I remember the day I decided to take Humanities Core- during the first day of my freshman orientation. Professor Lazo had just walked on stage, and we had just received flyers about this year’s Humanities Core theme. At first glance, my heart flew at the sight of “Empire and Its Ruins,” and although I excel in the sciences, there was no way I wasn’t going to take this opportunity to show my love for writing. Signing up for this course as a Biological Sciences major, all I could feel was apprehensive, nervous, and even anxious due to the oncoming course load. But as I write this last blog post, I know that I made more than the right choice.
One of the most valuable takeaways I have from this course was learning about myself, growing from new experiences as a college freshman, all while forming and voicing my own opinions on very real, humanistic topics that I would have never thought to discuss. I feel more mature, and I feel as if all the insight I have gained from this course’s readings and assignments has truly shaped me into an individual that understands more of the world, and what is considered human.
And towards the end of the course, being able to research a passion of mine (videogames) and how it relates to empire and the topics we have covered in humanities, it had allowed me to fall even more in love with it. It has made me truly happy to know that there are professional scholars out there studying videogames as passionately as gamers play them. It feels good to be understood, relatable, and able to explain the identity development prominent in the world of videogames.
As summer approaches and the rest of my college career looms, I look forward to encountering things in the real world that, because of the insight I have gained from this course, I can actively question and discuss in depth with those around me.
The artifact that I am researching for my research project is a specific type of video game that has one of the most substantial influences on society, this being what is called an RPG (role-playing game). As this Humanities Core course comes to an end, I have realized that much of what we studied poses questions pertaining to the definition of humanity. This definition of course varies from person to person, but more popular ideologies explaining the complexity of humanity involve questions revolving around sexism, racism, art, literature, and the context of people as regards to what influenced their growth and mentalities. The imaginary, virtual worlds of RPG’s not only incorporate these ideologies into their gameplay, but they also create worlds where these humanistic topics are nonexistent.
Role-playing games are exactly what they are named to be- the player enters a vast, imaginary world as the customizable fantasy character of their dreams, and the goals of these games are solely up to the player. And so, what is it about RPG’s that draws players to escape reality in the first place? Why are millions of people all over the world taking interest in these artificially created digital worlds? I suspect that because the world today is full of harsh realities, these players are often pushed to question the meanings of life, humanity, and art/literature as an expressive form of release and reflection for these complexities. RPG’s are created by this same expressive art and literature, yet they perhaps take it a step further by not only telling a story, but allowing a player to make their own. One single person cannot stop a war, end sexism, racism, or discrimination- however in an RPG, none of this has to exist. Or rather, the player is able to control whether these aspects exist or not.
And so, what does this growing interest in RPG’s mean? Perhaps RPG’s are the next step in nurturing a real-life world similar to that of its own- when more and more people can experience their ideal world, it makes it more of a reason to try and make that a reality.
During the Fall Quarter of 2016, I was exposed to the works of Rousseau and his philosophies, who combined thoughts based on both the sciences and the arts of language. I was very intrigued of how the relationship between these two areas of thought had over time affected and shaped each other in one way or another. This field of thought I felt was a representation of me, and my position in which I am scientifically acclimated yet I am also infatuated with the world of art and humanities.
This train of thought initially inspired me to research the relationship between science and language over time, however I had trouble coming up with a specific artifact to research for this topic. Therefore, I looked to another passion of mine- videogames.
Growing up with videogames being a constant in my life, I figured using this passion as an approach to my research project would come easier to me, and would also keep my interest in the long run more so than my original idea. Videogames have just as much potential to shape and influence the mind of an individual as any amount of school and parenting can. They have the ability to instill certain ideas, or rather the ideas affiliated with empire and power.
Therefore, a specific videogame and artifact of focus that instantly came to mind was Skyrim: The Elder Scrolls V. Not only does it portray the complexities of a war-torn world and power, but it also presents the underlying discrepancies of racism and marginalization (all while dragons threaten the world’s existence). All of these topics which have been apparent in our studies in Humanities Core of “Empire and its Ruins” and can be found in this videogame, and presenting in depth research and comparison on these ideas I feel would establish a solid foundation for my research project.
