Module 4 (Make-up)

While I have learned about the intense impact Middle Eastern thinkers have had on the Western world, most notably the transference of knowledge between the Arabic-speaking world and Europe during the Renaissance period, I understand that, generally, as a society, we tend to focus solely on European thinkers and social movements when discussing the subject of "modernity". While I was familiar with Raphael's fresco, The School of Athens, that is presented in NPR's "Reframing History: The Commentator", I was unfamiliar with the figure of Averroes. When listening to the segment, I expected his teachings and ideas to be dismissed or disregarded by the European thinkers and general public at the time, however, as University of Colorado Philosophy professor Robert Pasnau remarks, "The reality is, really, that this was a much more multicultural time, and it just seemed perfectly natural to people that they would take this material from a source that was a non-Christian source". I initially expected the European world to discriminate or disregard Averroes' ideas just because he was a non-white, Muslim philosopher, however, as Europe was much more multiethnic and multicultural during the time, in a period of extreme cultural exchange, it is understandable for Europeans to gain knowledge from beyond the Western world. Our understanding of "modernity" and what is "modern" is not confined to the Western world/Europe alone. Despite the intense purpose he held for our current understanding of the "standard for how one ought to approach philosophy without worrying about the religious implications", his teachings and influence are seldom taught within our education systems, likely due to, as Pasnau remarks "a change in worldview and a privileging of Greek antiquity and a diminishment of other traditions. You know, that's a legacy that endures to this day". 

While we may consider our "modern" science and "modern" technological advancements as being derived from newfound innovations created by sole individuals who developed ideas for these advancements on their own, this is seldom the case. As we see with Nicholas Copernicus (whose work I never expected to be deemed "unoriginal"), what we consider "modern" innovations have almost always resulted from "(r)evolution". As Michal Kokowski describes, "even the most revolutionary theory has many components of an evolutionary origin" (56). While Copernicus took data from Ptolemy, Hipparchus, and many other sources from Europe, and especially the Arabic world (through his studying of Arabic astrological models), this did not invalidate his work or efforts. In taking these previous studies and models into account, he was able to mold and develop his own theories, theories of which truly revolutionized how we see our world. 

Within the tumultuous time that we live in, introspection is natural, if not almost involuntary. As the pandemic continues to affect our everyday lives, most notably the interactions we have with others, we are left alone with our own thoughts, some of which we seldom examined before. In some ways, these thoughts can indeed be "therapeutic medicine for the soul". From the beginning of the pandemic, many individuals have been able to better express themselves creatively, taking the time to examine their wants and dreams. However, on the contrary, this lack of social interaction has left many in a place of distress. However, despite the general air of uncertainty that still looms over our society today amidst the pandemic, we still strive to persevere.

Module 3

From our first introduction to Hamlet following the marriage of his mother Gertrude and his uncle Claudius, we can see he is an outlier to the festivities. While the entirety of Elsinore has glazed over the fact that the marriage immediately followed King Hamlet's death, Hamlet remains distraught. He clings onto his emotions of grief and pain, remarking how his dressing in black (a quality which his mother thinks frivolous) and his despondent attitudes cannot even begin to depict how low he truly feels. When Claudius and Gertrude dismiss his request to return to Wittenburg for school, an attempt to rid himself of the pain he feels, he begins to question not only the unfair and dire nature of the world, but directly begins to question and criticize his mother for her "frail" disposition. He berates her harshly in an attempt to rationalize her behavior, however, finds that his mother has been manipulated by Claudius. Despite releasing all of these accusations and feelings of frustration, recognizing that the marriage cannot result in something good, Hamlet is forced to "hold [his] tongue" (21:52), not only due to Horatio and company entering the room, but perhaps by the societal norms that dictate that one must not speak up against their elders. 

