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Why using your five senses is the key to practising mindfulness at school – 19/10/18

Lucy (Year 8) looks at how our senses can be used to help us to practise mindfulness within the school day and the potential benefits this can have on our overall mental health and wellbeing.

The word mindfulness can conjure up an image of a class doing yoga or meditating.  But its key essence is about deliberately bringing one’s attention to experiences occurring in the present moment. It is about turning ourselves off autopilot, and noticing our present being. In the life of a busy Wimbledon High girl, this can be a challenging and daunting prospect. Focusing on our five senses will bring us into the ‘here and now’, and might be the crucial tool for dealing with stressful and anxiety inducing situations.

The senses are how we understand the world, and to obtain the most positive experience from the present moment we need to employ them in everything we do. Studies by Dr. Patrizia Collard (Sensory Awareness Mindfulness Training in Coaching: Accepting Life’s Challenges, Collard & Walsh, 2008) demonstrate that focussing on our senses, and non-judgementally on our current situation, results in a significant improvement in a range of conditions such as anxiety, depression and stress disorders.

A simple mindfulness exercise that could be practiced during the day at school, and without the use of a yoga mat, is the 5-4-3-2-1 tool. This exercise is an effective method of regaining control of your mind when anxiety or stress threaten to take over and reminds us to interact with the world using our five senses. It requires you to think of five things that you can see (e.g. a picture on a classroom wall).  Then you think of 4 things that you hear (e.g. the orchestra rehearsing in the Senior Hall), three things you can touch (e.g. your earrings), two things you smell (e.g. tea or coffee) and one thing you can taste (e.g. breaktime snacks).  This exercise can help you become more aware of your present situation and reduce potential stress.

Good mental health is something we should all aim for, and psychologists around the world are investigating ways to maintain a consistent level of positive mental health. Using our five senses and practicing mindfulness can help us be resilient when going through a time of stress and help keep us grounded in reality. Learning to focus on the external factors present around us helps avoid excessive focus on internal issues and can moderate extremes of feeling or emotion. Consistency and balance are crucial when aspiring to have good mental health.

However, mindfulness should not be a tool reserved only for stressful situations. Just like training for a sport, mindfulness needs to be practiced and developed to make it the most effective it can be.  Using the 5-4-3-2-1 technique and your five senses are a simple way of practicing mindfulness because you do not need equipment, a long time, or any external help. Our body has the tools we need to master mindfulness, we just need to trust them and exercise them.

For further reading, see the book “How to be yourself” by Clinical Psychologist Ellen Hendriksen (buy it here for a paper by Harvard Medical School about the benefits mindfulness has on stress and anxiety levels.

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The importance of reading and the library – 12/10/18

Isabelle, Year 8, argues how critical reading is as a pastime whilst also discussing how libraries provide a great space to read and a wonderful source of information.

“Reading is a window to the world.”

Whilst the word ‘power’ has for a long time been associated with muscular strength, the word ‘knowledge’ has always been connected with the mind. The two words do not seem to have any connection whatsoever. However, today the world power has undergone a tremendous transformation. Today it is commonly recognised that the pen is mightier than the sword.

We are now living in a time where there are many information sources, such as the Internet leading to some older information sources now becoming increasingly extinct. However, books will always be alive; nothing can beat how you are able to immerse yourself into the story, nothing can replace the comfortable feeling of books. As J.K Rowling said: “I do believe something very magical can happen when you read a good book”.

Reading is a useful pastime because people can learn a lot. We can learn many important and useful facts and improve our understanding of English language too. We can cultivate the habit by reading small books at first and after that we can read bigger and more advanced books. In addition to books we can also read newspapers. Books are a way that we can easily communicate our ideas and keep them safe. If people read, they will also get new ideas and then they can use these to develop the world.

I remember receiving my first library card: the power granted – the exhilaration as the red light of the checkout scanner christened the book – my book. It is great that we have a student library as I, like many others, think libraries are essential. One reason is because they offer educational resources to everyone. Anyone can use libraries to succeed and have the answers to curious minds. Secondly, they preserve history and truth and the preservation of truth is important, now more than ever. Libraries, which house centuries of learning, information and history are important while we fight against fake news.