The third essay of our Humanities Core course requires us to be able to historically analyze a primary source from the past, specifically during the conquest/post-conquest of Spanish colonialism. And so, for my primary source, I have chosen to present the image of Alonso Chiguan Inga, as he is a stellar portrayal of an Incan nobleman (curaca) that had began the idea of the ‘dual authority’ that had become prominent between the two cultures of Spanish conquest. The very existence of this dual authority demonstrates the idea that during Spanish conquest, there had been a certain level of acceptance towards Spanish rule, however only to the extent in which the Inca could simultaneously capitalize and benefit upon their high rankings within this colonialization in order to preserve their own culture.
And why do I say he “began” the essential occurrence of dual authority? According to my secondary source, The Colonial Andes: Tapestries and Silverwork, 1530-1830, Alonso Chiguan Inga had been the first Incan nobleman before the noble family of Marcos Chiguan Topa. This secondary source contains an informational chapter of Alonso’s history and background, making up for that lack of clear information within my primary source.
My primary source also portrays numerous aspects that represent the preservation of Incan culture within this nobility under Spanish rule (which I had described in my last blog post), however I wanted to bring more focus to the presence of Amaru upon his shield. The fuzziness of the image itself makes it difficult to see this detail, however upon zooming in, there is the Amaru surrounding a lion, in which I also explain their context within my last blog post. And so, my next secondary source, Handbook of Incan Mythology, further validates and informs us of the significance and meaning of the Amaru, and why the Amaru had been so prevalent within images of nobility such as the painting of Alonso Chiguan Inga.
CITATIONS:
Phipps, Elena, et al. The Colonial Andes: Tapestries and Silverwork, 1530-1830. Metropolitan
Museum of Art, 2004.
Steele, Paul Richard, and Catherine J. Allen. Handbook of Inca Mythology. ABC-CLIO, 2004.
Unknown Peruvian. Alonso Chiguan Inga. circa 1740-1750, oil on canvas, Metropolitan
The three primary sources that I have selected for my third essay in Humanities Core center around the idea of cultural prominence withstanding conquest. The main message that I have been formulating throughout O’Toole’s lectures has been that Incan culture did not simply disappear during and after the Spanish conquest. In fact, what I found intriguing was how the Incas actually took cultural advantage over the Spanish during their assimilation into what resulted to be a mixed culture of Andean and Spanish tradition. The Incan empire is living proof that conquered cultures remain alive, whether through traditions passed down, traditions continuously practiced under new rule, or traditions that provide a mutual benefit between both cultures, and are thus used to both peoples’ advantage. These primary sources that I have chosen shine light on these ideas, while simultaneously stimulating further questions with their vast amount of information displayed.
Unku with Heraldry
Choosing a source related to the textile culture of the Incas felt essential to me, as I have come to understand the importance of textile weaving and its contribution to both Incan and Spanish culture. This source, Unku with Heraldry (1600-1700), demonstrates how the importance of textiles had persisted throughout conquest, and had even influenced the idea of nobility within Spanish culture. As the Spanish allowed Incan nobility to persist (as the conquered Incas had only listened to their people they had been following for centuries), the Inca brilliantly incorporated forms of Spanish nobility, such as the color of purple symbolizing Spanish royalty in this primary source. This can either be interpreted as the Spanish culture simply influencing Incan culture (this being a weakness), or it can be interpreted as the Inca taking advantage of Spanish generosity, allowing them to keep positions of nobility. Perhaps one could say the Inca even capitalized upon this opportunity, allowing themselves to climb higher in the ranks of the Spanish colonies.