Following his soliloquy, Hamlet, when told of the apparent apparition of the king, he, while being enraptured by joy at the possibility of seeing his father, at least in his ghostly form, does not stray from asking questions to confirm that his father's ghost did in fact appear before Horatio, Marcellus, and Bernardo. He asks about the spirit's location, whether the men spoke to it, how long they watched the apparition, even asking specific questions about the ghost's pallor and the color/form of his beard. However, when Hamlet finally sees The Ghost, he seemingly casts aside all thoughts of logic, perhaps consumed by his emotions, wishing to follow the spirit despite being told not to (likely due to the fear of interacting with the dead as a bad omen), setting his sites on confronting the spirit head-on, to analyze it visually, and to confirm its identity as King Hamlet. Despite his attempt to think logically, Hamlet is swayed by the ghost's story of betrayal and revenge, putting blind faith into it, adamant on revealing Claudius' identity as his father's murderer.  

While feigning madness to throw Claudius off and to not be taken as a threat (as we see him observing Hamlet through the two-way mirror), Hamlet questions the point of living, addressing the subject of human mortality (again, to not be seen as a threat by Claudius), something rather taboo to speak of. Within his soliloquy, he thoroughly discusses mortality, and in doing so critiques contemporary ideas and values. He normalizes the tumultuous subject of living by equating it to suffering when in love, and critiques the docile nature of living: letting the will of God dictate one's life instead of taking action and being present. He carefully delineates the humanistic aspects of society, specifically the suffering that individuals have to face on an everyday basis. He questions the conventional norms of thought, norms that focus on the supernatural instead of the concrete. And yet here within the soliloquy itself, and throughout the rest of the play, we see Hamlet consistently divided, caught between action and inaction. Despite wanting to stray from the conventional mindset, Hamlet himself remains fastened to his own mind, fixated on thought.

The Decameron

A.) Boccaccio describes the Black Death as a disease that is unrelenting and ruinous. He mentions how society has essentially been debased, all of its structures of order and opulence completely dissolved (particularly in Florence). He describes how there is a divergence amongst citizens: some of those who had not been infected decided to take care of themselves, living moderately, essentially sheltering in place. Others, however, had no regard for their own health, nor for the lives of others, opting to drink and hop from home to home. Boccaccio asserts that there is a looming and overwhelming sense of apathy and fear among the people. Many citizens opted to abandon and avoid the infected at whatever cost, even if those people were their friends, neighbors, or even their own family members, mortified of becoming infected themselves. Those who are not infected, only have each other for comfort, and only have stories and gossip to keep themselves distracted from the horrors going on. In current times, I feel as though our situation slightly parallels Boccaccio's experience, especially with his mentions of an atmosphere of uncertainty and wariness. It can certainly feel like society is crumbling during these times, with the spikes in infections, paranoia, violent hate crimes, and general uncertainties. While I have been sheltering in place since essentially Spring Break, I cannot help but become fearful when my family members have to go out to run errands. While I know they take good care of themselves, taking the proper precautions when out and when coming home, I cannot help but think of those people who purposefully ignore safety precautions like those who refuse to wear masks in public, or those who do not keep social distancing. While people may not purposefully abandon their families and friends if they contract COVID-19, infected individuals have to remain in quarantine, separated from their loved ones. I feel we too have started to use storytelling, art, music, and other outlets to distract ourselves from the tumultuous world we are living in, much like Boccaccio and the characters he presents. With this time of social distancing, we have been especially reliant on virtual interactions, from video calls, to chatting online. Currently, we use social media to not only keep in touch with those close to us, but as a way to obtain information about the world around us. 

