however, often not fluent with sincere feeling and thus
this can be their undoing. The Rogue also retains the ability to deal with
abstract concepts and ideas, which can help them in producing original ideas.
Ultimately, however, they are more acquainted with the actual than the
potential.</div>
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<tr><td style="text-align: center;"><img alt="Bard by Clint Cearly" src="http://38.media.tumblr.com/5d9d89a4cf82ef8457b077b82be64f14/tumblr_naq4s2JAsl1tjzi7vo1_1280.jpg" height="640" style="margin-left: auto; margin-right: auto;" width="479" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://38.media.tumblr.com/5d9d89a4cf82ef8457b077b82be64f14/tumblr_naq4s2JAsl1tjzi7vo1_1280.jpg">Image </a>posted by <a href="http://swordsandsorcerers.tumblr.com/">Swords and Sorcerers</a></td></tr>
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<h4 style="text-align: justify;">
ESFP (The Performer) - The Bard</h4>
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<o:p></o:p></div>
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A type associated with those
who live life to the full and who often see life as a constant celebration, it
is appropriate to consider the Bard to be of the Performer type. The Bard is
primarily focused on the here and now and this means that they can often become
lost in their own performances, able to inhabit the music in a very immersive
manner. They focus upon allowing others to share in their own experiences, and
experience is fundamentally important for the Bard, for they consistently seek out
that which they have not yet experienced and dream of feeling something truly
novel. The Bard needs to experience new things, need to experience the now, for
this is exactly how they find the material for their next composition. Bards
are also exceptionally emotional, though they often struggle to express their
feelings beyond their performances, which take solitude and introspection to
organise and prepare for. A Bard will deal with their emotions in private, thus
demonstrating Introverted Feeling, though this does not prevent them from
expressing themselves indirectly, through their work. Bards are often viewed as
being deeply poetic types, the kind of person one might be able to take
advantage of and this can often be the case, though they do possess the ability
to ward off such manipulations through transforming their inner expressions
into a plan of action, though this is ability is not as strong as they might
like. Finally, Bards deal with some complicated ideas within their works and
they thus possess the ability to look out into the expanse of possibilities and
observe the connections between various concepts. However, they are ultimately
devoted to expression and thus often do not seek to develop this ability. </div>
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I know this entry has been exceedingly long, so huge thanks for reading!</div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com4tag:blogger.com,1999:blog-4886786965159998255.post-14968555592475635192014-08-25T14:47:00.000+01:002014-08-25T15:07:21.706+01:00Feeling the Force – Emotion within the Religions of Star Wars<div style="text-align: justify;">
A topic covered extensively by many Star Wars enthusiasts concerns the links of the Jedi religion to that of various schools of Buddhism. I, for one, have definitely noticed (not so much when I first experienced the series as a child, more so now that I have done some peripheral research into various Buddhist topics) how readily certain ideas within the Jedi religion lend themselves to comparison with some ideas within the Buddhist belief structure. </div>
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Of course, there are many who love the series who would argue that such comparisons are of no merit, as we are dealing with a fantasy world here. To those individuals I would say, fair enough, you can consider it to be pure escapism if you wish, but also that the world we live in is so amply called a world, as it is our entire realm of experience. Thus, it informs any attempt to escape it, it bleeds into the fantasies we create for ourselves and there are many of us who enjoy picking apart these fantasies, not with the intention to be critical of them (at least not all the time) but to use the ideas presented within it as a kind of thought experiment, as a projection of thought which might be able to reveal to us something about the world beyond the escapist fantasy.</div>
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S - Lpis" src="http://31.media.tumblr.com/f07c90202e031bf575cead49b80efbf8/tumblr_naqakxcV621sn3ne4o1_500.jpg" height="400" style="margin-left: auto; margin-right: auto;" width="280" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://31.media.tumblr.com/f07c90202e031bf575cead49b80efbf8/tumblr_naqakxcV621sn3ne4o1_500.jpg">Image </a>posted by <a href="http://quarkmaster.tumblr.com/">Quark Master</a></td></tr>
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My intention is not to replicate a post drawing such comparisons, for sources (which are far more informed than I) have already done so. However, to provide an illustration of the kinds of comparison I am discussing, one need only look at the concept of the Force. Within the Star Wars universe, the Force is a power which resonates throughout the whole of creation, a metaphysical power which is linked to life itself. This in itself can be compared to eastern ideas of the Chi, though the more interesting comparison comes with the examination of the idea that Jedi strive to become unified with the force after they die. Likewise, within Buddhist thought, the goal is to avoid rebirth through relinquishing attachment and achieve a unity with the rest of creation, ultimately relinquishing one’s individuality, which is, within Buddhism, often viewed as illusory. Of course, some of those who achieve such unity remain as force ghosts, though this in itself is comparable to the idea of certain figures within Buddhism who are able to return to this world in order to help guide those who have yet to attain Nirvana. </div>
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Now that I have addressed such cavils, it is time to turn my attention to that which I wish to focus on in this entry: Emotions.</div>
<h3>
Jedi Catechisms</h3>
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Presented above is the Jedi Code, the central tenants of their religion, the principles which inform their actions, which guide them on how to behave. True enough, the code itself does not provide instruction in the same as, for example, the ten commandments of the Judeo-Christian faith. Instead, this code present a series of assertions which are phrased somewhat metaphysically. They are presented in pairs, denying one thing and affirming its opposite. On one reading, we could consider this to be actively denying the existence of certain things, though a more likely interpretation is that they are presenting certain ideas as undesirable. </div>
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Emotion, ignorance, passion, chaos and death all exist. They are not things which can be denied, at least not in the same way that certain metaphysical concepts (with the exception of chaos, which is one such metaphysical concept) can be doubted, for they are each very real parts of the experience of life. </div>
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Thus, I consider the code to be largely arguing against certain concepts, prescriptively instructing its adherents to move away from them and instead embrace certain other ideals, which are contrasted against those prohibited. </div>
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Some of these contrasts, however, seem to be somewhat questionable. When someone is peaceful, they often say that they “feel” peaceful or they “feel” at peace. Likewise, we experience our emotions as a “feeling”. This does not entirely deconstruct or disregard the comparison which has been established here, but it allow us to contrast the two concepts without viewing them as being in complete opposition. Likewise, serenity and passion are by no means entirely opposed, for the former is a lack of trouble and the latter is simply and enthusiasm or desire. Naturally passion can often lead away from serenity, but, unless we understand serenity as opposed to excitement (which is possible), then there is no reason to see them as in direct opposition. Finally, chaos and harmony are by no means opposed. Chaos is opposed to orderly, whereas harmony means without opposition. I consider it possible for something to be without order yet without opposition. Of course, here chaos is characterised in its links to destruction, though we need not consider these two ideas wed. </div>
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<blockquote class="tr_bq">
“Attachment is forbidden. Possession is forbidden. Compassion, which I would define as unconditional love, is essential to a Jedi's life. So you might say, that we are encouraged to love.” - Anakin</blockquote>
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Fundamentally, the Jedi are against emotions, against attachments. On the surface, this seems relatively unproblematic, for it seeks to attain an ethical ideal in which one surrenders their ego, their self-centeredness and attempts to give themselves entirely to others generally, rather than to another individual. It seeks complete equality, to open up compassion to all with not conditions required. At first, it seems like this is a good thing, that this is something we should all try to work towards. Whilst I agree that a little more selflessness would be a good thing and that I would more than encourage others (and myself) to seek to act with greater depth of compassion, striving to undo attachments does cause a few problems.</div>
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First of all, this kind of extreme equality completely deconstructs and eliminates what we can term “Relationships of Preference”. By this I mean any kind of relationship which, by definition, requires preferential treatment. The most iconic of these would be marriage or committed romantic attachment. You save your loved one over a stranger because they are your loved one. In virtue of being your loved one, granting this kind of preferential treatment is, in a way, required. Of course, this has limits. It is more justifiable to save your loved one over one stranger, less so to save them over five strangers and almost completely non-justifiable to save them over one thousand strangers.</div>
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Of course, Jedi, like many members of religious orders, are discouraged from forming romantic attachments, engaging in sensual relations and producing children, so these love relations are openly forbidden by them, thus weakening the criticism. This is true, but romantic relationships are not the only Relationships of Preference. Another, more important one is friendship.</div>
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Friendship too is a relationship of preference, for you favour your friends over those you do not know. If you do not, then the integrity of the friendship is called into question. Obviously, friendships, as with all human relationships, are complex and vary infinitely based on the difference combinations of individuals and circumstances. Yet, underneath the specifics, the very concept of a friendship is one based on preference and attachment.</div>
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Yet, these two things are forbidden by the strict ethical aspirations of the Jedi, at least in theory. In practice, attachments are obviously going to develop between masters and padawan and between members of the order more generally. However, underneath this, their spiritual philosophy does not encourage them to embrace such attachment, but to attempt to transcend it.</div>
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I am not sure on my thoughts on this, at least not entirely, though I think it difficult to build a belief system based on compassion if, at its very centre, it conceptually forbids all preference and therefore the very idea of friendship. </div>
<div>
<h3>
The Dark Side</h3>
<blockquote class="tr_bq">
“Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering.” - Yoda</blockquote>
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Now, the Jedi have their reasons for this opposition to emotions, as they seek emotions themselves as a link to what they deem to be the evil, Dark Side of the Force. According to their believe system, anyone who attempts to wield the force and yet who embraces their emotions is doomed to fall from the light side of the force and become corrupted by a force of destruction, leading away from equality and peace and into rage, domination and passion.</div>
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Presented above is the Sith Code, which presents itself more as a pathway than the code of the Jedi. It opens through establishing passion as truth, contrasting it to peace and then showing how this can lead one onwards into other, stronger concepts, with the ultimate goal being that of freedom.</div>
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If they Jedi seek unity with the force and to undo the bonds of individualism, the Sith seek to wholeheartedly bask in their ego, in their individual identity. This comes with a terrible narcissistic side effect, in turn leading to megalomania. Essentially, the Sith embrace what the Jedi try to escape: emotion, particularly the darker feelings of fear and hatred. In embracing these feelings and harnessing their strength, the Sith gains great power, but they do so at the expense of their own control, for ultimately they become slaves to their own unfettered emotions, which they are unable to impose control over, for fear of losing them and thus the source of their own power. </div>