Imagine a place where all of us feel welcome and encouraged to grow and learn. That space is the school library. School libraries provide more than just books, computers and other technology, databases of accurate information, e-books, plus fun and educational activities. School libraries provide a safe haven for all of us to think, create, share, and grow. School libraries can be the hub of learning and the favourite spot for many students.

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The Wicked Women of Literature – 05/10/18

Lydia, Y12, explores the way the “evil” women in literature have been presented and what links these women across the centuries.

From Euripides’ Medea (431 BC) to Steinbeck’s East of Eden (1950), the presentation of women throughout literary history is fascinating, often providing a lens through which modern readers can appreciate the attitudes of the past. It is especially interesting to focus on the presentation of evil and transgressive women in literature, revealing the gender-based fears that have plagued western-society for almost two and a half millennia.

Focusing solely on Medea and East of Eden as well as Shakespeare’s Macbeth (1606), these evil women span an enormous timeframe yet adhere to strikingly similar tropes, almost invariably defying female-specific social mores. These include a rejection of motherhood and an assertion of dominance over their husbands.

Medea is a jilted bride, seeking revenge on her former husband, Jason, for leaving her for the far richer Princess Glauke. As the ultimate revenge she slaughters her own children with a knife. The childless Lady Macbeth speaks in graphic terms of her readiness to “dash the brains out” of a breastfeeding infant. Shakespeare also emphasises her physical aversion to motherhood as she implores spirits to “come to my woman’s breasts and take my milk for gall”. In East of Eden, Steinbeck’s villainess, Cathy Ames, echoes this motif. Steinbeck describes that “[Cathy’s] breasts didn’t grow … There was no quickening of milk glands, no preparation to feed the infant”. As soon as Cathy’s children are born she rejects them both. The repeated presentation of wicked women as child killers or negligent mothers across thousands of years reveals how deeply entrenched societal associations between child-rearing and womanhood are.

These literary women also had in common their assertions of dominance over their husbands. Steinbeck claims that Cathy had “the most powerful impact upon Adam (her husband)” and Lady Macbeth was much the same, yielding a sinister amount of power over Macbeth. Medea emasculates Jason as she tells him his “complete lack of manliness” is “utterly vile”. This fear of female scorn is repeated in Macbeth as Lady Macbeth asserts “when you durst do it, then you are a man” in the face of her husbands hesitance to assassinate the king.

I find these similarities particularly interesting to consider in relation to women in our society today. Even in 2018, 2449 years after Medea was first performed, women in parts of the world are stripped of the access to legal and safe abortions, forced into the role of motherhood against their will and no country on earth pays women and men an equal wage. Though it may be discouraging to think about these attitudes towards the role of women and how deep those attitudes run, I believe there is a positive angle to be considered. As society moves forward, however incrementally slow the pace may be, consider it a triumph in the face of a thousand years of prejudice.

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Exploring Sri Lanka – 28/09/18

Globe

Serrena in Year 11 discusses the geography and struggles of Sri Lanka that she learnt about and witnessed when she was on a school trip there this summer.

Environmental Geography:

Sri Lanka is a teardrop-shaped island, located in the Indian Ocean with different climatic conditions across this small country. Its coastal areas are around 0–30m above sea level whilst its central highlands are 300–500m above sea level with the highest point in Sri Lanka, Pidurutalagala, at 2524m above sea level. These differing altitudes result in different climates: in the coastal areas there is hotter weather with more convectional rainfall, whereas the central highlands are cooler with more relief rainfall.  The cold, wet weather of the central highlands has resulted in an area called Nuwara Eliya being referred to as “Little England”.

Sri Lanka’s climate is also influenced by monsoons: the northeast monsoon (December to February), and the southwest monsoon (May to September). When the land heats up and low pressure is caused by the rising, hot air, cooler wind from the ocean is drawn in and brings with it heavy rainfall for the country. In Sri Lanka, the rivers naturally flow more towards the southern, wet zone but there has been human intervention to divert the flow of rivers towards the north of the country where there are dams.