B.) On the fourth day, Filomena presents the story of Lisabetta, an unmarried young woman who lives with her three older brothers. Having inherited their fathers' merchant business after his passing, the brothers have a considerable amount of wealth, enough to hire a young man named Lorenzo to run errands for them. As Lorenzo comes by often to work for the brothers, he and Lisabetta develop a blossoming love for one another. They carry out their relationship in secret, enjoying their adolescent love. However, one night, as Lisabetta goes into Lorenzo's bed-chamber, she unknowingly is seen by her eldest brother, who keeps the event secret, soon sharing the news with his brothers privately. Intending to keep themselves, and supposedly their sister, from disgrace (oddly obsessed with their sister's virginity), they plan to act as if nothing had happened until the time was right to act, riding "the disgrace" once and for all. Acting as if they are Lorenzo's friends, they take him out of Messina, laughing and joking with him, taking him to a remote area, where they cruelly murder him. Upon their return home, they claim that they sent Lorenzo off on business, which Lisabetta initially believes. As Lorenzo does not return home after several days, Lisabetta questions her brothers, desperately asking for Lorenzo, to which one of her brothers responds by manipulating her and insinuating her intimate relationship with Lorenzo. Distraught, Lisabetta hopelessly cries out for Lorenzo throughout the night, soon falling asleep. Lorenzo then appears to her in a dream (dream vision), accounting how her brothers murdered him, and where his body is buried so she may find it. Lisabetta soon goes to the place where Lorenzo was buried, and, in a rather grotesque twist, severs his head, soon returning to Messina. After endlessly kissing the severed head, she puts the head in a pot, and plants a basil plant above it, perfuming it with her tears, until the plant grew lush and vibrant. The brothers, however, soon notice her unhealthy attachment to the basil pot, taking it from her. When they do, she grows seriously ill, only asking for the pot of basil. The brothers soon uncover Lorenzo's head from the pot, and go on to bury it again in secret, fleeing from Messina to go on to Naples. Heartbroken, Lisabetta gradually cries herself to death.

On the tenth day, Dioneo tells the story of the Marquis of Saluzzo, and his wife Griselda. Initially single,  the Marquis spends his time hunting game, and is uninterested in the prospects of marriage. However, his staff, as well as the people in his locality, are concerned about his future without a wife and a possible heir. The Marquis eventually gives in, however, makes the people promise that they will accept whoever he chooses as his bride, to which they agree. He decides on the daughter of a peasant, Griselda, and makes quite the negative impression first by not telling her about his interest in her as a bride. This poor impression is further extended, as The Marquess strips Griselda in front of the inhabitants of her village, soon fitting her with luxurious gowns. When he proposes marriage to her, he asks if she will be wholly obedient to him, and she agrees. They are soon married, and everyone is quite happy. Griselda is a very kind and well-mannered young woman, everyone in the palace loving her and enjoying her presence. She soon has a daughter, and the Marquess is overjoyed. However, he soon gets the perverse urge to test Griselda's kindness and virtue. Throughout the story, he is nothing but hateful towards her, and yet she stays silent and submissive towards the Marquess, eager to please him. The Marquess convinces Griselda that the servants detest their "low-born" child, and tells his servants to tell Griselda that he plans to send the child out to be killed (in reality, he sends their daughter off to his kinswoman so she can take care of her). Griselda gives up the baby despite her anguish. She soon has a boy, and the Marquess does the same with the child, sending him off to Bologna while Griselda is fully convinced that her children are dead. The Marquess mercilessly hardens the blow on Griselda, claiming that he wants a divorce, and that he will choose a new bride. All of the staff and subjects love Griselda, and resent the Marquess for his harsh acts towards her. After some years, the Marquess brings forth a supposed letter from the Pope, confirming their divorce. Griselda does not question it, hoping that the Marquess will be happy with his new bride. The Marquess then strips Griselda off all of her gowns, aside from her slip, which she requests to keep. Unbeknownst to her, the Marquess brings back their daughter from Bologna, falsely claiming that she will be his new bride.  While Griselda assumes the girl is of noble blood, she resigns entirely, as she does not think herself worthy of the Marquess (she deserves better). While everyone fawns over the Marquess' new "bride", Griselda has to make all of the preparations for the supposed wedding. Despite the pain in her heart, she pays compliment to the girl, only hoping that the Marquess will treat her with more care than his "previous" wife. The Marquess, baffled by Griselda's undying dutifulness and patience, then reveals the truth, and proclaims his unwavering love for her. Instead of leaving him or rightfully berating him and his despicable behaviors, Griselda still loves him and is ecstatic by the news. Everyone excuses the Marquess' horrible behavior, and act as if all is well, feasting and celebrating for days. 

Primarily, what I noticed was how cruel and distressing the subjects of these frame-tale narratives were. From Lorenzo's violent murder, Lisabetta's coddling of Lorenzo's severed head in the pot of basil, to the Marquess of Saluzzo's reprehensible behaviors towards Griselda, both stories likely reflect the gruesomeness and unjust nature of the world amidst the Black Plague. In contrast to what Boccaccio describes in the Proem regarding people's behavior towards the dead, Lisabetta takes care of Lorenzo's head, lovingly wrapping it in a cloth, and properly burying his body (though I would argue her behavior towards the head is rather macabre). Faced with her lover's murder, Lisabetta attempts to take control of the situation by taking his head without her brothers noticing. However, despite this, Boccaccio still illustrates a distortion and degradation of morals that mirrors the atmosphere present during the Black Plague through Lisabetta's murderous (and I daresay excessively possessive) brothers, and their abandonment of her. 