Alonso Chiguan Inca
The two other sources that I have chosen further support the idea that the Inca still held positions of high nobility within the Spanish colony, thus allowing their culture to establish a continuing prominence although being a conquered culture. My second source, Alonso Chiguan Inga, portrays a Peruvian man wearing his coat of arms- the distinctive heraldic bearing of a family or culture often seen in Spain during this time period. In being Peruvian, this image further demonstrates the influence of Incan nobility within these Spanish colonies, as displayed by his mascapaycha (the red fringe that Incans of high status wore), the textile-like designs on his coat, as well as the symbols portrayed on his shield. One of the biggest strengths I found within this image is portrayed on his shield- the presence of the serpents, the Amaru. As O’Toole had said, these snakes represented the cunning resurgence of the Incan empire, emerging and striking a position within the Spanish colonies. My third source, Marriage of Don Martín de Loyola to Doña Beatriz Ñusta, also supports the idea of Incan prominence within the Spanish colonies, and their ability to capitalize and be recognized upon their opportunities of nobility. However, both of these images also contain the ideas of religion within them, thus introducing a complexity within the morality of both of these culture’s actions. Upon writing my essay, I feel it would be a gamble to include these complexities, as it could result in a confused thesis. However if I explain these complexities right, with support from secondary sources, perhaps this could add a newfound strength in my claims.
Marriage of Don Martin de Loyola to Dona Beatriz Nusta
And as for secondary sources, I felt it was quite versatile and easy. I realized that these secondary sources were nowhere near as complicated to find in relation to my primary sources, such as sources providing information on Incan/Spanish religions. These secondary sources can further my understanding of my primary sources, as well as provide clear support in clarifying the message of each image I have chosen.
As we begin our second quarter of our humanities course, I realize that much of our works have significantly depended on communicating our thoughts through words and speech understood by those around us. I realized how everyone’s perspectives were different- that the words we speak come from completely individual minds of different contextual backgrounds.
And so, what is it exactly that makes our perspectives so different? What gives every human being the context of their thinking, that which gives us the knowledge to communicate original thoughts?
The answer lies within our contextual backgrounds, our cultures in which we originate and grow up with. I used to think that culture was only one thing- that it consisted only of the old traditions of your nation and people. However, as I grew older, I had learned that culture is a topic of significant complexity. Culture is not only old traditions- it is what your Mom cooks for dinner, what your family’s favorite football team is, and what religion (or none) that your family had taught you. Culture is how your parents raised you- the environment in which you learn what is right and wrong. And culture is taught from the perspectives of those who raise you, with language as their medium and translator for their thoughts.
And from this, one can perceive language as the ultimate medium of communication- the best creation enabled by our ability to think. A common language creates the understanding in which we see each other as individual minds, as different perspectives of these significantly different cultural contexts.
The direct definition of the term ‘humanities’ is the study the study of classical languages and classical literature. However, after experiencing my first quarter of the Humanities Core course at the University of California, Irvine, this definition now appears to be mostly irrelevant and insignificant.
This year, as my blog title depicts, the focus of our studies lay within the characteristics of Empires and their ruins. But we did not just seek to define an empire, nor simply define what ruins are. Throughout this course, we focused on what caused the formation of empires, what their influence was on the world, what prominent philosophers thought of these empires, what led to their downfall, and how/if empires still exist today in one form or another, whether it be through the actions of current countries today, or through modern creations such as modern films, TV shows, or books.
Before I entered this course, I was ignorant to the true significance of empires and their ruins.
And because we delved so deep into these topics, I am now able to see a world that is more connected and influenced by our past than we truly realize. Although the classical empires had existed centuries ago, their patterns and characteristics of expansion are prominently relevant to the foundation of the United States itself (I go into more detail within my first blog post). I can now ponder whether our advancement from past empires is truly a positive thing and should continue, or whether we should have remained in the natural state of our ancestors. I can also reflect upon the ambiguity of empires, and how in present time, they appear as the glorious manifestation of the human race, however within lay corruption and ignorant greed. And now, I’m able to see the influence of classical empires right in front of my eyes, through imperial patterns and characteristics portrayed through modern films and TV shows.