The Sinharaja Rainforest:

The Sinharaja Forest Reserve is a national park and a biodiversity hotspot in the southwest of Sri Lanka. It has been designated a Biosphere Reserve and World Heritage Site by UNESCO. There are 211 woody trees and lianas so far identified in the reserve, 66% of which are endemic, 20 of Sri Lanka’s 26 endemic birds are found here as well as half of Sri Lanka’s endemic mammals and butterflies.

Human Impacts:

Lots of plants are cut illegally – the agarwood plant is fragrant and is stolen for use in cosmetics and perfumes, venivel creepers are taken for medicinal uses and the rattan plant is stolen for furniture. Precious gems are also illegally extracted from the site for jewellery. Pesticides left by people trying to grow certain plants to steal them lead to bioaccumulation. Contractors open up routes to facilitate logging operations and, although no felling is permitted within 1.6km of the reserve boundary, this renders the reserve more accessible to illicit timber operations. The planting of Honduran mahogany Swietenia macrophylla along abandoned logging trails as an enrichment species leads to the displacement of natural species, especially as it is a prolific seed producer.

The future of the site:

There are concerns over the future of the conservation of the site and its biodiversity as, despite being a UNESCO world heritage site, many people are illegally damaging it. Additionally, if global warming leads to more erratic and shorter monsoons, the plants will receive less water for photosynthesis which subsequently leads to less respiration and less growth.

Economic Geography:

Sri Lanka’s island status and ports allow it to have good trade relations with other countries. Its main exports are rubber, tea and coconut and its smaller exports are spices as well as minerals and gems.

Tourism:

Jobs in Sri Lanka are becoming increasingly based in the tertiary sector as it develops. There is Chinese investment in Sri Lanka: the government has taken a loan from the Chinese government to build a new harbour airport and highway as well as a new artificial island in Colombo called Port City. This new artificial island will provide jobs for locals as well as bring in lots of tourist revenue as new hotels will be built.

A growing tourist industry in recent years has allowed the country to recover after its development was hindered by a civil war. However, despite a growing tourism industry in Sri Lanka, upon visiting a hotel school on our trip and talking to the young men there who aspire to work in hotels we discovered that the vast majority of them want to work abroad. This may be due to a desire to see how other hotel industries work but Sri Lanka faces a larger issue of skilled workers leaving the country for higher salaries in the West.

1.2 million Sri Lankans work abroad and send money back home, whilst economic issues can also force women to work abroad. Women in rural areas who struggle to support their families have far fewer opportunities for employment in Sri Lanka compared to areas such as the Middle East. For example, there are 1.5 million Asian domestic workers in Saudi Arabia.

Social Geography:

Education:

Education is free in Sri Lanka and subsequently there is a 94% literacy rate. In Sri Lanka there are only spaces for around 10% of students to go to university. This lack of universities and increased competition for spaces in higher education leads to many parents feeling forced to send their children to tuition to give them the best chance possible of getting into university. This issue is exacerbated by the fact that school finishes at around lunchtime in Sri Lanka and children are unoccupied in the afternoon, a time when many school teachers will run their own private tuition. This leaves bright children, in a country where the average wage is USD $12,768, whose parents cannot afford to send them to tuition at a disadvantage compared to students whose parents have a larger disposable income. As parents feel compelled to allocate part of their income to their child’s tuition, they face an opportunity cost of giving their children a better chance of getting into university or having the financial means to afford a better quality of life for their family.

Culture:

There are people of many different religions in Sri Lanka who peacefully co – exist. As religious studies is a compulsory subject up until 16 in the Sri Lankan schooling system, the religious tensions of the civil war are unlikely to resurface and students are more tolerant.

Polwathatha Eco lodge:

This Eco lodge encourages ecotourism.

  • It produces its own tea and coffee
  • It has a community produce section and employs many locals to give them a source of income
  • They collect polyethylene plastic and give it to a place in Digana where the plastic is recycled
  • They give kitchen waste to the wild pigs which uses up the kitchen waste while maintaining biodiversity
  • To maintain local culture and show tourists a non – westernised and authentic Sri Lankan experience they provide homestays for visitors

During our community stay in Digana local women have small plots of land where they can plant crops and sell them to gain a source of income and become independent, furthering the emancipation of women in rural areas of Sri Lanka.