Similarly, Griselda's story exhibits a rather intensely perverse (and misogynistic) situation (however this could perhaps be a critique on society's restrictive treatment of women). Despite how much the Marquess mentally and emotionally abuses her, Griselda remains ever-obedient, never once questioning the Marquess' horrid actions. Perhaps this could be an allusion to God's testing of humanity during times of severe adversity. Justifying the reality of the plague as the will of God, as a test for humankind. Griselda's perseverance and "silent strength" may serve as an example for those living in a chaotic world amidst the plague. 

Modernity

While in our current times we primarily think of modernity as technological innovation, it seems to take on various definitions depending on the time era. While modernity can be characterized by technological advancements, it also refers to the progression of philosophy, art, science, theology, and cultural behaviors that emphasize individualism, logic, and rationalism. While it makes sense to mark the beginning of modernity with the European Renaissance, Europeans based their Renaissance on the ideas and teachings of classic Greek and Roman philosophers. Through their teachings, they were able to develop more humanist ideals, focusing on humanity and individuals, as well as critique and question their surrounding world and society. 

According to Plato, democracy will lead to an abuse of freedom. He critiques that democracy will eventually lead to anarchy, remarking how "in a democracy, many persons, although they have been sentenced to death or exile, just stay where they are and walk about the world --the gentleman parades like a hero, and nobody sees or cares?" (The Republic, Book VIII). He emphasizes how, as people will have personal freedoms, they will give in to their own impulses and selfish behaviors instead of thinking how this freedom can be used for the collective good of the people. Similarly, Aristotle critiques democracy, stressing how giving all people individual freedoms would, in fact, undermine the rule of law, putting the State at risk for degeneration. I suppose these writings and teachings resonated with the people at the time of the Late Medieval period and the Early Renaissance because many people did not really have access to these types of texts outside of the clergy, or those who were privately educated. Individuals were suppressed by the rigid, commanding structure of feudalism, as well as the overarching presence of the Catholic Church. Scholars were primarily the ones who first had access to these ancient texts, finding them in old monasteries and the like. During the cultural exchange between Europe and the Middle East, these texts resurfaced, bringing about Europe's "rebirth". 

Introduction

Hello all,

My name is Karla Polanco and I am an English and History double major here at NDNU. As a senior, I have had a lot of time to reflect on myself, not only as a student but as a person. Apart from academics, I also have a passion for writing and illustration, and usually spend my time reading or working on story ideas. I like to think of myself as an analytical thinker, however, I often find myself thinking more emotionally or creatively. In terms of learning, I find myself a visual and tactile learner, constantly taking color-coded notes, preferring to be rather hands-on.

I feel as though, at least currently, due to COVID-19, I feel my life is in a tremendous period of stasis. Days frankly feel monotonous and I find myself challenged by the most simple of tasks. While I'm still trying to adjust to quarantine life, I find myself thinking about how deeply I rely on social contact with my friends. Even as an introvert, I notice that I become much more lively and exhilarated by simply calling or messaging them. I am trying to do better, so my days feel like they are progressing. 

I suppose in the grand scheme of things, I'm simply trying to complete my degree to continue on to graduate school. Although I would like to consider my path and work as being only for myself, my parents influence me quite a bit. While they are wholly supportive in whatever facet of academia I choose, I can't help but fixate on how I am the only one of their children to be pursuing a college education. It is a bit of pressure for me, and I always strive to go above and beyond in my studies. I would love to become a writer or an editor for a historical/scientific publication like National Geographic or perhaps a local newspaper. In terms of my career, writers are always in demand, though I'm sure journalism, and writing in general, will differ greatly from what it has been in the past, due to COVID. 

I'm simply trying to take it one day at a time, and I'm excited to learn with all of you this semester.