To me, the topics we covered that I had found most impacting, were the readings of Rousseau.
When I had touched upon the ideas of Rousseau in high school, I had always been incredibly intrigued by his amusing yet significantly profound ideas regarding what the natural state of nature is, and what detaches humans from that state. I remember touching upon the Social Contract, and learning that Rousseau is the type of man who would tell someone to their face “I don’t like you, our conversation is over.” Being a very intriguing man, I was very joyous to discover that we would be incorporating the ideas of Rousseau into our curriculum. However, I did initially question exactly how his ideas would relate to our theme of “Empire and its Ruins”. I now understand, through close analysis of his two most famous discourses, the Discourse on the Sciences and the Arts/Discourse on the Origin and Foundations of Inequality among Men, that the development of empires through the attainment of knowledge is a corruption of our virtue as human beings through the eyes of Rousseau. Because of the modern paradigm, no one bothers to question education, as it has been an essential part of our lives since the time of empires. Rousseau advocating against education, arguing that it is simply “vain knowledge,” and that humans being in a natural state is more virtuous than the luxuries that result from the knowledge we have gained up to this point. And the way this idea connects to the myth of Prometheus, in which he had given humans the light of fire (symbolizing life and knowledge), which then connects to Thomas Cole’s The Course of Empire paintings, where as the fire destructively loses control, so too does the empire within his painting. These connections throughout this course has led me to think deeply about knowledge itself, and whether the human race would be in a better, happier place had we not been given it. And I now think about the very title “Empire and its Ruins” and realize that empires inevitably fall. Is it because of this knowledge that there is inevitable destruction? Is there a true way to be able to control this fire? It is a wondrous concept to ponder; a concept and connections that I would have never thought would relate back to empires.
Regarding my ability to write, I understand more now how to appeal to my select audience, as well as provide clear cut warrants for my arguments. A problem that I had struggled with in the past, was my ability to condense my thoughts into an organized structure fit for my specific argument. Often times, I would have so many things to say about my argument, that I would not know how to put it together coercively on paper. I understand now how to make numerous connections, as explained in the paragraph above, and how to create a paper that is easy to read and communicates my argument clearly in a condensed, organized fashion. I do believe that I could still work on communicating my thoughts better. I still tend to assume that my audience automatically understand where I am coming from, however there is more to it than that.
And as for my research project in Spring Quarter, I am starting to define what my research paper will be about, ensuring that I choose a topic that caters to my interests as a science major. Throughout my entire educational career, I had always been interested in philosophy. The fact that numerous opinions and thoughts of the past are still relevant and reflected upon today (such as Rousseau and his references to Socrates), is fascinating to me, so I am certainly incorporating philosophy into my project. I am also incorporating the effect of the sciences, and to what extent they influenced empires and development. Perhaps I can research whether or not empires would have been able to develop without the sciences (thus contradicting the ideas of Rousseau), or whether they would not have. Simultaneously I can provide evidence with the numerous philosophers and their opinions on the sciences.
It is a developing topic of research, however because of the topics we had covered within this Fall Quarter of Humanities Core, I now know the direction in which my research project will go. I look forward to finding more philosophical sources throughout the future of this course.
The amount of influence past empires have had on the world shows immensely throughout the modern fictional/nonfictional works being publicized in our present time. If one looked hard enough, they would be able to find imperial characteristics within their favorite television shows, their favorite books, and their favorite films. Such ruthless, corrupt characteristics could even be found in a children’s show; however, this is not just any children’s show.
Avatar the Last Airbender, written by Michael Dante DiMartino and Bryan Konietzko, aired on Nickelodeon from the years 2003-2008. Immediately, upon watching the introduction that plays before every episode, the viewer learns that this show takes place in a world of elemental magic. And the four elements- water, earth, fire, and air- divide this world into four nations who each practice the manipulation and embodiment of their element peacefully.
