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December 29th, 2008

CIALISPRO OVER THE COUNTER, The topic that seems to come up again and again in my life, is what literature should be taught in schools.  My first inclination was to say that it doesn't matter.  We're in school for 12 years or so, perhaps more with college, and we're reading for our entire lives.  Over a sampling and let them go from there. No prescription CIALISPRO online, As I've come to understand the purpose of teaching literature, however, CIALISPRO price, coupon, Low dose CIALISPRO, I think it's not such a simple thing.  The purpose in teaching literature is not to expose students to great works--that's just a side benefit.  The purpose in teaching literature is to offer students an assisted on-ramp to The Great Story.  In a way, there is only one story in the world, CIALISPRO forum, Online buying CIALISPRO, with individual novels, poems, where can i buy cheapest CIALISPRO online, Online buy CIALISPRO without a prescription, and plays connected in like pages on the web.  You can imagine authors holding hands (some, like Shakespear, doses CIALISPRO work, CIALISPRO images, must be imagined as great multi-armed beasts) one to another across the centuries.

This applied to popular culture as much as it does to literature.  It's how we can relate to, about CIALISPRO, Effects of CIALISPRO, and understand, the stories we're being told.  It's unfair to look at Superman and not see echoes of Hercules.  Or to look at Anakin Skywalker and not see Faust reflected in his eyes.  Sure, order CIALISPRO no prescription, Cheap CIALISPRO no rx, you can enjoy Superman and Star Wars without any knowledge of the prior texts, but they're not as much fun that way.  So the real purpose then, CIALISPRO no prescription, Buying CIALISPRO online over the counter, for a literature curriculum, is to expose the student to a broad enough array of core texts that she will be able to find the connections, buy CIALISPRO no prescription, Order CIALISPRO online c.o.d, the inter-textual conversations more easily.

Let's look for a moment at the story of Ruroni Kenshin.  It's a popular manga/anime series out of Japan about a swordsman and his adventures.  It seems pretty low brow, CIALISPRO trusted pharmacy reviews, Cheap CIALISPRO, just popular entertainment.  I'd like to talk about two connections this simple anime/manga has with other works.

The first is with Freud and Socrates.  Freud found in Socrates's work Oedepus, CIALISPRO from canadian pharmacy, Purchase CIALISPRO online, the drive of a young boy to kill his father and marry his mother.  Of course this isn't to be taken literally.  What Freud meant was that a young boy has the desire to supplant his father and become the primary male.  This plays out often in literature, either tragically, CIALISPRO without a prescription, Taking CIALISPRO, where the boy takes the father's position by trickery or by force, or comically, CIALISPRO class, Purchase CIALISPRO online no prescription, where the father willingly hands his mantle to his son.

When Kenshin learns the final move of his style, we're first led to believe this is a tragic playing out of the Oedepus archtype, and then we're treated to a reversal to the comic.  Kenshin thinks he has killed the man who raised him, in effect, he thinks he's killed his father, CIALISPRO OVER THE COUNTER.

This is during the Shishio arc, CIALISPRO dose, CIALISPRO mg, and I'd like to argue that there is a greater mythic structure with Shishio than is immediately apparent.  I'd like to argue that Shishio is Susano-o.  His first name is Makoto, same as Susano-o.  He was burned (obvious underworld imagery here).  His primary plan involves a ship called "Purgatory".  Mount Hiei, CIALISPRO no rx, CIALISPRO description, the site of the final battle between Shishio and Kenshin, is linked in Japanese folklore with demons.  He was also betrayed, CIALISPRO dangers, CIALISPRO brand name, and we're never clear (as the legend of Susano-o is not totally clear) if there was justification behind the betrayal.  Meiji's people distrusted Shishio, though we're not shown proof he can't be trusted (and clearly Kenshin is trusted, order CIALISPRO from United States pharmacy, CIALISPRO maximum dosage, though he is in the same position).  Susano-o is distrusted by Ameterasu, though we don't see anything to support this.  She flees him and hides in a cave, fast shipping CIALISPRO, Real brand CIALISPRO online, but we never see her chasing him.  I think the name Yumi (Shishio's love) is meant to sound like Yomi (the Japanese underworld) and the later-edited scene of them in some infernal underworld is further support we're dealing with some kind of hell-spawn here.

The reason I wanted to run that analysis is to show that we're exposed more commonly today to the more distant branches of the story than we were even 20 years ago.  Today, we're going to see echoes of the Kojiki as much as the Iliad.  The advances in communication and commerce made this inevitable.

Because we cast a wider net in popular culture, we need to offer a wider variety of works in order to empower students to make those leaps.  The argument is constantly being put forth that choosing works that fall outside the European tradition is being "politically correct", and that may be so, but I'd like to argue that it also more accurately reflects the nature of the works the student will expose herself to, and will therefore empower her more effectively in dealing with the subtext of those works.

In order to be well-read today (and I will always argue that starts in school, but doesn't end until the grave, or beyond if there are books in Heaven) one must read from a wider variety of authors.  Yes, it would be easier to focus on the dead white European males to the exclusion of all else, but that's willful ignorance at best.  And for the record, persons making those claims should not, as one author has, hold up Jane Austen as a stellar example of a dead white European male.

The argument can be raised that we don't need this.  We can enjoy something like Kenshin even if we have no idea who Susano-o is, and even if we don't care.  That would be missing the point entirely.  If the concern at hand is literature, then appreciating literature as it connects to other literature is exactly what we need.  As popular culture branches out, so too must we spread the roots to support those wider branches.  The advantage is for those of us who graduated before the Internet so shrunk the world.  We can enjoy the process of learning literature all over again, this time through more exotic lenses.

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Entry Filed under: Reading

1 Comment Add your own

  • 1. CricketB  |  January 4th, 2009 at 1:22 pm

    Another reason to read literature in school, even a somewhat standardized list, is shared cultural experience. Here in Ontario, we can reminisce together about being force-fed CanLit, bad SciFi, and Shakespeare. They taught me a) the list makers never heard of Roberston Davies or Spider Robinson b) why so many people hate SF and c) the values of a good pun and a good film projector.

    The story of Cinderalla appears in over 300 versions — pretty much every culture has a take on it. I love seeing the similarities and differences of the different versions.

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