When we visited a roadside rural restaurant, we realised that many people in rural areas lead sustainable lifestyles and their low income means they aim to have minimal waste. For example, coconuts are fully grated inside to provide food for the restaurant whilst the husk is used for building thatched rooves.

Evaluation

I found this trip visiting rural areas to be a humbling experience for someone who lives in a busy city like me for a few reasons:

  1. The resourcefulness of Sri Lankans makes up for their lack of technological advancements in comparison to Western, developed nations;
  2. The resilience of the people we met in the face of adversity; the absence of a social benefit system after tsunamis have caused vast devastation in Sri Lanka in the past two decades and a civil war that lasted 25 years disrupted the lives of thousands of Sri Lankans, displacing an estimated 800,000 people;
  3. The incomparable hospitality of our host families, drivers and everybody we met. There is a huge sense of community in rural Sri Lanka that left a lasting impact on my outlook in life.
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The Theory of Deconstruction – 21/09/18

Ava (Year 13, Head Girl) explores the Theory of Deconstruction as suggested by Derrida and discusses the confusing nature of both ideas and words.

Deconstruction is a theory principally put forward in around the 1970s by a French philosopher named Derrida, who was a man known for his leftist political views and apparently supremely fashionable coats. His theory essentially concerns the dismantling of our excessive loyalty to any particular idea, allowing us to see the aspects of truth that might be buried in its opposite. Derrida believed that all of our thinking was riddled with an unjustified assumption of always privileging one thing over another; critically, this privileging involves a failure to see the full merits and value of the supposedly lesser part of the equation. His thesis can be applied to many age-old questions: take men and women for example; men have systematically been privileged for centuries over women (for no sensible reason) meaning that society has often undervalued or undermined the full value of women.

Now this might sound like an exceedingly overly simplistic world view, and that Derrida was suggesting a sort of anarchy of language. But Derrida was far subtler than this – he simply wanted to use deconstruction to point out that ideas are always confused and riddled with logical defects and that we must keep their messiness constantly in mind. He wanted to cure humanity of its love of crude simplicity and make us more comfortable with the permanently oscillating nature of wisdom.  This is where my new-favourite word comes in: Aporia – a Greek work meaning puzzlement. Derrida thought we should all be more comfortable with a state of Aporia and suggested that refusing to deal with the confusion at the heart of language and life was to avoid grappling with the fraught and kaleidoscopic nature of reality.

This cleanly leads on to another of Derrida’s favourite words: Differánce, a critical outlook concerned with the relationship between text and meaning. The key idea being that you can never actually define a word, but instead you merely defer to other words which in themselves do not have concrete meanings. It all sounds rather airy-fairy and existentialist at this level, but if you break it down it becomes utterly reasonable. Imagine you have no idea what a tree is. Now if I try and explain a tree to you by saying it has branches and roots, this only works if you understand these other words. Thus, I am not truly defining tree, but merely deferring to other words.

Now if those words themselves cannot be truly defined either, and you again have to defer, this uproots (excuse the pun!) the entire belief system at the heart of language. It is in essence a direct attack on Logocentrism, which Derrida understood as an over-hasty, naïve devotion to reason, logic and clear definition, underpinned by a faith in language as the natural and best way to communicate.

Now, Derrida clearly wasn’t unintelligent, and was not of the belief that all hierarchies should be removed, or that we should get rid of language as a whole, but simply that we should be more aware of the irrationality that lies between the lines of language, willingly submit to a more frequent state of “Aporia”, and spend a little more time deconstructing the language and ideas that have made up the world we live in today.

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Classical Music – relevant to the youth of today? – 14/09/18

Louisa (Y13 Music Rep) investigates whether Classical Music is still relevant to young people of today and what can be gained from listening to it.

Classical music, once at the forefront of popular culture and entertainment, is nowadays often seen as a dying art. Frequently, classical music, an umbrella term for music spanning the baroque, classical and romantic eras, is described as an ‘elitist form of artistic expression’ that is only enjoyed by the old, the white and the rich. Its place as leading form of musical entertainment has been taken by modern genres such as pop, rock and rap that generally do not share the musical complexity of much of classical and romantic music that used to dominate concert halls.