Although a children’s show, through further analysis and through a mind more matured than it had once been (before when I had watched this as a child), one learns that these four nations appear to represent numerous prominent cultural groups in the world today- the Water Tribe was inspired by the Inuit and numerous other indigenous cultures, the Earth Kingdom is primarily influenced by Chinese culture, the Fire Nation also represents Chinese and South/Southeast Asian cultures, and the Air Nomads are based primarily on Tibetan culture, the Shaolin Monks, and Sri Lankan Buddhism. This influence gives each nation a rich complexity, character, practices, and a way of life that similarly portrays how different nations today live so individually from one another, yet also rely on each other for the sake of balance and harmony.
Map of the Four Nations: Water, Earth, Fire, and Air (from left to right, top to bottom)
Also, upon watching the introduction, you realize that this balance and harmony between the four nations had been interrupted by one nation, the fire nation, attacking for the sake of power and rule over all the other nations. And you also learn that one person, the Avatar, acts as the peacekeeper between the four nations, ensuring that no one nation attains too much power over the other. The conflict here was that the Avatar had been mysteriously missing for 100 years, thus allowing the fire nation to begin their conquering of the other nations.
The story of this show centers around two Water Tribe siblings, Katara and Sokka, who had found the Avatar frozen in a block of ice. After triggering the Avatar, allowing him to break free, they learn that this “mighty” Avatar and worldly peacekeeper was only a twelve-year-old boy of the Air Nomads named Aang, only capable of airbending rather than having the control of all four elements. This means that he had not yet been a full-fledged Avatar. Deciding that he could only save the world and restore balance if he had the power all the elements, they set out on a journey to each of the four nations, allowing Aang to seek guidance from certain elemental bending masters, and achieve the level of bending and maturity he needed in order to save the world.
As you now have a basic idea of what this show is about, let me delve into the ideals of why the Fire Nation is symbolic of a power-hungry empire. Immediately, within the intro, they are introduced as a nation who “attacked” a land of four nations in which they had all lived in harmony. This instantaneously introduces an effect to the viewers in which the Fire Nation is negatively connotated, or rather they are the main antagonists trying to rule over other nations. This necessity of imperial expansion is thus the first indication of the Fire Nation being similar to an Empire.
Also within the intro, the viewer can notice how the Fire Nation seems to be particularly advanced in their technology, as they are the only ones shown with massive, metal battle ships crossing over to new lands via water transportation. This very notion is directly similar to how the Romans crossed the Mediterranean Sea in order to conquer Carthage for expansion, and to how Americans had arrived to the lands of North America through ocean voyage. And in the case of the Americans, this arrival eventually led to the subjugation, mistreatment, and some cases, genocide of the numerous Native American tribes that had already inhabited these lands, as I had mentioned in my first blog post. This American advancement is mostly similar to that of the Fire Nation, as the Fire Nation had no notion to incorporate the historical idea of “Romanization” enacted by the Roman Empire.
And one last thing to point out within the intro, is the fact that the Fire Nation had a massive army. Throughout the show, you realize that each nation has no definitive army. Each person uses their ability to bend the elements as their individual defense, which is rarely needed as each nation had typically lived in peace; until the Fire Nation attacked. Armies are a prominent characteristic of empires, such as the half a million-sized army of the Roman Empire.
The government of the Fire Nation consisted of a dictatorship-like rule, in which one person, the “Firelord”, was the ultimate ruler of the nation, and made every final decision. The child of the Firelord was the automatic heir to the throne. However, if there were two children, often the one who proved to be more worthy (through fire-bending, leadership, and loyalty to the nation’s imperial way of working), would become the heir. This dictatorship is incredibly similar to the rule of Julius Caesar, and eventually the rule of his adopted son Octavian, in which each held most of the power (although Octavian presented a “diarchy”, which still worked more as a dictatorship).
I would also like to make a connection to Rousseau, within the Fire Nation and the way their nation taught future generations. There is an episode in which Aang disguises himself as a Fire Nation kid, and ends up in a Fire Nation school for kids his age (he stays in it out of curiosity).