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Sith are powered on uncontrolled desire and there is a possible allusion to the philosophy of Nietzsche, more specifically the idea of the Will to Power, which is loosely considered to be the driving force behind all humanity: the desire for influence and power. Likewise, the Sith ultimately seek control, corrupted by their uncontrolled desires.</div>
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However, the Jedi have seemingly tarnished all emotion due to the threat of the Dark Side. Rather than acknowledging that darker emotions can bring a great amount of power and corruption and yet realising that this corruption is not only linked to darker emotions but also to the manner and degree with which they are embraced, they instead treat the very concept of emotion as the element of corruption. </div>
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One possible argument, which I personally do not regard highly, is that the Jedi are not at all contra emotions, but instead they oppose themselves to uncontrolled emotions, to wild and unshackled passion, which, alongside the emotions involved, seems to be half of that which leads to one’s becoming a Sith. However, the very first line of the Jedi code “there is no emotion” defies this interpretation, as it sets their entire philosophy up in opposition to the very idea of emotion.</div>
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Fundamentally, I consider attachment and emotions as something which has an important role within the life of a human being. I sympathise with the Buddhist viewpoint, as a great deal of suffering lies within such things and I definitely contend that there is something important in their attitudes. Releasing yourself of some attachment and feeling can be excellent, but removing it entirely, seems to strip you of one of the most innately human aspects of being a person.</div>
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<tr><td style="text-align: center;"><img alt="Maul
By:rashomike" src="http://33.media.tumblr.com/c470146a9d569500e09d4ebfb2ab40d6/tumblr_n9bskaxiZd1sjocryo1_500.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
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<div style="text-align: justify;">
Of course, we cannot go the other way and wallow in our feelings all the time, as reason as an equally important part to play within the framework of being. A concept which is explored within the work of Plato is the idea that passion and desire are both important for the individual to be a complete person, yet must always be guided (not controlled, as some might think) by reason and rationality. </div>
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Star Wars however, does not do this. Its narrative, especially within the film series, less so in the expanded universe (which is, in my opinion, the best part), very clearly establishes it as a fight between good and evil, with the Jedi and their “emotionless” philosophy firmly presented as good with any alternative presented as wrong or associated with the Dark Side. Ultimately, Star Wars seems to hold a strange message that emotions cannot be trusted, that those with power (shown within as the force) must always strive to abstract away from the emotions which make us fully fleshed out individuals.</div>
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My attitude it simple: both sides are wrong in their approach to emotions and this is why neither of them ultimately manage to succeed, as even though the films conclude with the fall of the Dark Side, one glance at the expanded universe reveals that light and dark have struggled and overcome one another cyclically throughout history. </div>
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Therefore, I consider neither the Jedi nor the Sith to have the ultimate philosophy due to their inability to deal with emotions in an understandable manner. Emotions are fundamentally important to us both as indicators of identity, and also as elements of morality (those moral systems which attempt to abstract away from emotion seem to ultimately prove hollowly impractical) and thus cannot be expunged, as the Jedi would have it. However, they cannot be allowed to run riot, otherwise we result in an inability to exist within plurality. Uncontrolled emotions allow the ego to swell, make an individual truly that, individual with no ability to recognise the full humanity of another person. Only through tempering emotion with empathy and compassion can this be achieved. </div>
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Thanks for reading :)</div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com1tag:blogger.com,1999:blog-4886786965159998255.post-59309751680200834472014-08-18T10:00:00.000+01:002014-08-18T10:00:01.215+01:00Javik - Beneath the Surface<div style="text-align: justify;">
Though it was included in my first MBTI series, I have not written extensively on characters from Mass Effect outside of this initial series and have decided that, seeing as it is such a supremely rich narrative, that this would definitely have to change. Thus, I have been thinking about which character should receive the 'honour' of being the first Mass Effect character to undergo deep analysis. After some discussion, and a little bit of coercion, I have come to the conclusion that the subject of this entry is to be Javik.</div>
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<h3 style="text-align: justify;">
Remnant of a Fallen People</h3>
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Devised by the Intelligence (one billion years, or so, before the plot of Mass Effect begins), an advanced race of synthetic beings known as the Reapers are created to preserve organic life and solve the recurring problem that organic life will always seek to create synthetic life which will in turn attempt to eradicate and overthrow those who made them. These Reapers proceeded to create a cosmic cycle in which they arrive and tear down civilisation, harvesting the races to create new Reapers and then attempting to hide all trace of their presence once they have gone, clearing the way for new species to develop until it is their turn to be harvested. </div>
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In the cycle immediately prior to that which is featured in Mass Effect (fifty thousand years before the narrative begins), the ruling people were the Protheans. This term exists in two senses, for there was a biological species of Protheans, from whom the name came, but it was also applied to members of many other races who were forced into becoming part of the Prothean empire, which pleaced the Prothean species at its head. The empire was formed in response to an encounter with a threatening machine intelligence (not the Reapers). In uniting the other races beneath them, and crushing those peoples who did not join with them, the Prothean people were victorious in what came to be known as the Metacon War. </div>
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"Vengeance is the goal, suicide is not."</blockquote>
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However, when the Reapers arrived, their first act was the retaking of the Citadel, which was the centre of Protehan government. With access to all their records, the Reapers turned the unification which the Protheans had forced on all of the races, which had been their greatest strength, into their greatest weakness. Their Empire was shattered and over the next few centuries, the remaining Protheans were found and destroyed. </div>
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Yet, the Protheans were set on survival and a plan was set in motion. A Protehan Avatar, an individual selected to embody one of their societal virtues, of Vengeance, Javik, was selected to enter status on the remote planet of Eden Prime, alone with one million warriors. Their task was to sleep out the Reapers and awaken once the danger had passed in order to rebuild the empire. </div>
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Their plan failed. Betrayed to indoctrinated spies, Eden Prime was attacked and where one million Protheans should have been preserved, only one endured. Javik. </div>
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<h3 style="text-align: justify;">
Legacy of a Primordial Empire</h3>
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In the previous section, I have attempted to present Javik's story as concisely yet fully as possible, though in doing so I have perhaps done some disservice to the narrative employed within Mass Effect itself. The Protheans are mentioned from the very first level of the very first game and yet the few answers which are given as to who they were (some of which have been mentioned above) are not revealed until the end of the third game.</div>
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<span style="text-align: justify;">Importantly, the Protheans have had a profound impact upon the peoples of the follow cycle, including humanity. Thus, in order to understand Javik, it is important to discuss and illuminate the ways in which the Protheans are considered and presented prior to his appearance. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://mythicbeast.tumblr.com/post/74721819643">Images </a>posted by <a href="http://mythicbeast.tumblr.com/">Mythic Beast</a></td></tr>
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From the offset of the series, we are given a certain picture of the Protheans as this exceptionally advanced, progenitor race who possessed exceptional technology yet who are shrouded in mystery, for they are known to have vanished, though nobody knows exactly why. </div>
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Prothean technology is able to do things which that of the species cannot. </div>
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Though they are wrongly credited with the creation of the Mass Relay network and the Citadel (both of which are, in fact, Reaper tools to manipulate development and allow a more streamlined harvest) the Protheans' expansive empire has lead to discovery of Prothean ruins and technology across the Galaxy. Most importantly, the Prothean cache on Mars is responsible for giving humanity a technological leap, allowing them to join the galactic community two hundred years earlier than they would have done otherwise, before the coming of the Reapers. The discover of a Prothean beacon in an important Asari temple, as well as Prothean-like figures appearing in Asari mythology, may indicate that the technological prowess of the Asari can also be attributed to the use of Prothean technology.<br />
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Thus, the image of the Protheans which is established from the outset of the series is that of an exceptionally advanced race and much of our early impressions of them is established through the character of Dr. Liara T'soni, who has spent half a century researching the Protheans and is considered to be an authority on them. Liara is evidently highly respectful of the Protheans, somewhat regarding them as having set a cultural and technological standard to which she appears to aspire.<br />
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Before discussing how Javik himself relates to these expectations, there is one final aspect of the Prothean legacy to discuss: the Hanar. This betentacled race view the Protheans as Gods, referring to them as the Enkindlers, giving them the responsibility for having given them speech and uplifting them. Therefore, whilst the Protheans seem largely responsible for enabling technological advancement for most of the races, they are also viewed, by some, as deities akin to the extraterrestrial figures present in Ancient Astronaut theories.<br />
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But how does this relate to Javik himself?<br />
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Primarily, Javik <b>defies </b>the majority of these expectations and he does so by both serving to enlighten us as to what the Protheans were truly like, but also by not being, in and of himself, the best representative for his entire species.<br />
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As Javik is the only Protehan remaining and thus the only one which is encountered (there are a few virtual intelligences modelled after Protheans, though these are computer simulations, not individuals in their own right) he is the de facto representative of his entire race. When Javik speaks, he speaks with the only remaining, 'pure' Prothean voice. There are no other examples to which we can point, he alone remains and thus we, rightly or wrongly, judge his race by the standards which he presents.<br />
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This in itself allows us to form a very narrow opinion. One can illustrate this by pointing to the real world. Those who have only ever met one person from a certain part of the world inevitable shape our opinions based around this individual. This is only lightly linked to cultural manifestations such as stereotyping, and it certainly should not be considered to be, in and of itself, racist, as it is not something which is chosen, it is simply a natural, mental faculty to base your expectations off your experiences. The narrower your experiences, the more limited of an understanding one can possess. Of course, this can lead to discrimination and other kinds of poor behaviour, though this is not a necessity.<br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://vertigos.tumblr.com/post/92193436776/javik-the-trollthean">Images </a>posted by <a href="http://vertigos.tumblr.com/">Vertigos</a></td></tr>