It is clear that the interest and enjoyment of classical music has decreased over the years, most prominently in today’s youth, despite the increasing accessibility through platforms such as Spotify and YouTube. However, just because interest has lowered does not mean that “classical music is irrelevant to today’s youth” as radio 1 DJ ‘Kissy Sell Out’ publicly argued[1]. It is important that those with a platform in the music industry challenge the notion that classical music is only for a select group of elites as there is so much to be gained from being engaged with classical music, from education to in media to understanding successful music in the modern world.

An area in which classical music is of utmost importance is in education. Headlines such as “listening to an hour of Mozart a day can make your baby smarter” outlining the so called ‘Mozart effect’ frequently dominate the press. This longstanding myth of listening to Mozart as an infant correlating to intelligence has since been debunked as having little scientific merit.

Above: DJs including William Orbit and DJ Tiesto have famously remixed classical music, including Samuel Barber’s Adagio for Strings. Does this make the original more relevant?

However, there is evidence behind the notion that classical music has a positive effect on brain development and wellbeing. A study undertaken in 2014 by Zuk, Benjamin, and Kenyon found that adults and children with musical training exhibited cognitive advantages over their non-musically-trained counterparts. Adults with prior musical training performed better on tests of cognitive flexibility, working memory, and verbal fluency; and the musically-trained children performed better in verbal fluency and processing speed. The musically-trained children also exhibited enhanced brain activation in the areas associated with ‘executive functioning’ compared to children who had no previous musical training.

An additional study at the National Association for Music Education as well as researchers from the University of Kansas, found that young participants in music programmes in American High Schools associated with higher GPA, SAT and ACT scores, IQ, and other standardized test scores, as well as fewer disciplinary problems, better attendance, and higher graduation rates

[1] https://www.independent.co.uk/arts-entertainment/classical/features/radio-1-dj-kissy-sell-out-classical-music-is-irrelevant-to-todays-youth-2282561.html 23/03/18

These scores can have great impacts on future quality of life as they directly contribute to which collage one is able to attend as well as future jobs leading to income.

Another important use of classical music is in modern day media. Film music is a genre that directly stems from classical music. Its widespread use in movies and television means classical music is constantly permeating our daily lives and it would be naïve to pretend it is irrelevant.

Film music serves several purposes in films including enhancing the emotional impact of scenes and inducing emotional reactions in viewers.  The effects are widespread and particularly evident when watching a scene without the accompanying music. For example, watching the famous shower scene from Hitchcock’s Psycho without Herrmann’s music makes the scene appear almost comical and certainly lacks the fear and suspense the scene is meant to evoke.

The film music industry is very successful especially among younger generations, with film music scoring the highest number of downloads of instrumental music. Similarly, the videogame music industry has recently taken off in terms of popularity and recognition within the music community. Videogame music has striking similarities to both film music and elements of classical music with the main difference being it must be able to repeat indefinitely to accompany gameplay. The Royal Philharmonic Orchestra recently announced that it was to play a PlayStation concert to celebrate videogame music. James Williams, director of the RPO describes the planned concert as “signpost for where orchestral music is expanding”.

Whilst the music itself is not classical, it uses many elements of classical composition and is significantly influenced by it. It is arguably the most similar genre to music of the classical era in the modern day. This shows how it is not always obvious where derivatives of classical music can appear in the media of young people, yet the stigma is still very present. James Williams argues that if classical music rebranded to ‘orchestral music’ to include film and videogame popular music, it would help to destigmatise the term. Classical music is vital as the basis of these new and expanding genres of music that are very popular among younger generations.

Within society, there are many other instances in which classical music is used and very relevant, although not in its original context. In advertising, classical music and derivatives of classical music are widely used in order to promote specific product and target specific groups of people. A 2014 study from North Carolina State University shows how the correct musical soundtrack in an advert can “increase attention, making an ad more likely to be noticed, viewed, and understood; enhance enjoyment and emotional response; aid memorability and recall; induce positive mood; forge positive associations between brands and the music through classic conditioning; enhance key messages; influence intention and likelihood to buy”.