Avatar Aang taking part in a Fire Nation class, disguised as a Fire Nation student
Rousseau believed that “without knowing how to separate error from truth, they will possess the art of making them unrecognizable to others by means of specious arguments.” Often times, what is taught is established to be the paradigm, and kids do not know better than to believe what is in the textbooks. And so, similar to America, the Fire Nation begins their classes with a pledge. This pledge is a false glorification of the Firelord, and presents the Fire Nation as the greatest nation in the land, deserving to rule over all the other nations. The history books used in the Fire Nation classes cover up the genocide of the Air Nomads, and instead teach it as if the Air Nomads were initially the ones to be hostile and violent (even though the Air Nomads stuck to the strictly non-violent beliefs of Buddhism). This also connects to the aspect of American schools nowadays (as I had also mentioned in my first blog post), in which numerous textbooks are biased, whilst trying hide from newer generations the violent and immoral practices that contributed to the foundation of our country.
And so, although a children’s show, Avatar the Last Airbender touches up upon numerous conflicts today that children are unaware of. It brings to their attention the characteristics of empire, as well as the corrupt aspects of imperial expansion. And not only does it portray this, but it also incorporates numerous teachings on self-growth and self-love, as well as very deep and complex lessons about life and living in general. It demonstrates through numerous characters, that your past does not define you, and that there is always a chance for you to accomplish whatever you set your mind to.
I highly recommend watching this show, as it has the capability to teach its viewers of all ages valuable, beautiful, and profound life lessons, as well as inform any of its viewers the corrupt side of imperialism.
So far, I have been guiding you through and relating my blog posts to the teachings of my Humanities Core course. Recently, the course held a screening for the Golden Globe/Academy Award winning movie, The Revenant, starring Leonardo DiCaprio.
The production of The Revenant itself was no easy, nor cheap task, as director Alejandro G. Inarritu physically took his crew out into the harsh, yet beautifully sublime landscapes of southern Argentina. This thus contributed greatly in creating the very cinematic masterpiece that is this movie (DiCaprio even almost got hypothermia from filming out such the harsh conditions). The movie itself is about a story of revenge, in which DiCaprio’s character, Hugh Glass, sets out on a mission of vengeance against a cruel, worker-class man named Fitzgerald who murdered his son out of spite and personal preference. Simultaneously working along the conflict between man against nature, nature plays an immense role in the flow, meaning, and complexity of the movie.
Although already had seen this movie, this screening and subject of focus within the course allowed for me to further analyze the complexity of the ending, in which Hugh Glass is confronted by his wife in another dream after receiving his vengeance upon Fitzgerald.
Some may argue that this ending resembles a pyrrhic victory, as Glass had endured more loss and his vengeance could ever reward. It would be common to see him as a “last man standing”, being without his family, and without a mission of vengeance. He had killed the man who killed what he had left of his family, however in turn received a life of loneliness, and a life surrounded by the continuous decimation of the Native peoples he had grown into. Thus, this leads one to ask, “As he is left alone in the snowy, muted wilds, what is his purpose in life now, as he has nothing?”
Contrastingly, the I believe the ending could be interpreted in a complete opposite manner. Through further intricate analysis of the last vision Glass has of his wife (after defeating Fitzgerald), one could argue that his life had been left fulfilled.
In this ending scene, she appears to be leaving him, however with a content smile and with body movements implying emotions of release and acceptance. It almost appears as if she is telling him that he had done his part, and in avenging his family he was free to live his life and move on, rather than dwelling on the past. In closely watching Glass’ facial expressions as she leaves, at first there is a moment of sadness, and perhaps this moment implies the sense of loss, supporting the pyrrhic victory ideal. However, one realizes that his face turns into an expression of recognition and realization, that his time of suffering was over, knowing his avenged wife could finally leave the physical realm in peace.
His gaze slowly turns to the camera, and Glass makes direct eye contact with his audience. The movie fades to black, and all that is left is the sound of him breathing.