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In our considerations of the Protheans, we are given this picture of an advanced culture, a place where both art and science flourished and things we could not even dream of were considered to be part of the everyday. Upon finding Javik, Liara is elated at the thought of conversing with one of the greatest scientific minds of the Prothean race, of debating philosophy and learning all she can of the Prothean culture.<br />
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But Javik is a warrior, not a scientist. He was for all intents and purposes bred to embody the very virtue of vengeance, created to fight and kill Reapers. He does not understand how the advanced technology of his people functioned, though he is certainly vocal about his dislike for current technology, which he views as clunky.<br />
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Furthermore, Javik never saw the great Prothean empire in its prime. He was born after the coming of the Reapers, his entire life has been one of struggle and confrontation. This fact is an exceptionally important one when it comes to understand Javik, for it is at odds with the purpose for which he was created. His mission was to hide in stasis, emerge with his soldiers and rebuild the Prothean empire, yet how can he rebuild that which he never truly knew? True enough, Prothean memory shards and their ability to share information and memories through touch (which will be discussed later) has allowed him to learn and experience much, he has only been able to know that to which he was created to aspire through such means, he has never truly experienced it for himself.<br />
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Yet, he has had Prothean ideas and values instilled within him. Understandably then, upon his awakening it takes some time for him to exhibit any warmth. Not only is he dealing with the loss of his people, which is to him as fresh as if it had happened moments ago, rather than 50,000 years, he is surrounded by the evolved forms of races all of his given memories and ideas tell him are underdeveloped, they are his lessers. This is where his arrogance comes from, his superior attitude. It is not because he is a terrible individual, but his very life was created to preserve a culture which tells him that we are beneath him and he is loathe to allow the viewpoints of his people (as vastly outdated as they may be) to be eroded, for as they are weakened so too is his purpose.<br />
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Furthermore, Javik reveals to us the Cosmic Imperative, which he, at least, considers to be a central concept with Prothean philosophy. Effectively, this is simply an understanding of the cosmos in which evolution is considered to be the fundamental driving force and is given greater importance than other methods of understanding. This belief sets Javik at odds with other individuals, notably Liara, and also serves to highlight that Javik is an exceedingly pragmatic individual. He is not the idea-oriented thinker Liara and many others might suspect a Prothean to be, he is a soldier and a firm believer, for it is his role to preserve them, in the Prothean Imperial attitudes. It is also suggested that the Prothean empire was exceptionally strict with heavy emphasis on discipline, thus these ideas will have been drilled into him further.<br />
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Therefore, Javik is the last representative of a culture he himself never really knew, yet one which, if her were able, he would restore. The failure of his plan has meant that his mission has failed, for he is the last of his kind and his empire is little more than somebody else's memory within his own head. He has only one goal remaining, though this is his goal only because there is nothing else he can do: ending the cycle and defeating the reapers.<br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://oerbayun.tumblr.com/post/77356290424">Images </a>posted by <a href="http://oerbayun.tumblr.com/">Oerbayun</a></td></tr>
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<h3>
Uneasy Intimacy</h3>
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As a Prothean, Javik possesses a physiological ability similar to psychometry, which allows him to recall the experiences of others through physical touch, also allowing them to glean similar information from objects. Furthermore, this ability allows the communication of complicated ideas, with a single touch enough to attain complete fluency in another language or reach a competent level with a complicated skill. One might think that which such an ability, Javik would have little ability assimilating into a new world. However, this ability is as much a hindrance as a help.</div>
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True enough, Javik adapts must faster than most to his new environment, though he has come from a world in which everyone he knows is able to communicate entirely through the medium of touch, which, I assume, meant that Protheans were a far more open people (more so considering that they can pick-up memories from objects as well). </div>
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In a society in which all members (or at least the majority) are able to access this ability, it would allow individuals to become exceptionally close in a very short space of time, both able to reach the same level of understanding of the other. However, when Javik uses such an ability, the other individual cannot reciprocate in the same way, and though he is able to transfer some of himself to them, this side of his ability appears to be more limited and thus there remains an inequality. Thus, he is able to discover and "get to know" others much faster than they are able to get to know him, which other individuals find alienating and intimidating, thus creating a gap between him and they. </div>
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Much of this stems from the fact that the way in which he can reach such intimate understanding is through memory, which he is able to view without the consent of another person, who is usually required to actively share their own memories. Thus, with a single touch, he crosses lines which our culture considers to be unacceptable, though he cannot switch off this ability, at least not easily.</div>
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Furthermore, whilst he can learn from others and view their memories, he is doing so through a Prothean lens, without a full comprehension of the cultural cues and concepts which others possess. Thus, he can view as many memories as he wishes, but these alone do not allow him to fully understand their significance and often serve to further confuse him. </div>
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Identity is something that is, even at a very fundamental level, shaped by one's connections to other people. Cultural, social, dialectical constructions of identity all rely upon such connections and whilst it is possible, to some degree, to consider the mind of an individual independently of the external, such solipsistic attempts at understanding personality are less comprehensive that others (though there are some merits to them). Javik's links to others are fragmented and damaged, for he truly comes from a completely different world, and is thus unable to understand where he has found himself. However, he never truly knew the world which he was created to recreated and has lost all of his comrades and fellow Protheans. Javik is caught between two worlds and is kept in the middle of them entirely alone. The world of the past is forever lost and can never return and yet, it is so heavily present within him that he cannot fully embrace the present into which he has been hurtled. </div>
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<h3>
Conclusion</h3>
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Javik's role within Mass Effect is more than just a representative for the Prothean race, though he is certainly used in this way, being the only living Prothean encountered in the game. He additionally serves as a reminder that, whilst the devastation caused by the Reapers is horrific in this cycle, that there exists infinite worlds and peoples outside of those known of by humanity. In Javik, the Protheans and countless other beings find one to speak for their loss, find an individual who fights for them more directly than Shepherd, who has huge stakes in defeating the Reapers in this cycle. Javik too, wishes the cycle to end, but it is not his race on the line, for his people have already fallen.</div>
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In many ways, one can consider Javik to be a ghost, little more than a remnant of the past, though he has a spirit in and of himself. Whilst much of that which defines him is his being Prothean, he should not be considered as typical, but rather as what the Protheans became when their empire was in ruins and they were desperate to survive. In many ways, he represents the darker aspects of the Protheans, just as the savage children in The Lord of the Flies represent the darker aspects of humanity. When civilisation falls, a Hobbesian conception of "rationality" begins to grow, though at least in Javik it never achieves full fruition.</div>
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From an MBTI perspective, I would likely consider Javik to be a ISTJ, sharing this typology with Samara. This is due to his focus and reliance on using his senses, increased due to his ability to essentially see across time into the past, as well as his strong identification with a strict hierarchy, based in cultural tradition, which he adamantly defends. This is further enhanced by his disregard for abstract ideas and focus on facts and statistics. His enneagram personality type would likely by Type 8, the Challenger, for he seeks protection and safety, though at great risk to himself, yet draws close to losing himself to vengeance.<br />
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Though I doubt that Javik will make an appearance in Mass Effect 4, I think that BioWare did an excellent job with his character in Mass Effect 3. The idea of introducing a living Prothean could have destroyed many of their plotlines had it been done badly and yet I certainly consider Javik to be an interesting and compelling character who is a welcome addition to the crew.<br />
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Thanks for reading!</div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com1tag:blogger.com,1999:blog-4886786965159998255.post-79742408939063069472014-08-12T09:00:00.000+01:002014-08-12T09:00:01.339+01:00The Chosen Undead - Beneath the Surface<div style="text-align: justify;">
Welcome to my 101st entry and the second in my Beneath the Surface series. Today's character is going to be somewhat non-standard, as they are not a character in the traditional understanding of the term. Rather than being a thinking, speaking individual in their own right, the object of this entry never speaks and serves as little beyond the avatar of the player. Yet, I feel that there are several things we can say about him.</div>
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Due to the nature of this game and this character, some of what is said in this entry will be my own interpretation of things from the game, so I expect and encourage you to challenge me on some of what is written here. </div>
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Without further ado, I introduce our subject of discussion: The Chosen Undead of Dark Souls.</div>
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<h3>
In The Beginning</h3>
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When one begins playing Dark Souls, one quickly realises that the game gives you nothing easily and this works on two levels. Yes, the game is significantly harder than most others (at least for someone like me who plays games for the story whilst usually being absolutely awful at the mechanics (especially when those mechanics involve the possession of actual reflexes)) and it makes you work in order to progress, turning death into a mechanic for learning. However, secondarily, the story itself, the characters you meet and the lore of the world is never given to you in an information dump such as is evident in other roleplaying games like Skyrim (nothing against Skyrim, it is an amazing game, but the storytelling is rather straight forwards). Dark Souls is an incredibly rich game, leaving a huge amount of stuff open to interpretation by the player, leaving tiny little hints and facts, rather than presenting you with a single, complete narrative. </div>
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So, you load up the game and create your character and then you are met with this...</div>
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After watching this introduction (which I personally think sets up the atmosphere perfectly) one immediately notes that your character only appears at the end, and is not mentioned in the voice-over. Aside from knowing that you have been led to the Undead Asylum, no history is given to your character. </div>
