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Conflcting perspectivess

Conflcting perspectivess

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Published by rsadnick

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Published by: rsadnick on Oct 16, 2011
Copyright:Attribution Non-commercial


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To what extent has textual form shaped your understanding of conflicting perspectives?
Textual form has heavily shaped my own understanding of conflicting perspectives through the way people’s
opinions and perspectives are displayed through the use of language techniques such as satire and theconstant juxtaposing of emotions, storytelling and the discernment of others perspectives. The Justice Gamewritten by Geoffrey Robertson is a personal account of high profile cases that he himself personally attendedand defended the all too commonly
marginalised as Robertson saw himself on more than one occasion ‘as thecarrier of the banner for alternate society’. The justice Game is abundant with great stories, commonly
Robertson facing conservative thinking parties and his view thrust upon the reader as a means of recruiting thereaders sub-conscious to agree with himself. This is evident particularly in
the trials of O
z’ and ‘the Romans inBritain’
as they clearly display the discerning, satirical and storytelling elements of textual form in the JusticeGame. Tim Robbins film, Dead Man Walking reveals the conflicting perspectives felt within a community as
well as the viewer in relation to their own view on capital punishment but more so the notion of ‘justice’.
Robbins achieves this through developing and exploring different textual forms from the views and image of Matthew Poncelet, the convicted murderer and rapist within the community and more importantly SisterHelen Prejean.
George Orwell’s The Hangi
ng reveals the displacement felt within a guard about the act of hanging a condemned man. The use of juxtaposing, or the juggling human emotion through the use of similesas well as metaphors is how Orwell has used textual form in this poem to shape my understanding of conflicting perspectives.
‘The Trials of Oz’ is a representation of Robertson’s personal vendetta against
conservative thinking society
and Robertson’s personal crusade of 
being “the carrier of the banner of alternative society”. Robertson ga
insthe readers support through the use of his master story telling skills and his constant discernment andirrelevance placed upon his competitors by himself.
‘The Trials of Oz’ is Robertson’s account of the Crown
Prosecution against the Oz editors due to the corruption of public morals and the publication of obsceneimages. Robertson implies this case as a miscarriage of justice due to the disregarding of free speech andBritish citizens basic rights. Robertson depicts the editors of Oz as good and noble men who are about to bedealt a
miscarriage of justice
through the hands of the ruthless “Judge Argyle”. Textual form is used inRobertson’s satirical and mockery description of Judge Argyle’s backward actions
which is used to JuxtaposeRobertson against Argyle as the man in right. This is evident in Roberts
on’s description of Argyle’s “
three year
sentences to three youths who vandalised telephone boxes” as Argyle saw these youths as “
delinquents who
represented the evils of permissible society”.
n exposes this “miscarriage of justice” in the form of theselected jury members over the desired by the Oz editors. Robertson juxtaposes the jury of “
hardhats from
every site in Kent” to the editors desired “gay actor, the level minded lecturer” who shoul
d be their jury. This
use of textual form reveals the “miscarriage of justice” and positions the reader to agree with Robinson but
more to feel sympathy for Oz editors. Robertson specifically placed this information into this novel todeliberately associat
e himself with the emerging but now prominent “permissible society” that the readers areenveloped in. Robertson’s ability to use textual form to his advantage shapes the entire novel The Justice
game, which is in itself an extended metaphor for the way justice is played with in the legal system, shapes thereaders view of Robertson as this protector of the marginalised
and a warrior against any great “miscarriage of  justice”.
This is how Robertson uses textual form to present his conflicting perspective of justice against thatof Argyles and how it has deepened my own interpretation of conflicting perspectives.
‘The Romans in Britain’ is another example of how Robertson uses his ability of storytelling and willingness to
discern others opinions to promote his view on events but more importantly his selfless acts of defence
against the “marginalised society” who produced a play that was “too early for its time”.
The play revolves
around the concepts of sex, nudism and most importantly homosexuality that “di
d not suit the mentality of acold-
war set Britain”.
Textual form is evident from the beginning in this chapter as the chapter reads familiarlylike a novel, or a well written story. Robertson immediately uses the power of satire and discernment in thedescription of the instigator in this famous case, Mrs Mary Whitehouse. Robertson explains how Whitehouse