He is alive.
And I focus on this part of the argument because, after his realization of release, this breathing gives the viewers a sense of life, as if this is the chance for him to take a deep breath and continue on to a new chapter. Had fate not had wanted him to survive and live on, the ending of this movie would not be true. Had nature not spared him, although relentless enough, what is less fulfilling than failing his mission of vengeance?
In The Revenant, Glass leaves us with an ending in which he himself had fulfilled his duty, and his purpose to his family and heritage. He leaves us with a recognition and remembrance of the meaning of life, that it is continuous and will always go on. We could assume that Glass knew in his heart that he had done everything he could for his family, and although mourning their passing (like any family member would), the ending scene to The Revenant results to be more of a fulfilling release. This interpretation makes sense, as it follows the flow of sublime beauty inherent within the cinematography of this film.
An image that I thought significantly depicted ruin was American Progress (1872), an oil painting by John Gast bound to the concept of “Manifest Destiny”. Upon initially casting one’s eye on this painting, it seems to be of large scale due to the great detail in particles and shading, however this image is only 12 ¾ x 16 ¾ inches in size. A man named George Crofutt, a publisher of a fashionable western travel guide series, had commissioned this painting by John Gast to be displayed as a color lithograph poster and engraved in his guidebooks. These published guidebooks had been widely circulated, thus making this image a prominent symbol of Manifest Destiny.
I selected this image because of the immediate reference to America’s period of westward expansion, an era that prominently carries with it the ideas of ruin- whether that be genocide, decimation of Native American culture and the destruction of the lands (as I had mentioned in my first blog post). I am also very passionate about preserving and learning from the ways in which Native American lived, and learning from the richness and naturality of their cultures. This painting specifically portrays the devastating and ruthless effects of westward expansion upon the Native families who had already called these “uninhabited lands” home. Besides the subject matter that initially drew my attention, the detail and art style with the use of oils also peaked my interest. The technique of oil painting that John Gast had used gives an inherent reference to Renaissance paintings, paintings and art in which I have always been intrigued by.
And so, it is obvious that this image historically portrays the ideals of Manifest Destiny, a time period in which early America had believed that westward expansion was their ‘divine will’. The year 1872 takes place more towards the ending of Manifest Destiny, well after the Louisiana Purchase, the Mexican-American War, and the Civil War which had ended in 1865 during this course of expansion. This time period in the late 19th century also depicts the height of the industrial revolution, and within the painting there is an obvious reference to the advancements in industry and technology that this industrial revolution produced. However, I do need to put more research into exactly what this industrial revolution had been producing, such as specific inventions, and the characteristics and goals of industrial companies during this time. I should also research more of the background of the painter, and what he portrays aspects of this image to be.
Upon looking at this image, the eye is immediately drawn to the large, luminous, fair and feminine figure in the center. On her forehead she bears a golden star, and has long, golden wavy hair, while wearing a white flowing gown. As she advances, she suspends a telegraph cable in her path, holding excess wire in her right hand, which is also carrying a schoolbook. Her position depicts that she is progressing forward, however she is floating and is disconnected from the earth. American men accompany her on foot by various methods of transportation- carriage, covered wagon, horseback, steam engine and ships. As everything in the image is moving in the westward direction, the west occupies a dark atmosphere, while the east occupies the sun and light. The feminine figure also has an aura of light following her, thus depicting that she is ushering in this new light. In the upper right corner of the image, a river full of the steam engines and ships flow, possibly the transport that the men in the image had used to get across the river and into the range of this image. In the lower right corner, farmers are already cultivating the land in which men are still traveling west on. There is also a stone house where these men are farming, with a boundary marked by trees and a split-rail fence. To the left of these farmers, located in the central bottom portion of the image, are four men walking westward with a relaxed, nonchalant posture. One is a rider, one holds a lowered shotgun at the ready, and one props a miner’s shovel over his shoulder. To the left and right of these men, a deer and a bear flee from the scene. At the very left center portion of the image, Natives accompanied by dogs are also fleeing from the scene westward, while gazing at the feminine figure in fear. However, this feminine figure’s eyes are above these Natives, completely disregarding their fright and protest. Above these Natives and in the distance, there are also the buffalo fleeing westward and away from the Americans.
