Susan Sontag’s book Regarding the Pain of Others analyzes the ins and outs of the nature and ethics of violent war images. While one would not even have to bend the spine of this book to capture its essence, with its blunt title and frank cover illustration, some readers might turn the last page feeling puzzled by a few interpretations. While Sontag clearly establishes her belief that it is imperative that the general public view violent images and be informed about events their privilege would otherwise shelter them from, she hardly begins to consider the opinions of those who matter most-veterans. From mentions of their participation in staged photographs to talk of patriotic organizations denouncing anti-war propaganda, she is brief and …show more content…
While empathy provides a mere semblance of understanding of another’s circumstances, it nonetheless allows people to sympathize and form emotional bonds. Because veterans’ disconnect arises from the sense the non-veterans in their lives do not truly understand their trauma, empathy is the paramount tool used to spark that connection. The magnitude of empathy’s role in the healing of discord is especially prominent in Ceremony. For instance, Tayo’s Aunt’s firm support for his hopes to heal his trauma does not guarantee her approval in the way that healing process proceeds. Silko states, “He heard Auntie talk about the veterans-drunk all the time, she said. But he knew why. It was something the old people could not understand. Liquor was medicine for the anger that made them hurt, for the pain of the loss…” (Silko 40). While not necessarily attempting to justify alcoholism as a coping mechanism, this quote exhibits the shame Tayo experiences as a result of his Aunt’s lack of empathy in understanding Tayo’s deeper-rooted issues. On the other hand, Silko also repeatedly portrays empathy as the sole producer of several relationships in Ceremony. Along with war-related trauma, Tayo struggles with finding his place in the Native American community, as he is half-white. Silko describes the significance of Tayo’s first encounter with Night Swan, a woman of his same identity, “I always wished I had dark eyes like other people…” His throat felt tight. He had not talked about this before with anyone…She laughed softly. “They are fools. They blame us, the ones who look different…” (Silko 100). Because Night Swan understands what it is like to be of mixed race, she is able to empathize with Tayo, making him more comfortable with his own identity, as well as forming a deeper connection with Tayo. Likewise, the consoling relationship between Tayo and his medicine man Betonie, also of mixed
“The war correspondent is responsible for most of the ideas of battle which the public possesses … I can’t write that it occurred if I know that it did not, even if by painting it that way I can rouse the blood and make the pulse beat faster – and undoubtedly these men here deserve that people’s pulses shall beat for them. But War Correspondents have so habitually exaggerated the heroism of battles that people don’t realise that real actions are heroic.”
This art analysis will define the theme of the universality of 20th century modern warfare in the context of modern works of art by David Levinthal and Roger de la Fresnaye. David Levinthal’s “Untitled” (1972) is commentary on the mass killing of modern warfare in the 20th century, which killed many millions of men during Hitler’s invasion of Europe. Levinthal’s childhood imagery of tanks, soldiers, and homes visualize the mass killing of war as a “universal” concept in the depiction of the modern psyche. Roger de la Fresnaye’s “Artillery” (1911) is also a commentary on cubist imagery that projects a military
War is cruel. The Vietnam War, which lasted for 21 years from 1954 to 1975, was a horrific and tragic event in human history. The Second World War was as frightening and tragic even though it lasted for only 6 years from 1939 to 1945 comparing with the longer-lasting war in Vietnam. During both wars, thousands of millions of soldiers and civilians had been killed. Especially during the Second World War, numerous innocent people were sent into concentration camps, or some places as internment camps for no specific reasons told. Some of these people came out sound after the war, but others were never heard of again. After both wars, people that were alive experienced not only the physical damages, but also the psychic trauma by seeing the deaths and injuries of family members, friends or even just strangers. In the short story “A Marker on the Side of the Boat” by Bao Ninh about the Vietnam War, and the documentary film Barbed Wire and Mandolins directed by Nicola Zavaglia with a background of the Second World War, they both explore and convey the trauma of war. However, the short story “A Marker on the Side of the Boat” is more effective in conveying the trauma of war than the film Barbed Wire and Mandolins because of its well-developed plot with well-illustrated details, and its ability to raise emotional responses from its readers.
An image has the explicit power of telling a story without saying any words, that’s the power behind a photo. A photo tends to comes with many sides to a story, it has the ability to manipulate and tell something differently. There is a tendency in America, where explicit photos of war or anything gruesome occurring in the world are censored for the public view. This censorship hides the reality of our world. In “The War Photo No One Would Publish” Torie DeGhett centers her argument on censorship, detailing the account of graphic Gulf War photo the American press refused to publish. (73) DeGhett argues that the American public shouldn’t be restrained from viewing graphic content of the war occurring around the world. She believes that incomplete
The reality that shapes individuals as they fight in war can lead to the resentment they have with the world and the tragedies that they had experienced in the past. Veterans are often times overwhelmed with their fears and sensations of their past that commonly disables them to transgress and live beyond the emotions and apprehensions they witness in posttraumatic experiences. This is also seen in everyday lives of people as they too experience traumatic events such as September 11th and the fall of the World Trade Center or simply by regrets of decisions that is made. Ones fears, emotions and disturbances that are embraced through the past are the only result of the unconscious reality of ones future.