The brain has evolved to encode emotional memories more deeply that non-emotional ones and memories formed with a relevant, resonant musical component are stored as emotional memories. This means that adverts with suitable music are more likely to be remembered and acted upon. Clearly, regardless of whether or not classical music is actively listened to by young people, it plays a very active part in our society and therefore cannot be labelled as being irrelevant.

Above: Film music for Harry Potter and the Philosopher’s Stone being performed in real time alongside the movie.

Despite classical music being stereotypically more popular within older social circles, it is still very relevant for today’s youth, whether in or out of its traditional context. Claims that the popularity of classical music is decreasing can be disproved if the definition of classical music is expanded to include similar genres such as in film, videogames and advertisement which are all very popular and relevant, in addition to the huge benefits classical music has on the cognitive development of young people. Therefore, it cannot be argued that classical music is irrelevant to today’s youth.

Further Reading:

This is your brain on music – Daniel Levitin, Dutton Penguin, 2006

https://www.gramophone.co.uk/blog/editors-blog/the-relevance-of-classical-music

https://www.theguardian.com/music/2009/apr/02/classical-music-children

Have a listen to Barber’s Adagio for Strings, and the remixes by Orbit and Tiesto, below:

Barber: https://www.youtube.com/watch?v=N3MHeNt6Yjs

Orbit: https://www.youtube.com/watch?v=VIbIHxKh9bk

Tiesto: https://www.youtube.com/watch?v=8CwIPa5VM18

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Euripides: a misogynist or a prototype feminist? – 07/09/18

Anna (Year 13) explores the works of Euripides and endeavours to establish whether he was a feminist through analysis of his plays.

Often regarded as a cornerstone of ancient literary education, Euripides was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom a significant number of plays have survived. Aristotle described him as “the most tragic of poets” – he focused on the inner lives and motives of his characters in a way that was previously unheard of. This was especially true in the sympathy he demonstrated to all victims of society, which included women. Euripides was undoubtedly the first playwright to place women at the centre of many of his works. However, there is much debate as to whether by doing this, Euripides can be considered to be a ‘prototype feminist’, or whether the portrayal of these women in the plays themselves undermines this completely.

Let us first consider Medea. The play focuses on the eponymous heroine, and centres around her calculated desire for revenge against her unfaithful husband, Jason, which she achieves by killing his new wife and her own two children, then fleeing to start a new life in Athens. Medea is undoubtedly a strong and powerful figure who refuses to conform to societal expectations, and through her Euripides to an extent sympathetically explores the disadvantages of being a woman in a patriarchal society. Because of this, the text has often been read as proto-feminist by modern readers. In contrast with this, Medea’s barbarian identity, and in particular her filicide, would have greatly antagonised a 5th Century Greek audience, and her savage behaviour caused many to see her as a villain.

This negative reception of Euripides’ female characters was echoed in the Greek audience’s response to Euripides’ initial interpretation of the Hippolytus myth, in which Aphrodite causes Phaedra, Hippolytus’ stepmother, to fall in love with her stepson, which has horrific consequences. It is believed that Euripides first treated the myth in a play called ‘Hippolytus Veiled’. Although this version is now lost, we know that he portrayed a shamelessly lustful Phaedra who directly propositioned Hippolytus on stage, which was strongly disliked by the Athenian audience. The surviving play, entitled simply ‘Hippolytus’, offers a much more even-handed and psychologically complex treatment of the characters: Phaedra admirably tries to quell her lust at all times. However, it could be argued that any pathos for her is lost when she unjustly condemns Hippolytus by leaving a suicide note stating that he raped her, which she does partly to preserve her own reputation, but also perhaps to take revenge for his earlier insults to her and her sex. It is debatable as to whether Euripides is trying to evoke sympathy for Phaedra and her unfortunate situation, or whether through her revenge she can ultimately be seen as a villain in the play.

However, if you look at Hecuba, Andromache, and the Trojan Women, we see how the evils of war have a grave effect on women, and in his play ‘Ion’, he sympathetically portrays Creusa, who was raped by Apollo and forced to cover up the scandal. Although some believe it is difficult to fully label Euripides as a feminist, he nonetheless understood the complexities of female emotion in a new and revolutionary way, whether the audiences, from both then and now, view his female characters as heroines or as villains.