The idea that a woman is uncharacteristically leading men, something that during this time would be very well protested, gives the viewer the idea that this woman does not represent a threat to the patriarchy. She does, although, represent a nurturing figure of guidance, as described she is lighting the path westward for Americans. Her paradoxical innocence and sensually alluring presence has the effect of distracting a and softening the reality and the violence of this westward expansion. And as described before, the Natives are fleeing only from her as portrayed by their focus of eyesight, perhaps indicating that this feminine figure portrays the sanctified superiority of the immigrants above those who had been living in harmony with the earth. Simultaneously progressing forward and levitating above the earth, this image directly connotates the idea that Manifest Destiny and the American expansion westward was a mental and physical growth of disconnection from the natural state of living, and from the ways of nature in general. Because it is from this westward expansion that the industrial revolution begins, thus beginning an era of ignorant environmental destruction, and the positioning and action of the woman directly depicts this beginning. The telegraph was perhaps one of the most powerful inventions of the time aside from the inventions of transportation. As this woman carries and unwinds it in her path, this represents the idea that the telegraph is the lifeline in which the westward expansion depended on. This ‘lifeline’ further gave Americans a sense of security and protection during this time of westward expansion. Thus, like a mother guiding her children, this further contributing to the idea that this feminine figure is a figure of nurturing, guidance and security. And lastly, as this feminine figure was also described to be holding a school book, this also further supports the idea that any symbolism of white imagery and light represents ideals of knowledge and enlightenment. This emphasizes her divinity, and in the mind of Rousseau, her corruption, as gaining knowledge of letters, of the arts and sciences leads only to a corrupted mind. The veneration of the book also devalues nature’s inherent wisdom and generosity. And so, this central feminine figure portrays the mental and physical corruption that this image is trying to mention.
The fact that transportation is such a prominent aspect aside from the feminine figure demonstrates its significance and absolute importance in the process of Manifest Destiny. Without these advancements in transportation, perhaps this westward expansion would not have been made possible, or rather it would have been much more difficult. These inventions of transportation also further contribute to the idea of industrialization, and how during this time it had begun to rise in prominence.
The men at the bottom of this image further emphasize the destructiveness that Manifest Destiny had unleashed upon nature. Already, these men had settled on these already settled lands, cultivating it and walking on it as their ‘divine right’ had allowed them to. And the way in which they are walking gives a nonchalant and ignorant appearance, hence the man casually hitching a miner’s shovel over his shoulder. This also depicts a motive in which Manifest Destiny had occurred, the motive to plunder the resources available on these sacred lands. Then there is the man holding a lowered shotgun at the ready, making it understood to the view that these men see these lands and the people within them as ‘savage’. Therefore, a readied shotgun is displayed to demonstrate the immediate intent of the Americans to conquer what is deemed lesser to them in regards to progress.
All of these aspects within the image portray a sad, shameful narrative of the detachment from the earth and natural moralities, as well as the devastating effects of Manifest Destiny that had forced the original inhabitants of this ‘newfound’ land westward and away from these advancements.
The story of this show centers around two Water Tribe siblings, Katara and Sokka, who had found the Avatar frozen in a block of ice. After triggering the Avatar, allowing him to break free, they learn that this “mighty” Avatar and worldly peacekeeper was only a twelve-year-old boy of the Air Nomads named Aang, only capable of airbending rather than having the control of all four elements. This means that he had not yet been a full-fledged Avatar. Deciding that he could only save the world and restore balance if he had the power all the elements, they set out on a journey to each of the four nations, allowing Aang to seek guidance from certain elemental bending masters, and achieve the level of bending and maturity he needed in order to save the world.
Empire and Its Ruins 