was “utterly disgraced” in these acts of “severe buggery”
d how Whitehouse biblically “gird her loins”. He
places Whitehouse in the category of a fundamentalist religious crusader to depict her as the image of 
previous generations and backward thought to today’s society. The simple use of Mrs is used to place her inthis category of ‘old’ and is juxtaposed against the Robertson’s client, “Ken”. “Ken” i
s used to present a sense
of comfort and to associate him with today’s thoughts and customs. Robertson pleads that Ken “is the mostinnocent of sophisticates who only aimed to titillate not terrify”. This softness and use of sophisticated
language juxtaposes
Whitehouse’s use of uneducated slang such as “buggery” and subliminally makes the
reader side with Ken but more importantly Robertson. This is how Robertson uses textual form to reveal theconflicting perspectives of himself and that of Mary Whitehous
e who represented “ a cold
war set Britain” and
it is through his techniques that my understanding of conflicting perspectives has deepened.Tim Robbins film, Dead Man Walking has the ability to use various textual forms in the ways of aural and visualtechniques throughout the film to reveal conflicting perspectives in both the disjointed community and the
viewer’s own subconscious. Dead Man Walking forces the viewer into the mental tug of war on their own
opinion on capital punishment but more importantly the redemption of a condemned man. Robbins achievesthis by developing a relationship with Matthew Poncelet, the convicted murder and rapist through Sister HelenPrejean. Robbins plays on the aural form to depict Poncelet as your typical uneducated redneck through his
constant uneducated and blatantly stupid statements such as “Hitler got things done, he was a hero” forces
the viewer to feel a sense of hatred and develop a negative impression on Poncelet. Robbins juxtaposes thisview within the viewer through the relationship that is developing between Poncelet and Sister Prejean.
Poncelet’s character and desire to live is revealed to the audience through conversations and pleads to godthrough his mediator, Sister Prejean; “I don’t want to leave this
world”. The first major conflicting perspective
is shown in the conversation between Mr Percy, the father of the male victim and Sister Prejean. Percy
confronts Prejean and says “how can you stand next to him.. He’s not a man he’s an animal”. This is juxt
with Prejean’s response and perspective “I’m just trying to follow the example of Jesus, who said that a personis not as bad as their worst deed”. This softer response juxtaposes that of the general public. The
Intertextuality with biblical references introduces the
religious preference and forces this elementinto their interpretation of the death penalty. The relationship between Poncelet and Prejean turn to one of redemption, thus confusing the audience and creating conflicting feelings within themselves. Robbins uses the
visual form to further complicate the audience’s feelings and perspective or Poncelet and the pending
execution. Flashbacks to the actual murder occur throughout the film, always in a gloomy light that then fadesto on
ly the murder and rape visible. This forces the viewer to agree with the public’s view of Poncelet as “ananimal” and that as a feral animal he should be exterminated. Robbins final use of visual form is that creates
conflicting emotions and perspectives within the audience is evident in the execution scene where Poncelet isstrapped to the table resembling a man on the cross. This is not necessarily done to represent Jesus, but acriminal seeking forgiveness.
Poncelet says “I hope my death gives you some relief”, this statement juxtaposeshis previous ones such as “Hitler got things done” and displays to the viewer that Poncelet has found peace
and redemption. The most powerful image is found in the final execution scene where Poncelet and Prejeanare sta
ring each other in the eye and the words “I love you” are lipped, Prejean is smiling and the faces of the
others in the viewing room are juxtaposed by their cold, stern expressions. Robbins achieves and displaysconflicting perspectives only within characters in the film but the viewer through his use of powerful andeffective audial and visual techniques and images. This is how Robbins use of textual forms has deepened myunderstanding of conflicting perspectives.
George Orwell’s Th
e Hanging reveals the personal disgust felt by a guard on the concept of hanging and
executing a “healthy man”
on orders of another man. Orwell uses morbid imagery as his main type of textualform as his vivid descriptions of the proceedings as well as the actual execution present a horrible and utterlyimmoral act of unnecessary death. Orwell star
ts the writing with the simile “
a sickly light, like yellow tinfoil,
was slanting over the high walls into the jail yard”, this is used to reveal the melancholy of the situation that
the prisoner and guards are about to experience together. Orwell describes how the condemned cells

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