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All that is known is that you are a human who has been branded by the Darksign, which has appeared on your flesh, marking you as undead. As an undead, you cannot truly die, instead awakening after each death by a bonfire, which is a piece of the First Flame, whence came the four Lord Souls, as stated by the introductory video. With each such resurrection, the undead begins to Hollow, a lengthy process in which the individual loses themselves, eventually passing a point of no return, when the undead is a mindless creature. Only once fully hollow can the undead be permanently killed. Hollowing can be postponed, however, if the undead acquires humanity, a black sprite (presumably part of the original Dark Soul found by the Furtive Pygmy) which represents human ambition, drive and purpose. In offering humanity to the bonfires, thus fueling the flames, an undead an reverse their hollowing. Thus, the undead have great incentive to gather as much humanity as they are able. </div>
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The Silent Treatment</h3>
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Apparently, the Chosen Undead was given no voice, save for the occasional grunt when wounded or slain, in order to allow them to become an "Everyman" character. Such characters have been used throughout literary traditions, especially when the story itself is being used as a kind of allegory. Commonly, everyman characters have little in terms of personality and background, allowing them to be equally empathised with by everybody and serve as placeholders for nobody in particular. Notable examples of this can be found in the work of H.P. Lovecraft, who uses such characters to represent humanity in general, which cannot begin to comprehend the Old Ones and various other creatures he presents in his Cthulhu Mythos.</div>
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I certainly think that we can read the plot of Dark Souls as allegorical to human experience, especially when it comes to the concept of the undead. The Undead are given, practically, eternal life and yet this is a curse to them, for it leads to their eventual Hollowing, losing themselves before they die. In order to prevent themselves from going Hollow, they must gather humanity, which can be understood as the spirit of determination. Furthermore, Hollowing is slowed, if not reversed, in those who have a strong purpose, who live for some cause.<br />
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Likewise, in our lives, continuing to survive is, on its own, not enough. We need to <b>live</b> and that involves giving our lives some kind of purpose, even if that purpose is simply to seek comfort and pleasure. Indeed, some purposes are more noble than others, one could argue and one could argue that a whole branch of moral philosophy and ethics is devoted to analysing which purposes are worthy of devoting one's life to. </div>
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Dark Souls provides a series of purposes your character can devote themselves to, though it does not attempt to evaluate them for you, instead allowing you, the player, to weigh the benefits of each. The end you devote your character to is what ultimately defines the Chosen Undead. </div>
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We shall now devote some time to each such purpose in turn. </div>
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Part of the Prophecy</h3>
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During your flight from the Undead Asylum, the protagonist will encounter Oscar, a knight of Astora, the individual who throws the hollow corpse into your cell, granting you the key and a chance at freedom. Originally intended to play a greater part in the story, Oscar's role changed during development, leading to his death during your attempt to leave the Asylum. However, before he dies, he says something important to your character.</div>
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<span style="font-family: Tahoma; orphans: 2; text-align: -webkit-auto; widows: 2;">"</span><span style="font-family: Helvetica, Arial, sans-serif; font-size: 13px; line-height: 21px; orphans: 2; text-align: -webkit-auto; widows: 2;">Thou who art Undead, art chosen...</span><span style="font-family: Helvetica, Arial, sans-serif; font-size: 13px; line-height: 21px; orphans: 2; text-align: -webkit-auto; widows: 2;">In thine exodus from the Undead Asylum, maketh pilgrimage to the land of Ancient Lords...When thou ringeth the Bell of Awakening, the fate of the Undead thou shalt know"</span></blockquote>
Oscar introduces this to the player as a saying that has been passed down through his family, though it does not take a keen eye to note that this mere 'saying' has prophetic undertones. So begins your journey and several of the characters you shall meet seek to encourage you to follow this prophecy.<br />
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The general gist of the prophecy is that the Chosen Undead shall make pilgrimage to Lordran (the land of ancient Lords) and ring the bells of awakening and thus open their way to Anor Londo, the City of the Gods, where the Chosen Undead can receive the Lordvessel from Gwynevere, Queen of Sunlight. This Lordvessel can be filled with power souls, notably those of the Witch of Izalith and Gravelord Nito, to open the way to Lord Gwyn, who has given himself to the First Flame in order to preserve it for a little longer. Ultimately, the prophecy declares the Chosen Undead to be the one who will defeat Gwyn, who has become Hollowed, and who will then, in turn, give themselves to the First Flame, linking it and allowing the Age of Fire to endure a little longer.<br />
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<span style="background-color: #f8f8f8; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; text-align: left;">I bequeath the Lordvessel to thee.</span><span style="background-color: #f8f8f8; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; text-align: left;">And beseech thee. Succeed Lord Gwyn, and inheriteth the Fire of our world.</span><span style="background-color: #f8f8f8; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; text-align: left;">Thou shall endeth this eternal twilight, and avert further Undead sacrifices.</span></blockquote>
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Thus, we could read the Chosen Undead as simply that, an individual who is destined to fulfill the prophecy and sustain the Age of Fire. If so, your quest is a righteous one, your intentions pure. On this reading of the Chosen Undead, they are seen as a paragon of what is expected of them, devoted to others, stereotypically (one might say) good. Naturally, it ties with religion, as linking the First Flame empowers those Gods who have fled from Anor Londo, possibly allowing their return, as well as playing into the hands of Gwyndolin, the great manipulator, God of Moonlight.<br />
<br />
Furthermore, in linking the First Flame, the player gives up their very life, dying for the world. An act one could quite easily compare to a certain Messiah from Christian theology.<br />
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<tr><td style="text-align: center;"><img alt="Oscar, Knight of Astora" src="http://darksouls.wikidot.com/local--files/npcs/oscar-knight-of-astora.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://darksouls.wikidot.com/local--files/npcs/oscar-knight-of-astora.jpg">Oscar gave his own life trying to serve as a catalyst for Prophecy.</a></td></tr>
</tbody></table>
<br />
One could view that Chosen Undead who pursues this purpose as a champion of the status quo, or as one who restores the world to a state of Light and prosperity, even if there exists this rigid hierarchy in which the Gods rule over humanity. They can be seen as an individual who stands against the corruption of the Abyss and of uncontrolled humanity and darkness.<br />
<br />
Or, one could view them as the pawn of prophecy.<br />
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<h3>
The Liberator / Scion of the Dark</h3>
<div>
The prophecy states that the Chosen Undead shall defeat Gwyn and link the First Flame, allowing the Age of Fire to continue and the power of the Gods to endure. Yet, all this talk of Prophecy and Pilgrimage and setting oneself aflame, all of it could quite easily be propaganda, a tool the Gods (in particular Gwyndolin) are using to trick a powerful undead into sacrificing themselves in order to restore their power, allowing them to retain their dominance over humanity.</div>
<div>
<br /></div>
<blockquote class="tr_bq">
<span style="background-color: #f8f8f8; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; text-align: left;">"Your ancestor claimed the Dark Soul and waited for Fire to subside.</span><span style="background-color: #f8f8f8; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; text-align: left;">And soon, the flames did fade, and only Dark remained.</span><span style="background-color: #f8f8f8; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; text-align: left;">Thus began the age of men, the Age of Dark."</span></blockquote>
<div>
<br /></div>
<div>
Certainly, Darkstalker Kaathe thinks so, encouraging the Chosen Undead (should they meet) to defeat Gwyn and like the First Flame die, ending the Age of Fire and ushering in the Age of Darkness (which is interestingly called the Age of Man). It is argued that this is the natural course that the world must take, that all fires must die and that all lights must go out, so why prolong the wait for the inevitable? Why defy the course of nature?</div>
<div>
<br /></div>
<blockquote class="tr_bq">
<span style="background-color: #f8f8f8; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; text-align: left;">You must destroy the fading Lord Gwyn, who has coddled Fire and resisted nature,</span><span style="background-color: #f8f8f8; font-family: verdana, arial, helvetica, sans-serif; font-size: 12px; text-align: left;">and become the Fourth Lord, so that you may usher in the Age of Dark!</span></blockquote>
<div>
<br /></div>
<div>
Thus, the Chosen Undead can be responsible for ending the Age of Fire, allowing the power of the Gods to die, allowing the world, as we know it, to come to an end.</div>
<div>
<br /></div>
<div>
Perhaps we should read this Chosen Undead as the true hero, for they liberated us from the influence of the Gods, freed us from their tyranny, evened out the playing-field by removing their power and allowing us all to become equals. </div>
<div>
<br /></div>
<div>
And yet, we can see clearly from Oolacile what becomes of humans afflicted by the unchecked corruption of the Abyss. They are no longer people, but monsters, twisted and abused. So overwhelmed are they by their own humanity that their bodies become hideously altered and warped, more monster than human. Without the light of the First Flame to keep the darkness of the Abyss in check, what is to stop the same fate befalling all of us?</div>
<div>
<br /></div>
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<tr><td style="text-align: center;"><img alt="Bloathead Sorcerer" height="400" src="http://darksouls.wikidot.com/local--files/enemies/bloathead-sorcerer.jpg" style="margin-left: auto; margin-right: auto;" width="251" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://darksouls.wikidot.com/local--files/enemies/bloathead-sorcerer.jpg">This is what becomes of those humans who fall into the Abyss.</a></td></tr>
</tbody></table>
<div>
<br /></div>
<div>
Thus, perhaps we should consider such a Chosen Undead to be the ultimate nihilist, rather than a hero. </div>
<br />
<h3>
The Explorer</h3>
<div>
Perhaps the Chosen Undead does not devote themselves to prophecy, yet does not take the approach of staunchly opposing it. Instead, they simply seek answers, searching everywhere, killing those which get in their way if they have to, yet otherwise sowing no unnecessary harm. Through gathering the pieces of the puzzle and assembling them into a picture of the world, the Explorer is able to understand what is going on and ultimately discover what their place in this world can be.</div>
<div>
<br /></div>
<div>
I would consider all players to exist as Explorers at one point or another. Starting a game with little context and without much to guide you beyond the cryptic hints given to you by strange NPCs tends to leave one very much in the dark. All this talk of prophecy and of being Chosen can seem to ring very hollow (no pun intended) when one knows nothing of the world, nothing of who you are and how you link to that which is going on outside of Lordran. </div>
<div>
<br /></div>
<div>
One must understand the world before one decides whether or not it is worth saving. </div>
<div>
<br /></div>
<div>
With no context given, the character thus begins the game with no external ties, and thus nothing to define them beyond those options selected at character creation. Your gender, appearance and general skill-set is yours to chose, but as for where you came from, who you are, nothing is provided, thus you must chose who you are solely through your actions in the game.</div>
<div>
<br /></div>
<div>
A character who becomes a true explorer, one who passess through the world on a never-ending quest to amass as much lore as possible will eventually have to kill to get it, thus tying them to the fourth and final kind of Chosen Undead. </div>
<div>
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://31.media.tumblr.com/7b9b89b9a9f236bf37ae5b1c88c98e19/tumblr_mtplzvn89g1svf4slo7_1280.jpg">Image </a>posted by <a href="http://unforgetable-gaming-moments.tumblr.com/">Unforgettable Gaming Moments </a></td></tr>
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<h3>
The Egoist</h3>
<div>
Caring little for prophecy or lore, the Egoist is the Chosen Undead who quickly realises and embraces that the more things they kill and defeat, the more power they gain for themselves. Thus, this is the purpose they strive for: bettering themselves at the expense of others. They strike down all they encounter, as soon as they have no more use for them, gorging themselves on souls in order to augment their own powers. </div>