Links and further reading:

https://www.libertarianism.org/columns/ancient-greeces-legacy-liberty-euripides-woes-woman

https://etd.ohiolink.edu/!etd.send_file?accession=ouashonors1428872998&disposition=inline

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Glamour and Hedonism: Why the American Jazz Age Still Intrigues Us

Laura (Year 11) explores what makes the Jazz Age a significant time in America’s history and how it has been preserved through music and literature.

The American Jazz Age, or the “Roaring Twenties”, brings to mind many images of feathers, flapper dancers and flamboyance. As the 1920s were characterised by rapid stock market expansion, successful Americans spent more, and flaunted their wealth, throwing extravagant parties. Reminders of the era cannot be avoided, as it inspires fashion, films and music of today. F. Scott Fitzgerald’s 1925 novel The Great Gatsby captured the essence of the time and offers a paradigm of the jazz age. When Baz Luhrmann took on the challenge of adapting it for film, it made $353.6 million at the box office, as audiences were captivated by the romance of the period.

Whilst the 1920s saw people move away from the austere and unpromising life during the Great War, they also brought new changes and difficulties with them. This new America had lost faith in its organisation and structure, having become disillusioned by war and patriotism. The parties and indulgence reflected newfound individualism as traditional values were left behind. Many were critical of the more frivolous lifestyle in cities, as ideas of morality seemed to shift. Prohibition, the 1920 ban on alcohol, seemed to only encourage more drinking in the clandestine speakeasies, and organised crime and bribery were rife. But the era was also characterised by modernisation and greater liberation, especially for women. The 19th Amendment was changed in 1920, giving women the vote, and social changes followed as women in the workplace became more of a norm and gender roles were questioned. Even fashion became more liberating as short skirts and hair became popular.

The jazz music that fuelled the parties of the rich and powerful in 1920s America first came from the African-American communities of New Orleans and had its origins in blues. With a more free, improvisational style, it broke musical norms whilst social conventions were being dismantled in America. With better recording of music during the mid-1920s, this new style spread quickly, and radio broadcasting allowed more rapid popularisation of the genre, as it reached people of all ages and classes. Although the US was still a place of deep-rooted racism and xenophobia, and many conservatives feared the influence of “the devil’s music”, jazz’s popularity was a step towards better inclusion in American society. When Luhrmann made his adaptation of The Great Gatsby, the music was a key element of the film. Modern hip hop and traditional jazz were both a part of the soundtrack. It cleverly blended music that evoked the era with new music that allows the modern audience to experience what it was like to listen to something completely new and unheard. Luhrmann said that “the energy of jazz is caught in the energy of hip-hop”. Check out the Jazz Spotify playlist on the Music Department Spotify here.

Ernest Hemingway, Gertrude Stein and F. Scott Fitzgerald are among the authors that have helped to preserve the excitement and intensity of the Jazz Age in their writing and are part of the “Lost Generation” writers, who came of age during the Great War. Main themes in their writing included the opulence and wealth of the 1920s, but also the damaging effects of hedonism and disillusionment. Idealised versions of the past are often seen in writing of the era, reflecting on how the indulgence and enjoyment was overwhelming and even put individuals out of touch with reality. Fitzgerald describes one of Jay Gatsby’s parties:

“The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word.”

The giddy description shows an uncomfortable confusion of the senses, as the narrator, Nick Carraway, discovers the exciting city life. However, Fitzgerald also reveals a world damaged by war, as the “valley of ashes” in the novel represents the effects of industrialisation and modernisation on the less wealthy, and the social inequality of the time. Carraway, having served in the First World War, notes that Jordan Baker had an “erect carriage which she accentuated by throwing her body backward at the shoulders like a young cadet”, his vision is clouded by experiences of war. The literature of the jazz age endures because it shows not only the glamour and thrill of the period, but also offers sobering reflections on the price of the new lifestyle.

The sparks of wealth and excitement of the Roaring Twenties were stamped on by the Wall Street Crash of October 1929 and were extinguished abruptly. As the terrible poverty of the Great Depression began, Fitzgerald wrote “Echoes of the Jazz Age”, recalling the earlier, more prosperous times.

