06 Worksheet 1 – ARG

: Olin Cri T. Onipa (HUMSS 1-1A)

Instruction: Read and analyze the statements below. Interpret the meaning by answering the
following questions on the space provided.

Rebecca: I want to die with a little dignity.

House: There’s no such thing. Our bodies break down, sometimes when we’re ninety,
sometimes before we’re even born, but it always happens, and there’s never any
dignity in it. I don’t care if you can walk, see! You can live with dignity; you can’t die
with it.
Dick, L. (Writer), & Yaitanes, G. (Director). (2009). Pilot [Television series episode]. In P.
Attanasio (Executive producer), House, M.D. Los Angeles, CA: Fox Broadcasting.

INTERPRETATION: I think that House in this dialogue meant that dignity does not exist within
human vulnerabilities. Our bodies break down in ways that cannot be expressed with dignity, these
inevitable events can never occur with dignity—this implied that we can only ever feel dignified for
as long as we live but never during or after death. Therefore, I believe that this dialogue can be
interpreted for expressing how dignity can only happen within the conscious experience of human
existence and not within the occurrence of human vulnerabilities.

Daenerys: Lannister, Targaryen, Baratheon, Stark, Tyrell, they're all just spokes on a
wheel. This one's on top, then that one's on top, and on and on it spins, crushing those
on the ground.
Tyrion: It's a beautiful dream: stopping the wheel. You're not the first person who's
ever dreamed it...
Daenerys: I'm not going to stop the wheel... I'm going to break the wheel!
Martin, G. (Writer), & Sapochnik, M. (Director). (2015). Hardhome [Television series
episode]. In D. Benioff (Executive producer), Game of Thrones. New York City, NY: Home
Box Office.

INTERPRETATION: Within analysing the dialogue, I think that there are four (4) things that I can
conclude from it: first is that there exists a hierarchy that works like a wheel—if there are those that
are atop then there are those that are crushed beneath; second is that stopping a system that has long
been sustained is often perceived as a mere dream that many have thought of due to the persistence
of the issue, similar to how most societal issues are perceived; this leads me to my third conclusion,
if stopping the wheel is something one truly desires, then it must be more than something that one
only dreams of—one must work towards a goal and not simply dream for it; lastly, in the process of
striving towards a goal, one must be determined. Additionally, this can mean that one cannot expect
an outcome by simply dreaming, because as Tyrion said, many dreamt, but it seems that no one
seemed to have done anything. Overall, I think that this dialogue can be interpreted as an expression
of determination towards change, that if one must be driven to dream for something—then they
should then strive to act for it.

Annalise Keating to her students: "I don't know what terrible things you've
done in your life up to this point, but your karma is out of balance to get
assigned to my class. I am Professor Annalise Keating, and this is Criminal
Law 100 or as I prefer to call it "How to Get Away With Murder."
Nowalk, P. (Writer), & D’Elia, B. (Director). (2014). Pilot [Television series episode].
In B. Beers (Executive producer), How to Get Away with Murder. Burbank,
California, U.S: Touchstone Television Productions, LLC.

INTERPRETATION: To interpret the statement, in the earlier parts of what she had said, Annalise
Keating pointed out how she does not know what terrible things her students have done in life—and
I believe that this can be applied to the concept of phenomenology; where one will always be
unaware of another’s experiences for as long as they are unable to perceive it. Furthermore, she
suggested that they might have then committed serious deeds to be assigned to her class; and I
believe that that is where phenomena come in. In the concept of phenomena, I expect that there is the
phenomenal cause and effect in which everyone will be affected by for as long as they experience the
same phenomena. I think that the phenomena here may be the assignment of classes—which is
Keating’s Criminal Law 100, then, the phenomenal cause of them being in the class can be expected
as that they are ones who have done “terrible things” as they are within this phenomena; hence, the
phenomenal effect will be the Professor concluding how they probable have done “terrible things”
and that their karma is out of balance to be assigned to her class. Therefore, I conclude that—firstly,
this statement denoted how for being unable to perceive it, one will be unaware of another’s
experiences and that as phenomena occurs, there will be a cause and effect that will perpetuate in
everyone’s experiences.

But I got smarter; I got harder in the nick of time

Honey, I rose up from the dead, I do it all the time
I've got a list of names, and yours is in red, underlined
I check it once, then I check it twice, oh!
Ooh, look what you made me do
Swift, T. (2017). Look What You Made Me Do. On Reputation [MP3]. Nashville,
Tennessee: Big Machine Records.

INTERPRETATION: I think that Taylor Swift's lyrics, especially the lines indicated in this activity,
convey of self-empowerment and resilience. Taylor denoted how she has overcome challenges,
becoming stronger and more vigilant through time—wherein we may interpret “nick of time” as in
the experiences that she has gone through. Furthermore, the mention of a "list of names" and a
particular one in red, underlined, suggests a determination to hold that someone accountable and
contemptible. The repetition of checking implies a vigilant attitude, and the phrase "look what you
made me do" indicates a response to adversity, embracing a newfound strength. Therefore, I would
say that through her song, Taylor intends to empower oneself and spread resilience. However, I must
add that I noticed how Taylor might have also meant to express that our experiences shape us in
various ways—and in these lines, her experience led her to grow stronger and bolder. But, to others,
the same experience or phenomena may occur yet the outcome of another compared to the other will
always differ—which is also applicable to the concept of phenomenology. Therefore, based on my
own perception, Taylor implied how her experiences led to a stronger temperamental fortitude and
empowerment, and with this I can conclude that the same phenomena do not imply the same
experience and perception; hence, the outcome of another does not make the other’s.

Tila ako'y nakalutang na sa langit

Ngunit nalulunod sa yong mga ngiti
At kung hanggang dito lang talaga tayo
Hindi pababayaan ang daang tinahak na kapiling ka
At kung umabot tayo hanggang dulo
Kapit lang nang mahigpit
Aabutin natin ang mga tala
Geronimo, S. (2015). Tala. On The Great Unknown [MP3]. Pasig City: Viva Records.

INTERPRETATION: Within Sarah Geronimo’s song, I reckon that she meant to portray the concept
of togetherness, dedication, and uncertainty. When she wrote that it feels as though she was in cloud
nine and that she was mesmerized by one’s smile, I suppose that this was her way of expressing her
fond feelings of elation and being in love with utmost sincerity. Furthermore, she said that if it would
be the end of whatever there is—to her, it did not mean the end of what there was; and if ever it
would last forever, then they will reach for the stars. I think that the existence of two possibilities
portray a certain aspect of phenomenology, where if a phenomenon occurs, there will certainly be
more than one possibility where one may perceive that certain experience. Thus, I interpret these few
lines of Sarah’s song as one that expressed uncertainty, sincerity, togetherness, and dedication; and
that in the process, she was able to portray how in all things—we will have to expect how our
experiences will lead to one outcome; however, one outcome will always be preceded with multiple
possibilities.