2020-2021 journal Issue

These essays and capstone papers were submitted by students who took Arts One in 2020-2021 and selected to be published in this annual journal of Arts One student work, entitled ONE. Please see this page for more information about the journal.

Though the essays are provided here for public reading, they are all still copyrighted to their respective authors (listed on each article) and may not be reused or reposted without express permission of those authors. Of course, paraphrasing or quoting from them with proper citation is encouraged!

 

Journal 2020-2021

Material Conditions: A Comparative Analysis of Idealism and Materialism

July 21, 2021

The Communist Manifesto, by Karl Marx and Friedrich Engels claims that the material conditions of society are the foundation of our intellectual development. Their theory of dialectical materialism states that the notions we have about society are formed by our underlying social conditions.

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Journal 2020-2021

“The Dissolving Blues of Metaphor”: Rankine’s Reconstruction of Racism as Metaphor in Citizen: An American Lyric

July 21, 2021

Photo via UBC By Vanessa Lee   In Citizen: An American Lyric, Rankine deconstructs racism and reconstructs it as metaphor (Rankine, 5). Her formally and poetically innovative text utilizes form, figuration, and literariness to emphasize key themes of the erasure, systemic hunting, and imprisonment of African-Americans in the white hegemonic society of America. The structure, […]

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Journal 2020-2021

Tommo’s Imprisonment to His Own Cultural Values: Recognizing Cultural Bias in Typee

July 21, 2021

Tommo, the main character and narrator in Herman Melville’s Typee, experiences many forms of captivity throughout the novel. He is physically confined to the whaling ship, Dolly, and he is held captive by the Typee islanders, but Tommo is a prisoner to something much more significant: his own cultural values.

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Journal 2020-2021

Cannibal Continuity: Social Cannibalism in Melville and Coates

July 21, 2021

Herman Melville’s Typee depicts cannibalism at a time when the practice’s nature, and even its existence, is an uncertain question for its contemporary readers. During the colonization of Pacific islands such as the Marquesas, on which Melville spent time after abandoning a whaling vessel and subsequently set Typee, groups indigenous to the islands were often assumed to practice anthropophagy, but evidence for these practices was primarily second-hand and of limited reliability.

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Journal 2020-2021

Rankine and The Pronoun Dreamworld: The Creation of Compassion

July 21, 2021

In her series of lyric essays Citizen: An American Lyric, Claudia Rankine employs the pronoun “you” in both an accusatory and uniting fashion. The feelings of Black people are often neglected and scorned, and Rankine’s direct address to the reader highlights the microaggressions they experience.

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Journal 2020-2021

Crime and Punishment: Whatever Happened to the Man of Tomorrow?

July 19, 2021

“God is dead.” So said Friedrich Nietzsche in 1882’s The Gay Science, but for some, God had been dead long before Nietzsche wrote His death into the public consciousness and put in His place stood a new breed of men, the Übermensch. Before Nietzsche, there was Fyodor Dostoevsky who, at the time of writing Crime and Punishment in 1866, set out to deconstruct this type of man who epitomized a distancing from the church, something the reformed clerical reactionary could not let succeed.

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Journal 2020-2021

Rorschach’s Hypocrisy: The Moral Ambiguity of Watchmen’s Black and White Antihero

July 19, 2021

From the saturated pages of Watchmen emerges Alan Moore and Dave Gibbons’ antihero protagonist Rorschach, a stark representation of black and white against the vivid colouring of Watchmen’s setting and other characters. As the only character that does not adorn any bright colours, Rorschach appears to become Watchmen’s moral centre—the black and white amidst the chaotic colouring of his environment.

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Journal 2020-2021

Herman Melville’s Typee and Margaret Cavendish’s The Blazing-World: A Comparison

July 19, 2021

There are many similarities between Herman Melville’s 1846 novel Typee and Margaret Cavendish’s 1666 novel The Blazing-World. Both texts focus on an outsider who is given an intimate view of a society fundamentally different from their own. In Typee, a sailor named Tommo spends four months with the Typee, an Indigenous tribe on the South Pacific island of Nukuheva. Melville, through the character of Tommo, expresses his views on the European occupation and “civilization” of the Marquesas islands.

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Journal 2020-2021

Outlawed but Not Alone: Friendships Out of Bounds in Grettir’s Saga

July 19, 2021

Icelandic Sagas all have in common the ubiquitous presence of friendships – among strangers, families, rulers, and members of a community. Two major currents of thought have aimed to explain the presence and function of these networks in Icelandic Sagas: friendship as a product of socially accepted morality, and friendship that exists to uphold Iceland’s legal and social infrastructure.