<div>
<br /></div>
<div>
In truth, there is little difference between such characters and the Hollows and Demons they encounter, for all are but seeking to increase their own strength without any great end in sight (one could argue that the demons indeed to have some further end (the protection of the Chaos Flame which birthed them)). </div>
<div>
<br /></div>
<div>
Such Chosen Undead are a bane to everything they meet, for they consider all things to be a means to their own end. Their morality is severely lacking, for they have not a shred of empathy with those they encounter, rarely stopping to consider the implications of what they are doing beyond whether or not they could be more effective at that which they are doing. </div>
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<tr><td class="tr-caption" style="text-align: center;"><a href="https://38.media.tumblr.com/80ace7bff9efa6e02660a05a3b8e826d/tumblr_mtplzvn89g1svf4slo5_1280.jpg">Image </a>posted by <a href="http://unforgetable-gaming-moments.tumblr.com/">Unforgettable Gaming Moments</a></td></tr>
</tbody></table>
<div>
<br /></div>
<div>
Thus, we have the four archetypal identities of the Chosen Undead.</div>
<div>
<br /></div>
<div>
Thanks for reading!</div>
</div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com2tag:blogger.com,1999:blog-4886786965159998255.post-7746939063331235002014-08-07T12:12:00.000+01:002014-08-07T12:12:23.831+01:00Morrigan - Beneath the Surface<div style="text-align: justify;">
Welcome to a particularly special entry! It is with no small amount of pleasure that I announce that this here is the 100th, published entry of Counting Reflections, which has been running for about four years. Honestly, I am rather pleased with myself for having reached this number of entries, but hope that I will be able to reach 200 in less than four more years. Here's hoping!<br />
<br />
<br />
Considering my fascination with identity and all of its nit-picky little aspects and incarnations, not to mention its dire complexity and strangely stubborn-yet-volatile nature, and given that I have discussed identities on here before, I thought that a nice idea would be to delve deeper into these topics and do a whole series of character analyses, devoting an entire entry to the character in question, putting them "under the microscope" to examine them as comprehensively as I can.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Unlike the MBTI series, this series of entries will not have a clearly marked beginning and end, nor will I attempt to cover all characters from a given series. Instead, I shall pick the characters I most wish to write about, when I wish to write about them, though suggestions are always welcome! </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Without further ado, let me introduce the first character to be discussed in what I shall call my "Beneath the Surface" series: <b>Morrigan</b> of <b>Dragon Age: Origins</b>.<br />
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</tbody></table>
<h3 style="text-align: justify;">
Daughter of the Wilds</h3>
<div style="text-align: justify;">
Morrigan is a "Witch of the Wilds" an Apostate Mage living in the Korcari wilderness, on the very fringes of civilisation. She grew up far from other people, raised only by her mother, the insidious Flemeth, infamous witch of ancient legend, from whom she learnt the art of working magic, as well as the powers of the Shapeshifter, allowing her to wear the form of an animal. Her mother is a complicated character in her own right (<i>so much so that another of these entries may focus upon her</i>) and she has sought to instill Morrigan with a steadfast resilience against anything she may encounter, producing a tough daughter. Though they have fought off Templars in their time, Morrigan and her mother have evaded capture by the Knights of the Chantry, able to live as Apostates: those mages who live outside of the restrictive confines of the circle and its religious enforcers.</div>
<div style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq" style="text-align: justify;">
"The Chasind have tales of we witches... I have prowled shadows that you never dreamed existed. Am I an unnatural abomination, to be put to the torch?"</blockquote>
<div style="text-align: justify;">
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<div style="text-align: justify;">
In spite of her reclusive upbringing (and perhaps in no small part due to it), Morrigan has wandered into civilisation before, though each time she has returned to her mother, having always faced some kind of deeply alienating experience or profound rejection from her brief interludes into the "civilised" world. Hence, she has remained by her mother's side...until the Warden came with their quest to save the nation from the Blight and she was instructed to take her leave and aid the Grey Wardens in the preservation of the realm and the downfall of the Darkspawn. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Such is her story, now to probe a little further...</div>
<div style="text-align: justify;">
<br /></div>
<h3 style="text-align: justify;">
A Mother's Love</h3>
<blockquote class="tr_bq">
"I raised her to be as she is! I cannot expect her to be less."</blockquote>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
When first introduced to Flemeth and Morrigan, it is clear that, in spite of her obvious desire to assert her own capabilities and independence, Flemeth has kept Morrigan under her thumb and there is no question as to her authority over her. This is understandable, for the pair have lived alone together for the majority of Morrigan's life and such a hierarchy (and a level of dependency, fostered by custom) has had time to become firmly cemented. In spite of this, Morrigan is certainly not entirely kowtowed by her mother, she fights back, struggles and asserts herself, though Flemeth seems to take little notice of such outbursts, able to cripple her daughter's efforts with a few words of cutting mockery. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
There does not exist any great warm between these two, that much is apparent on both occasions in which they are met together, though there is a certain degree of sentimental respect on Morrigan's side. When she bids goodbye to her mother, she does so in a very roundabout way, presenting "false" concern which masks a genuine desire not to have to leave. Of course, she very much desires to leave and see the world for herself, rather than to only hear of it through her mother's tales (which is possesses a keen interest in, if Flemeth is to be believed), but this desire can only be achieved by leaving behind the only world she has ever known: the Wilds and her Mother. True, her mother has never been a great source of emotional strength, but she has protected her and raised her, naturally there is a connection there. Morrigan is accustomed to the relative comfort and safety of her environment and is now having to leave it. In spite of her capability and outwardly displayed self-confidence, she is very much a child leaving home. She is vulnerable.<br />
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<blockquote class="tr_bq">
"Morrigan is innocent. She is beautiful. She is vulnerable." - Kate Mulgrew</blockquote>
</div>
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<div style="text-align: justify;">
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<div style="text-align: justify;">
Needless to say, Morrigan's relationship with her mother is a touchy subject and one which she covers up with humour, trying to appear as if she does not care when in truth she cares very deeply beneath the surface. When asked what she would do if her mother died, she responds with "Before or after I stop laughing?". She evades any such questions as to how she feels and the Warden can lose her respect if they attempt to engage in a sentimental discussion with her about her mother (or any kind of sentimental conversation, which Morrigan, though she does connect with sentiment, openly speaks against). That being said, she evidently respects her mother a great deal, for any attempt to argue against the lessons Flemeth has taught her (that independence is a virtue, that emotional connection is weakness and unnecessary, among other things) is met with open hostility. Though she fights against her mother, she very much respects her and acknowledges her authority and power in a complementary (as opposed to purely cold) manner.</div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
Their relationship is darkened upon the discovery of Flemeth's Grimoire, which had somehow ended up in the Circle Tower. Upon reading it, Morrigan discovers that her mother's longevity has apparently arisen from a cyclical ritual in which she births and raises a daughter in order to take that daughter's body as her own when her previous body has aged beyond usefulness. It is thought that the stronger the daughter is with magic, the easier it is for Flemeth to take her over, thus giving her a motivation to send Morrigan with the Warden, otherwise Flemeth would have sought to protect her greatest asset.<br />
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<div style="text-align: justify;">
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<div style="text-align: justify;">
This discovery is evidently shocking to Morrigan, who still cannot quite believe the level of "betrayal" within her mother's plot. Though, at the same time, she evidently knows her mother is capable of doing such a thing, for her immediate conclusion, seemingly without much need for consideration, is that the Warden must kill her mother, and she reaches this conclusion without professing any desire to speak with her or displaying anything beyond a basic sentimentality. She does care for her mother, but having discovered her intention to exploit her, Morrigan, who has taken Flemeth's lessons to heart, does exactly what her mother would have done in her place. Though Flemeth, through magic, ultimately survives, Morrigan proves herself as both very similar to Flemeth, but also fundamentally different - for she does open herself to her more emotional side, something which we have yet to see from Flemeth (though there are indications, with her discussions with Merrill in DA:II, that she suffers deep regrets. For what, we do not yet know). </div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
Morrigan gains her clinical pragmatism and her mistrust of others from her mother and with it comes an inability to understand and correctly handle her own emotions. Though her mother has given her great magical talent and taught her to control it, she failed in giving her the emotional development from which she may have benefitted and, due to the isolation, there was no other source which could have provided her with such. However, compassion comes naturally to human beings and Morrigan evidently has a great deal of it, as well as the ability to empathise. Neither of these are expressed to any great degree, for Flemeth has tried to fashion her daughter into her own likeness. After all, if all goes to plan, Morrigan will one day be Flemeth. </div>
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<blockquote class="tr_bq" style="text-align: justify;">
"I'm not sure whether she's your daughter or your enemy."<br />
"Neither is she." </blockquote>
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<h3 style="text-align: justify;">
Civilisation and Isolation</h3>
<div style="text-align: justify;">
Having been raised in such an isolated environment, Morrigan is profoundly alienated when it comes to dealing with other people, more so than almost any other character within the series (I would argue even more so than Sten, who may hail from a vastly different culture, but a culture nonetheless), though she is an exceptionally determined individual, so her lack of understanding of social situations is masked behind a veil of apathy. Morrigan has only ever learnt of people "in theory", rather than meeting them, talking with them, developing even basic social skills and thus she views all other people more as ideas and caricatures than as people. She does not care for many others and tells herself that she does not care for those for whom she does care because she has never learnt how to care for others appropriately.</div>
<div style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
"Ah, look how they moan and wail and gnash their teeth. 'Tis sad to watch how helplessly they scurry about." </blockquote>
<div style="text-align: justify;">
We learn our culture and our place within it, and thus, a portion of ourselves, through exposure to it, through being inducted into it. Basically, we learn our culture through living it. Morrigan has never had this, for she has been raised outside of a culture. Flemeth kept her apart from other people and, upon discovering that Morrigan had been occasionally venturing into the "civilised" world, responded with anger enough to leave quite the impact on her daughter. Her mother's desire to hide comes from two motivations: the desire to keep their magic hidden (mainly to avoid hassle rather than danger, considering how powerful Flemeth is) and elitism. Flemeth, rightly or wrongly, considers herself to be better than most others (despite her attempts at presenting herself as humble) and this arrogance has washed off on Morrigan, who ultimately tries to see others are less intelligent than herself. This is again due to her underdeveloped emotional understanding, though she certainly is intelligent.<br />
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<blockquote class="tr_bq">
"I left the wilds more than once when I was young, to seek
more of the world of men."</blockquote>
<div class="MsoNormal">
<o:p></o:p></div>