George Gittoes (b.1949) creates works that that communicate the issue of the graphic horror of war. A social realist painter, photographer and filmmaker, his approach to art is that ‘he layers and accumulates material until, out of apparent chaos, there is a synthesis of idea, passion and image’ (Mendelssohn, 2014). As an eyewitness to the world's war zones, Gittoes clearly uses his work as a means of communication to society.
The constant struggle present in the novel is the conflict between the native world and the white world. It is a struggle between community and isolation, between the natural and material. Silko uses the characters in the novel to show the positive and negative influences of the contact of cultures. Specifically, the characters Tayo, Emo, and Betonie are prime examples of the manifestation of the two worlds and the effects it has on each characters actions, dispositions and beliefs.
Tayo and his cousin Rocky grew up together practically as brothers and attended a school where they were taught by whites. Curiously, it was Rocky who denounced the Native American traditions and wanted to leave the community and to “win in the white outside world” (Silko 47). Traditions such as covering the head of the deer after hunting, was something that Tayo believed in and followed, along with other Native American traditions that Rocky, a full-blooded Native American, declared as superstition. Tayo, being half white, could have just as easily as Rocky worked toward a place in the city with white men, but because of his mixed identity, Tayo always thought of himself as an outsider. He felt even less at home with the white men, because he grew up around Native American culture and
Instead of telling readers what to think through words, readers can form their own point of view from a photo. A photograph that showed different interpretations was taken during WWII after the destruction of Iwo Jima in Japan of Americans soldiers raising an American flag in the ruins. Some viewers may perceive this act as patriotic, and others may have thought it was an act of terrorism and revenge. Either opinion could be argued and the photograph is the evidence. Since photographs can be unbiased, they can also hold truthful detail. For example, one photograph from the Vietnam war depicted a Vietnamese police officer shooting a Viet Cong in the streets. There are a lot of emotion in that photograph that words cannot describe all; which included the fear and hostility that was upheld during the time. Newspapers need to print more of these kinds of photographs to educate people the ugliness of war and death. Ephron pointed out, “throughout the Vietnam War, editors were reluctant to print atrocity pictures. . . That 's what that war was about.” War and its deaths are a part of history too, and history needs to be kept true and unbiased. As long as the photos are not altered nor used for propaganda, they can be
Tayo faced a struggle of recognizing his essence: the true definition of himself outside and most especially inside. Being a half Native American and half-Caucasian in an environment of a Native American tribe in Laguna, he was constantly reminded of being an outcast. Externally, whenever he would try to fit in any of his race, both sides would reject him with ridicules. As Emo stated against Tayo, “There he is. He thinks he’s something all right. Because he’s part white. Don’t you, half-breed?” It presented hatred from a full-blooded Native American because, “the only reason for this hate was that Tayo was part white.” In fact the shame of being a “half-breed” continued down to his relatives. Auntie’s, “shame for what his mother (Tayo’s) had done, and Auntie’s shame for him (Tayo),” was surprising even though she was one of the closest blood relative of Tayo. On his Caucasian side, encounters were similar with the Native Americans. He was not truthfully acknowledged by the Caucasians he encountered under the shadows of his military uniform, which symbolizes “his service and loyalty” for the United States because, “they had the uniform and they didn’t look different no more. They got respect” . He was automatically disregarded as “the different o...
Lawrence Hill Books, c2009 Bracken, Patrick and Celia Petty (editors). Rethinking the Trauma of War. New York, NY: Save the Children Fund, Free Association Books, Ltd, 1998.
There are many times where the narrator describes his actions towards his loved ones while under the influence of alcohol. Since the narrator is trying to draw the attention to his consumption of alcohol, he tries to make sure that his actions trace back to it. In the short story, the narrator says "But my disease grew upon me -- for what disease is like Alcohol !..."(Poe 23) which shows his addiction for alcohol becoming stronger. The narrator's madness seems to be heightened by the alcohol. He begins to chan...
“Photographs like the one that made the front page of the most newspapers in the world in 1972- a naked South Vietnamese child just sprayed by american napalm, running down a highway toward the cameras, her arms open, screaming with pain-- probably did more to increase the public revulsion against the war than a hundred hours of televised barbarities”(476)
Sontag states in her piece “Regarding the Pain of Others,”that war and imagery do not exist without the other. She claims that many times these images are too focused on one point of view causing an inaccurate illustration of the reality of war. Although Berger supports the point mentioned in Sontag’s piece on the belief that images of war are necessary, both articles conflict each other when discussing whether all images should be available to everyone and if the images show the true reality of war. Berger and Sontag emphasize the influence that war imagery can have on a person. Images are so moving and impactful that war does not exist without images.
The article goes even further to say that the journey that Tayo is forced to take can be paralleled to Silko’s own journey, essentially saying that the novel is biographical in some aspects. While Tayo is one individual that appears to be the catalyst for change, Silko in writing the novel, is also a representation of this same change or transition. This transition is from distinct division between native culture and the American culture or identity to hybridism. What Tayo represents is not only the physical results of hybridity but he also contributes, through his journey to the mental and cultural dimensions to this important transition. “Silko revises the naturalistic code to show Tayo’s victory over it.