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Journal 2020-2021

Queering Melville

July 18, 2021

Herman Melville explored the art of carefully placed sexual innuendo, implied romance, and extended metaphor across multiple queer-coded texts throughout his 19th-century literary career. Typee, Billy Budd, and Moby Dick are all examples of notable work by Melville that feature queer-coded protagonists and clearly defined same-sex romantic subplots.

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Journal 2020-2021

Painting with Words – The Illusive Art of Representation Appearance and Reality From the Perspective of Visual and Literary Art in Zbigniew Herbert’s Still Life with a Bridle

July 18, 2021

Still life with a Bridle navigates the stories conveyed by art and other artifacts from the Dutch Golden Age. Herbert records his “artistic journey”, with the keen eye of a historian, weaving in poetic “descriptions of places and artefacts of interest to him” (Slodczyk 127). The text ties many accurate facts loosely to reality, forming a collage of fact and fiction, both imaginative and informative.

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Journal 2020-2021

Gender? I Hardly Know Her Exploring the Hyperreality of Gender and Sexual Identities

July 18, 2021

At first glance, gender and sexuality have little to do with Jean Bauldrillard’s Simulacra and Simulation, with the irreversible collapse of the true, real, and referential. But Judith Butler, over the course of several essays, establishes that both constructs do, in fact, perfectly embody Baudrillard’s concept of the hyperreal.

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Journal 2020-2021

Loving Her Was Red: The Dichotomy of Love and Desire According To Sappho and Taylor Swift

July 16, 2021

Love is complicated, and the Greek poet Sappho knew this all too well. The lyrical beauty of Sappho’s poetry, and its intensely personal depiction of love and desire, led to acclaim from many of her contemporaries. In many ways, singer-songwriter Taylor Swift is Sappho’s modern analogue.

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Journal 2020-2021

Destined Distance Between Melville, Tommo, and the Typee

July 16, 2021

Typee: A Peep at Polynesian Life promises an account of Native life impartial to European bias: “the unvarnished truth” (Melville 2). Herman Melville, an American author, composes an exaggerated version of his own experience living amongst a group of islanders.

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Journal 2020-2021

Atmospheric Prisons and Incomplete Epiphanies in The Matrix and Jane Austen’s Emma

July 16, 2021

When sisters Lana and Lilly Wachowski wrote and directed the 1999 film, The Matrix, it was highly improbable they had Jane Austen’s novel Emma in mind. The Matrix takes place in a dystopian future where sentient machines have taken over all facets of society.

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Journal 2020-2021

Heroes and Heroism in Moore and Gibbons’ Watchmen

July 16, 2021

We wanted all of these very ordinary human beings, who sometimes speak sensibly, but most often don’t, who sometimes know what they’re doing, but most often don’t, to have a place in this vast organic mechanism we call the world. -Alan Moore, 1988

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Journal 2020-2021

Austen’s Emma: Self-Knowledge and Growth

July 16, 2021

Satirically critiquing her characters’ behaviours and the English society in which they—and she—live, Jane Austen sketches a vivid portrait of her characters, their flaws, and the confines under which they operate in Emma. Austen’s Emma focuses chiefly on Emma’s blunders, imperfections, and progression; by letting go of her prideful notions and uncompromising supervision of the people around her, empathizing and identifying with them, and trusting their judgements of themselves, Emma learns that despite the unpredictable world around her, a change she can control is her own growth.

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Journal 2020-2021

The Danger of the Unclassifiable Form: Hybridity, Rulership, and Knowledge within Cavendish’s Blazing World

July 16, 2021

Margaret Cavendish’s science-fiction novel The Description of a New World, Called the Blazing World can be read as evidence that a ruling class which places value on the perceivable world will struggle to remain in power. Cavendish’s Empress favours empiricism, and desires a complete understanding of the material world; however, the hybridity of her citizens and the immaterial world which she rejects are evidence of knowledge gaps within the Empress’s understanding.

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Journal 2020-2021

The Restrictive Power of Schools and Streets in Ta-Nehisi Coates’s Between the World and Me

July 16, 2021

In hopes of educating his teenage son on the everyday struggles black people experience, Ta-Nehisi Coates writes of his own personal life experiences in his memoir Between the World and Me. Presenting his revelatory experiences from childhood and adulthood, Coates struggles to understand how the destruction of black people is justified by the divide between the perceived races of black and white.

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Journal 2020-2021

This World of My Devising: The Author as Authority and Other in Cavendish’s The Blazing World

July 16, 2021

Cavendish’s The Blazing World is a vehement defence of fiction. In a preface “To the Reader”, she writes, “But Fictions are an issue of mans Fancy… without regard, whether the thing, he fancies, be really existent without his mind or not” (59). It grants the author a certain amount of leeway: under the guise of fancy, one need not be entirely factual, nor adhere so carefully to the rules of social propriety.

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