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<div style="text-align: justify;">
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<div style="text-align: justify;">
This having been said, Morrigan's responses to civilisation are birthed from a fear of that which is beyond her understanding and yet which inspires within her such a deep curiosity. Though somewhat paradoxical, this is certainly the case and this paradoxical nature is what causes so much strife within her. Flemeth herself says that her daughter wants to venture into the world and see it for itself, but that she has, until the arrival of the Warden, been unable to do so. Morrigan wants to understand other people, she has the capacity to and the desire to come to know them better, on an emotional level, but she is scared of doing so, as such an act requires trust and an open channel with one's emotions, neither of which she is open to experimenting with. Again, this is very much down to her mother, who never responded in such a way as to open up those channels. She is very much stranded in the wilderness, looking into civilisations with a child's curiosity, yet the cynicism of an old crone. </div>
<blockquote class="tr_bq">
"I... have never seen such a collection of merchants and people before. 'Tis always so?"</blockquote>
<div style="text-align: justify;">
Interestingly, Morrigan's solitude has led to her seek solace in animals, for her Shapeshifter abilities allow her to enter into their world wearing their shape. When asked about it, she reveals that she had occasionally felt the wilds call to her, that she would slip away from Flemeth and take the form of some animal creature, and pass hours with beastial companions. Yet this has not given her any great love for nature, nor has it transformed her into this enlightened "earth mother" character. She is almost as cynical of animals as she is of people, only less so towards them due to her acknowledgement that they cannot scheme and plot as people do. Though she has drawn strength from nature, she does not identify herself with it, thus preventing her from being fully identified with it, though she has certainly been shaped by it more than she herself might wish to believe. </div>
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One could certainly argue that Morrigan's closeness to animals has highlighted to her how different she is from the beasts whose forms she can wear, a difference which she perhaps fails to see in many other people, thus leading her to be cynical about their "human nature" (or elven, dwarven, etc.). Perhaps it is the case that she views other peoples much like she views animals, though she has more respect for the animals who do not pretend to be something that they are not, whilst many people pretend to be better. She does seem to have a preoccupation with considering others to be lying to themselves, deluded or simply misguided.<br />
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“The world of man... is dangerous.”<br />
“And frightening, I imagine. Especially for someone
ill-prepared for it.”</blockquote>
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<h3>
Apostasy</h3>
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In so fervently opposing the Chantry and its rulings, Morrigan comes to define herself in opposition to the structures she so hates. As for what she specifically hates about the Chantry, there are a few things to chose from, though I find it interesting to note that there is a degree of bravado present even in her attitudes towards the Chantry.</div>
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Before explaining further, perhaps I should briefly summarise what the Chantry is. Basically, it is the major religion of Thedas (literally "The Dragon Age Setting" The-D-A-S, Thedas, which is the world in which Dragon Age is set). They are heavily influenced by Christianity, their history revolving around Andraste, the messiah of their God, the Maker, who arrived to spread his word to the world and was betrayed and burnt at the stake. Most importantly, the Chantry have a very low opinion on magic in general, which stems from the words of their prophet. Essentially, they see it as a curse, as something which "exists to serve man and never rule over him". As with anything taken from a religious text, the scriptures have multiple meanings. Whether it is because they see them as evil, easily manipulated by demons or any other reason they can think of, the Chantry, at minimum, require Mages to be accounted for. This means that most of those who can use magic are forced to live in a Circle of Magi, which is meant to be a safe place for them to live and learn together. It is, in truth, as much a prison as anything else. </div>
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In typical Morrigan style, she expresses no sympathy for the Circle Mages upon discovering that the veil has been torn and that Abominations (possessed mages) are running amok, with many magi having been slaughtered. This is a moment in which we can see, perhaps more vividly than elsewhere, the impact of Flemeth's teachings. Morrigan sees magic as something exceptionally important and miraculous, something that should be cultivated and explored and embraced. This is true. However, what she values more is independence, liberty and the individual asserting themselves over an authority which would attempt to constrict it. By willingly, in most cases, allowing themselves to be captured and live under the rule of the Circle, these mages have committed, in Morrigan's eyes an ultimate offence, surrendering of the self to some greater dogma, which she considers exists only to exert control.</div>
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"It would be a silly thing, prolonging your life. A waste."</blockquote>
I believe that this is what Morrigan opposes most about the Chantry: their dogma. I know that many consider Morrigan to be atheist, though David Gaider's tweet (displayed below) suggests that this is not the case. I would consider it more likely that Morrigan is an agnostic or that she believes in some kind of deeply personal deity. She is certainly a free thinker, one who opposes limitations or anything which tries to box her thinking. This desire to constantly assert herself and subvert others is what gives us so much to talk about. She wants nothing more that to be herself, though she is not quite sure who that is yet, but she is quickly finding out. Restrictive hierarchies are her anathema and those that follow them are, to her, lost and weak. Though this attitude is shaped by Flemeth, I think it safe to say it is as much her own opinion than hers.<br />
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<a href="https://twitter.com/Cimeas">@Cimeas</a> Neither Morrigan nor the Qun are atheist. If someone prefers to believe that's what their character is, more power to 'em.<br />
— David Gaider (@davidgaider) <a href="https://twitter.com/davidgaider/statuses/222482726664667136">July 10, 2012</a></blockquote>
Interestingly, Dragon Age: Inquisition will see her taking a place in a hierarchy as she becomes the Arcane Advisor to the Empress of Orlais. It will be interesting to see how this has changed her, for Morrigan has certainly seemed to have matured (from what little we have seen of her in the trailers and pre-release materials) though I have no doubt she remains fiercely independent, even if she is beginning to work in with the system to a degree. This is but speculation, for answers, we shall have to wait.<br />
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<h3>
Getting Dialectical - Wynne</h3>
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A trend I have noticed in both Dragon Age games (though to a lesser degree in the second), when it comes to companions, is that there appears to be two characters of each class, one of which serves to subvert the norms whereas the other seems to support them. In Dragon Age: Origins, we have Alistair, a fighter who supports tradition, mostly, and Sten, who is Qunari and thus would change the whole of Ferelden if he could. Likewise, Zevran is an outsider assassin whereas Leliana is a believer in the Chantry. Morrigan is the subversive mage, making her counterpart the mage who supports the circle and what it stands for: Wynne.</div>
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Wynne and Morrigan seem, at least on the surface to be completely opposed. The former is an established member of the Circle, who has devoted her life to it and to the task of protecting young mages, who fosters a philosophy of extreme selflessness and whose focus is in magics which restore and heal others. Morrigan hates the Circle, the Chantry, has only ever been devoted to herself (in fairness, she never really had anyone else) and whose magic is far more oriented towards the degradation of her opponents. </div>
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Again, we can define Morrigan through her opposition to Wynne.</div>
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<blockquote class="tr_bq">
“But the Circle is no place of safety. 'Tis a place of
subjugation.”<br />
“Is it? It is by no means perfect, I agree, but consider the
alternative. At least other mages can understand our struggle. We can help each
other.”</blockquote>
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Of course, it would be easy to simply say of their relationship that they are polar opposites, impossible to reconcile and, whilst there may be some truth to this, I think there is more to be said. During one of their exchanges, Morrigan almost seems to be swayed by Wynne's view on the Circle as an imperfect place of safety, leading her to perhaps question some of her assumptions slightly. Whilst ultimately she remains resolutely against it, I believe what began to make Morrigan reconsider is the mention of helping one another, a concept which Morrigan would ordinarily claim to find abhorrent or weak and yet it is something which she evidently desires. She wants to be appreciated, she wants the gentleness that comes from being understood and yet Flemeth has prevented her from being able to express herself with enough clarity that she can actually attain any of these things.<br />
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'There is no writing on my forehead that says "Please,
guide me!"'</blockquote>
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Morrigan opposes Wynne's position of authority. I think perhaps she considers her to be in some ways similar to Flemeth, and older woman of considerable magical ability (though nowhere near Flemeth) who seeks to promote her beliefs in others as a guide and a teacher. Morrigan has already suffered under the oppressive dogma of one mother and is in no rush to find another, though at the same time, Wynne has many motherly traits which likely force Morrigan to reflect on the role her own mother has played in her life. Undoubtedly, this is an uncomfortable topic, resulting in heightened hostility towards Wynne, only exacerbated by their oppositional views.<br />
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"I am not Alistair, who sees in you a surrogate mother."</blockquote>
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<h3>
Her Namesake</h3>
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There is power in a name, such a concept is one of the most ancient, featuring in stories, both fantastical and otherwise as far back as there have been stories. Whilst Dragon Age itself has not implemented any kind of magical power involving names, at least it has not done so to the best of my knowledge, Morrigan bears a particularly interesting name, one which hails from Irish mythology.<br />
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The Morrigan is one of these elusive figures which varies according to which source one is reading. She is widely referred to as both the "Phantom Queen" and the "Great Queen" and many sources depict her as a Goddess, one associated with Battle, Strife and Sovereignty. Some theorists consider her to be the Irish counterpart to the Norse Valkyries, female minor deities who would decide the fate of warriors in battle and collect the worthy dead for delivery to Valhalla. This connection is strengthened by the fact that the Morrigan was known for her ability to wear the shapes of many animals, and is associated with the crow, whereas the Valkyries were associated. Both small, black birds.<br />
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Morrigan of Dragon Age is, of course, a shapeshifter and, whilst the game rules limit her to being able to assume the forms of a spider, a bear or a swarm of flies, she professes to be able to assume the shape of whatever animal she has had the chance to observe for a sufficient amount of time. Thus the shape of a bird is perfectly possible. Additionally, one need only glance at her original robes to note the black feathers upon her pauldron (shoulder). Crow feathers, raven feathers, either are possible. Such references are present.<br />
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Additionally, the Morrigan is often considered to be a Triple Goddess, one aspect of a three-part being, which is at once one being and three. There are many examples of these deities throughout history (the Graeae, which were covered in a recent MBTI entry would also fit this category), most notably one could consider the God of Christianity to be a Triple Deity, as he exists as the trinity of the Father, the Son and the Holy Spirit. Furthermore, when it comes to the presentation of witches, three is consistently a number associated with them. A prime example of this would be the Witches three in MacBeth.<br />
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Interestingly, the other two deities which are part of her trio are considered to be her sisters, all three of which were born of a single mother. We know from Dragon Age: The Silent Grove, that Flemeth has another daughter, Yavana (who interestingly sees the ritual possession Flemeth is seeking to perform on Morrigan as a gift), and there is nothing to indicate that she does not have others. Thus, there are possible links in the story there.<br />
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Therefore, we can see how parts of Morrigan's character, though perhaps not her personality, stem from her Irish namesake. A shapechanger, part of something greater than herself, associated with crows and ravens, bastion of strife.<br />
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<h4>
Finally</h4>
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Bearing in mind what I have written here, I would class Morrigan as an INTJ, though her secondary type would definitely be INFJ. In terms of Enneagram of personality type, I would place her either as Type 4 (The Artist / Individualist) or Type 8 (The Assertist / The Challenger). Her tarot card would be the Queen of Swords. </div>
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Certainly, it will be interesting to see how Morrigan's character will develop as she appears in Dragon Age; Inquisition, for, as mentioned, she seems to have matured a great deal. Who knows what Morrigan we will be presented with? I for one am sure that she will remain as sarcastic and fiercely independent as ever, though perhaps she will sacrifice some of her nature to aid in the winning of the war? I hope to find out!</div>
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So concludes the 100th entry. Thanks for reading!</div>
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Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-72616305470921106652014-08-03T10:00:00.000+01:002014-08-03T10:00:01.058+01:00The Beastiary: Entry IV, Diplomats<div style="text-align: justify;">
Welcome to the final entry of my second, and vastly shorter, MBTI series. I admit, I have enjoyed this mini-project and it has definitely sparked some thinking when it comes to employing an MBTI typology for whole groups of people rather than individuals. True enough, stereotyping and generalising is to be often avoided due to its tendency to be false. Yet, there is some truth to almost every stereotype and I think that certain warrants some analysis.</div>
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Today, I will be concluding the series by discussing the Diplomat types: ENFJ, ENFP, INFJ and INFP. These types are united by I<b>n</b>tuition and <b>F</b>eeling, which imbues them with the capability for deep empathy and compassion, allowing them to relate easily to others. This natural affinity for understanding earns them their title, for the Diplomat types will often find themselves in the role of peacemaker, existing to harmonise various elements and enable them to work in unison. This depth of feeling is excellent for ensuring that others feel comfortable, though it tends to lock the Diplomats in a "warm" setting, meaning that they can struggle when "cold", logical thinking must be applied. </div>
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Let's take a look at which creatures these types fit...</div>
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[noun]
(sometimes spelled mamihlapinatapei) derived from the Yaghan language of Tierra del Fuego, listed in The Guinness Book of World Records as the &#8220;most succinct word&#8221;, and is considered one of the hardest words to translate. It refers to &#8220;a look shared by two people, each wishing that the other will offer something that they both desire but are unwilling to suggest or offer themselves.&#8221; A slightly different interpretation of the meaning also exists: &#8220;It is that look across the table when two people are sharing an unspoken but private moment. When each knows the other understands and is in agreement with what is being expressed. An expressive and meaningful silence.&#8221;
[Séverine Pineaux]" src="http://37.media.tumblr.com/39be87e386e2d64e4d0883c016ed2aa2/tumblr_mkeepthDK21r47bczo1_500.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
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<h3 style="text-align: justify;">
ENFJ (The Giver) - Dryads</h3>
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Yet another being from Greek mythology (so much to choose from, how am I to resist?), the Dryads are tree spirits (specifically associated with Oak Trees) which exist as expressions of nature. They are often described as minor deities and they seek to promote harmony and cultivate their environment to ensure that all living things can co-exist. They do more than simply inspire, they protect and the wrath of a Dryad is as fearsome as the rage of the natural world seeking to defend itself. </div>
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Charisma and altruism are defining qualities of the Giver, whose central goal is to provide the emotional support (and occasionally the material means) required to allow other people to flourish and grow comfortably. Dryads are, traditionally, very beautiful humanoids in appearance, who possess exceptional charm and charisma, whilst also serving to empower and tend to their own environments. Plants themselves, Dryads have an affinity with all growing things and use their powers to encourage the prosperity of nature. This description compares neatly with the way in which the Giver takes the hand of all those around them and does what they can to aid in their flourishing, a practice which requires a great amount of tolerance, the ability to persist and endure no matter what the weather might be. Much like the trees they resemble, Dryads take root and stand their ground. Likewise, ENFJs are amongst the most reliable of folk, depended upon by their friends (both close and distant).</div>
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<h3>
ENFP (The Champion) - Fae</h3>
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The Fae incorporate a wide variety of different beings, though the most central of which are Faeries, youthful beings of plenty and excess, known for their playful of not outright tricksy nature. Certainly, one cannot doubt their power, for they can do many things, though their powers often come with a price and nearly always teach their recipient and life lesson.<br />
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Champions are popular and friendly, excellent hosts who do their utmost to ensure that their guests are entertained and looked after, much like the Fae of legend, who are known for their fantastic gatherings and excellent conversational skills. They know how to unwind and images of Faeries relaxing quietly in the serenity of the forests and woodlands are numerous, for these beings are known for their luxury and their readiness to fully embrace the lighter side of life, which includes an element of sloth. ENFPs are curious creatures, as are many portrayals of the Fey, which present them as constantly interfering in the human world out of an interested in our lives and the ways in which we live.<br />
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Both the Fae and ENFPs are overly emotional individuals, who often wear their hearts on their sleeves and are capable of great depth of feeling. Unlike the introverted feelers, ENFPs very much express how they feel, meaning that their emotions have a profound impact on the world around them. Likewise, the Fae are known for their mood-swings, for how quickly their hearts can change, leading many to call them fickle. Indeed, this could be equally suggested of the ENFP, who often find focus difficult. </div>
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<h3>
INFJ (The Counselor) - Angels</h3>
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Angels are messengers of the Gods, bringing their gospel and their word to all corners of the world. Fundamentally, they perceive a truth which many cannot and their entire beings are dedicated to delivering this truth ubiquitously, which they see as the highest good. Though they are close to the Gods they serve, they are still very much reliant upon their faith, which can waiver and be lost much like that of any human being. However, so close to their deities at all times, Angels are constantly faced with the difficult questions, which they must seek to overcome. They are more than passive messengers, however, for they seek to heal those who suffer and alleviate their pain, as well as protect purity and goodness. Angels are divine warriors as well as benefactors and are not to be underestimated should the trumpets of war be sounded.</div>
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INFJs set extremely high standards for themselves and for others, a trait shared with many depictions of Angels who demand god-like perfection from themselves and all those they meet. This desire for perfection further manifests in the need to feel as if they are constantly improving and becoming ever-better; INFJs are not a type which likes to sit still. This leads to their disapproving of those who are more lax (which can be almost any other type) and can create hostility. </div>
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Furthermore, INFJs are determined to make a difference to the world around them and whilst this often makes them exceptionally beneficial, they can become warped and twisted, resulting in their promoting a terrible order of things. Just as Hitler was an INFJ, so was Lucifer and Angel.</div>
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<h3>
INFP (The Idealist) - Muses</h3>
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And, rather fittingly, we end with another set of figures from Greek Mythology. According to legend, the Muses are a group of female deities (though popular culture has begun to present some male incarnations, though their feminine image seems to persist) who personify the arts. They relate to the classical conception of the genius as being a supernatural entity which exists outside of the individual and endows them with talent and skill, rather than the modern conception, which portrays genius as being something which an individual is, rather than something outside of them which they can, temporarily, possess. Muses exist to inspire and rally the creative parts of the soul.<br />
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Some legends say that there are nine Muses, each of which governs over a different art (for example Tragedy, Hymns, Comedy etc.) and the picture above likely represents Urania, the Muses of Astronomy, who is often symbolised by a globe and compass. </div>
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Fundamentally, Muses and INFPs are linked due to their natural affinity for creativity, no matter what form this may present itself in. Idealists, as their name suggests, are fascinated by ideals and concepts and, possessing great emotional character seek to play with such things, for which the artistic mediums are well suited. Idealists possess great enthusiasm for their work and anything about which they are passionate. Indeed, this type, much like the Muses are veritable wellsprings of passion and they often seek to inspire others, which is, of course, the fundamental role of a Muse.<br />
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Thus I bring to a close my second MBTI series and hope that it was at least somewhat interesting to read. I have already begun on the next entry, which will be on identity again (though not MBTI exclusively, this time) and which will be marking an important milestone as it will be this blog's 100th entry!</div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-91640280586354657782014-07-31T16:41:00.003+01:002014-07-31T16:41:42.228+01:00The Beastiary: Entry III, Sentinels<div style="text-align: justify;">
Defined by their <b>S</b>ensing and <b>J</b>udging qualities, Sentinel types are defined by their pragmatism and their ability to devote themselves to the causes they consider to be worthy of their sponsor. They are excellent planners and managers, both of resources and of people, and excel in all things measurable or anything which concerns concrete facts. This is not to preclude artistic or poetic drives, only that those drives will often be defined by their groundedness.</div>
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The four types for discussion in this entry, and the creatures I have matched them with are as follows: ESFJs (Erinyes), ESTJs (Dragons), ISFJs (Valkyries) and ISTJs (Vampires).</div>
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ESFJs (The Provider) - Erinyes</h3>
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Within the extensive and complicated mythologies of Classical Greece, the Erinyes, whose name apparently translates as avengers of perjury, were deities of vengeance who existed to punish those who did wrong, most notably those who broke their oaths. Erinyes are more commonly known as the Furies and according to some sources, they are more ancient than any of the Olympian Gods (by which we mean Zeus and his "merry" household).</div>
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ESFJ most accurately aligns with the Erinyes due to this type's love of loyalty. Providers want what is best for those around them and this can only be reached if everyone practices a fierce kind of loyalty. ESFJs seek to promote overall benefit for everyone and, though the Furies are fearsome and a curse upon those they are seeking, in providing an incentive for loyalty and companionship they (and their legacy) encourage honesty and comradeship, which allow peace for all to enjoy. Furthermore, Providers, like the Erinyes, take their duties with the utmost seriousness, devoting themselves to the benefit of those around them. Erinyes are single-minded when it comes to their task, unflinchingly dedicated. While this supernatural devotion is not exactly matched by the ESFJ, they are very passionate and focused individuals. That the Provider retains a keen eye on social status further reflects the way in which the Erinyes exist to deal with contractual (often social) problems. </div>
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ESTJ (The Enforcer) - Dragons</h3>
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I should not have to tell anyone what a Dragon is, so I am not going to do so.</div>
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Enforcers are representative of tradition and order within the MBTI network of personalities, they are exceptionally capable to understand social traditions and ideals and then employ them in such a way to sway other individuals and unite them, often under the banner of the ESTJ. Likewise, Dragons are depicted almost always, as being among the most ancient of beings, whose very lives are tied to a world forgotten, yet whose existence is important, if not integral, to the functioning of the world. In much the same way, ESTJs seek to enable the persistence of certain aspects of human existence through maintaining, sometimes singlehandedly, the structures which have enabled society and human interaction to endure for as long as they have. It helps that Enforcers are excellent organisers of people, as are Dragons who are often depicted has having lived in sprawling empires eons before humanity, or something comparable, came onto the scene. </div>
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In a more metaliterary manner, we can see Dragons as a stabilising presence within the fantasy genre, for depictions of them have extended back into history unknown and there are still novels and films and all manner of other media being produced today which makes full use of this ancient archetype. </div>
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ISFJ (The Protector) - Valkyries</h3>
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Within Norse mythology, the Valkyries were the "choosers of the slain" a group of female entities whose role was to determine who would live and die in combat, as well as to collect the souls of fallen warriors who they deemed worthy and deliver them to Valhalla, where they would train for Ragnarok, the great battle which would remake the world.</div>
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Valkyries exist to support the Gods and ensure that they have the greatest chances when the dreaded battle finally arrives and likewise ISFJs are "all about" sharing their time, energy and compassion in order to support other people, especially if those other people are united with them in a cause they believe in. Protectors are, furthermore, loyal and enthusiastic, as are the Valkyries, who are entirely devoted to their assigned tasked. ISJFs are practically oriented and can handle themselves in practical tasks more often than not, which is reflected in the Valkyries who are masterful combatants, their very existence is, after all, devoted to combat. Even in basic namesake, Valkyries are protectors. Without them, the Norse Gods would lack the army they require to defend themselves and creation in the great battle. They are the first and last line of defence.</div>
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ISTJ (The Guardian) - Vampires</h3>
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ISTJs are calm, pragmatic individuals who, though they are more than capable of experiencing strong emotions, are able to keep themselves under control in most situations. This is comparable to the Vampiric coolness with which these creatures are often portrayed. Traditional depictions consider Vampires to be aristocratic and collected individuals who are so terrifying due to their never being concerned. After all, when one is immortal and able to overpower any human opponent, what does one have to fear?</div>
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Guardians often excel in multiple areas at once, making them jack-of-all-trades. Vampires are so wide and varied in terms of their portrayal and given so many different abilities and skills that the very idea of a Vampire fits into this idea. Furthermore, guardians are restricted by their own set of rules, much like Vampires are confined by the limitations of their condition, be they whatever they are, forced to live off human blood and remain inside during the day being the two most iconic. </div>
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This concludes the third entry. In the final part, I will discuss the Diplomat personalities: ENFJ (Dryads), ENFP (Fae), INFJ (Angels), INFP (Muses).</div>
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Thanks for reading!</div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0tag:blogger.com,1999:blog-4886786965159998255.post-61311817025654572962014-07-24T11:00:00.000+01:002014-07-24T11:00:01.277+01:00The Beastiary: Entry II, Analysts<div style="text-align: justify;">
The topic of this entry is the Analyst Myers-Briggs Types: INTJs, INTPs, ENTJs and ENTPs. These types are known as Analysts because they combine the <b>I</b>ntroverted and <b>T</b>hinking traits, granting them increased ability to deal with abstract concepts and process large amounts of factual information. They often excel in the more strictly logical portions of disciplines and are more often than not more comfortable with ideas and information than they are with people. </div>
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The creatures I will be discussing during this entry are...Devils, Doppelgangers, Sphinxes and Wisps.</div>
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INTJs (The Strategist) - Devils</h3>
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First off, I would like to make it clear that, as with all of my MBTI related stuff, there is no judgement present and I am not here intending to say that INTJs are in any way immoral. I am, however, saying that, from a perspective of personality, there are links with Devils (as they are presented in popular culture and beyond), which, it is important to note are not necessarily evil in and of themselves.</div>
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Having made the clear, why are INTJs comparable with Devils?</div>
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A central quality for the Strategist is a high degree of self-confidence, which can, in some cases, lead to arrogance or at least a tendency towards stubbornness. This concept of INTJ pride, ties in nicely to the fact that devils are often presented as wielding great power, a nod to the INTJ tendency to be very adept within certain fields, but also of their power tied with their ambition and their self-confidence. These are initial reasons, however, and the main reason I have decided to compare INTJs and Devils is because of the Strategist's wit and ability to think quickly and, most of all, to develop contingency plans and be consistently prepared. This kind of behaviour is displayed in Devil characters as they always have a way of turning the situation to their advantage. Centric to the personality of the Strategist is their ability to quickly understand a system of rules and exploit them to their advantage and this very much reminded me of the idea of Devilish Pacts, or contracts with the Hells. In such cases, mortals will promise something to the Devil, usually their soul, in exchange for that which they desire, though the Devil nearly always manages to exploit the terms of the contract so that the mortal ends up with nothing. </div>
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Interestingly enough, despite their ability to flourish in organised environments, INTJs often wish to break out and assert their liberty and this can be seen within devils as well. In spite of their contracts and bargains, both of which are governed by many rules, Devils are nearly always portrayed as wishing to get out of Hell, to leave behind those structures and assert themselves. </div>
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ENTPs (The Inventor) - Doppelgangers</h3>
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For the purposes of this entry, I will consider Doppelgangers in the sense they are presented within D&D. Essentially, they are humanoids who have the power to change their appearance at will, appearing as any other humanoid they wish, even able to perfectly imitate the appearance of another if they chose to. In spite of this, however, they do not gain access to the mind of those they chose to appear as, so their resemblances, whilst convincing, can be as shallow as appearance.</div>
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I gave the ENTP this role because of their love of debate and their devil's advocate nature, which allows them to assume and reassume various positions in discussion, allowing them to effectively alter their argumentative "face" as they see fit, even if, sometimes, others are able to see through it. It is, however, difficult to see through the shapes they assume as ENTPs are known for their charisma and their social fluency, much as a Doppelganger would have to be able to adapt to whatever face he (or she) was wearing at any individual moment, so too can Inventors effectively reinvent themselves and present themselves different depending on who they are with or what mood they are in, more so than other types. Furthermore, ENTPs often suffer from boredom and like to "shake things up", constantly moving on and progressing, just as a Doppelganger might change their shape, having tired of living within their former one. This having been said, they possess, as do all types, a more stable inner core, a "true personality" which is much like the ENTP.</div>
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INTPs (The Architect) - Sphinxes</h3>
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Just as INTPs possess great skill with abstract thought and problem solving, so too do Sphinxes. In much lore, these winged lions are presented as loving wordplay, puzzles and, above all, riddles. This is the central reason why I have compared them to the INTPs, who are open-minded by nature and often possess deep and powerful imaginations, which allow them to think exceptionally creatively. Furthermore, much like the Sphinxes who are known to sit or lie around all day, passing hours in deep thought, Architects can be withdrawn and even absent-minded at times, especially when their minds are going over some problem or complication. Architects can become truly devoted to their projects, which they only ever adopt out of a love for them (in most cases) and thus, like the Sphinxes, can become devoted to them at the expense of everything else. INTPs can, occasionally, become condescending, especially when they are speaking to those who cannot interface with their thinking as readily as they (which happens to be most people), and this is similar to the way in which Sphinxes can become bored by those who come across them, unless their visitors are willing to engage in a game of wit. </div>
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://37.media.tumblr.com/tumblr_mcpdbsVTxx1rx06nvo1_500.jpg">Image </a>posted by <a href="http://sciencesoup.tumblr.com/">Science Soup</a></td></tr>
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ENTJs (The Commander) - Will-o'-the-Wisp</h3>
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Ah, we return to the infamous Commanders once again. Now, I know that many people, not to mention many ENTJs, would probably find the fit between their type and Will-o'-the-Wisps to be wanting in some way. It is within the ENTJ mindset to consider themselves to be something more robust and I would agree that this type is mentally hardy and certainly very capable. I am not, in assigning them the Wisps, arguing that this type could not easily fit many other, perhaps more traditionally fantastical, creatures, though I am saying that I think that they suits wisps equally well. </div>
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The central reason for my selecting this match is that ENTJs, as their namesake suggests, are strong-willed, leader oriented types, able to deal with both facts and abstract ideas in order to make quick decisions and fit them into a wider strategy or plan. This, to me at least, resonates with the image of the wisps appearing out of thin air to lead travellers and adventurers along a new path, for good or ill. After all, wisps have been known to lead wanderers to their doom for no reason other than a desire to do so. (ENTJs can, after all, be ruthless when they want to be). </div>
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Furthermore, wisps are shown as being agents of a "hard fate" or a destiny which the character cannot ultimately chose to avoid. Likewise, ENTJs are known for their ability to hold their ground and be quite insistent, often leading to confrontations with other types (and other ENTJs) who do not like to be commanded, even by the Commander. Wisps will be listened to and refuse to be lightly ignored, much the same for ENTJs. Though wisps themselves tend to exist as relatively minor characters, this does not mean that they do not have a profound impact on that which goes on around them.</div>
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Thus ends the second Beastiary entry. In the third installment, I will be discussing the Sentinel types: ISTJs, ISFJs, ESTJs and ESFJs - Vampires, Valkyries, Dragons and Erinyes. </div>
Benjamin Carpenterhttp://www.blogger.com/profile/09390271638512348997noreply@blogger.com0