“It bore him up, flattered him and gave him more money than he had dreamed of, simply for telling people that he felt as they did, that something had to be done with all the nervous energy stored up and unexpended in the War.”

It is no surprise that the Jazz Age has aged so well. The excitement and romance of the period has captivated readers and audiences, and this formative period of American history is not forgotten.

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Men writing about women: how male authors have depicted female characters

Lydia (Year 11) investigates the portrayal of women in literature, a field that has largely been controlled by the male voice, and how this has changed throughout the centuries.

The literary world has always been (and remains) dominated by men. As male writers create their female characters, they often fall short of capturing the interesting, vivid complexity of womanhood which we, as women, know to be reality. Since Shakespeare’s heyday, it’s fair to say that the role of women in society has changed significantly; but how has this change affected how male writers portray women in literature, if it has at all?

When Shakespeare’s Macbeth was performed (circa. 1602), women were expected to be submissive to their husbands, punished for being ‘scolds’ or ‘nags’. Fear of women’s speech was prevalent, spread by imperious treatises. The extremely popular treatise, Anatomy of a Woman’s Tongue, claimed

“A woman’s tongue it is the devil’s seat;

and that it is a most pernicious lyar,

a backbiter and a consuming fire”

summing up misogynistic attitudes of the Jacobeans with a catchy rhyme. And, of course, there were the witch burnings, vast numbers of women executed for being transgressive, reclusive or powerful.

This attitude towards women is noticeable in Shakespeare’s work as he links the powerful women in Macbeth to the world of spirits and demons. Through studying Macbeth and watching various productions, such as that performed at the National Theatre, it is easy to be struck by how Shakespeare presents women as a manipulative force, blaming them for the immoral actions of men. The misogynistic attitude behind this becomes obvious when compared to how Shakespeare presents Macbeth himself, murderer of the sleeping king and his own close friend, as a basically good, if slightly unhinged, man.

Another greatly beloved male writer is Charles Dickens. By the time Great Expectations was published in 1860, the Jacobeans and their witches were centuries dead, though reductive attitudes towards women lived on. The continued ownership of women by men and the surprising lack of social progress in the centuries between Macbeth and Great Expectations is revealed by similarities between Dickens’ and Shakespeare’s portrayal of women.

In Macbeth, Shakespeare portrays Lady Macbeth’s desire for power as unnatural and dangerous as she orders spirits to remove remorse and conscience from her body and replace her breast-milk with acid. Dickens uses uncannily similar imagery of mutilation and hardening in Great Expectations as the proud Estella claims “I have no heart … I have no softness there, no—sympathy—sentiment—nonsense” and Miss Havisham echoes “I stole her heart away and put ice in its place.” This idea that all women who transgress the role of tender, servile femininity must be unnatural perversions of nature is used by both Shakespeare and Dickens, revealing that, despite the centuries passed, men continued to hold the same views regarding the role of women in society.

Dickens is famed for his portrayal of meek, simpering virgins (often paired with epithets such as ‘dear’ and ‘little’). In Great Expectations this trope manifests itself in Clara Barley. Clara is a paradigm of servility, tending constantly to her abusive father yet still managing to appear “natural and winning” and well as “confiding, loving and innocent”.  Dickens reveals Victorian attitudes that women should be submissive, praising Clara’s “modest manner of yielding herself to Herbert’s embracing arm.” The anti-Estella, Clara is just as two-dimensional, a figment of the imagination of the imperious male.

The 20th Century saw great change in how women were viewed in society, earning the vote in Britain in 1918. The end of the 1920s saw the Equal Franchise Act passed, granting equal voting rights to women. Did this rapid progress, and the surging momentum of the feminist movement, pave the way for a parade of wonderful heroines written by men?

It seems not, if John Steinbeck’s Of Mice and Men, best-seller of the 1930s, is anything to go by, featuring not one named female character, only ‘Curley’s wife’, the self-absorbed, cruel and teasing caricature of female shallowness and naivety. Steinbeck punishes this woman for her crimes of promiscuity and stupidity with a broken neck, echoing the methods of past writers; Shakespeare delivers Lady Macbeth a grizzly suicide and Estella is condemned to a life of abuse at the hands of Drummel. Though Steinbeck sticks fast to the well-trodden tropes of two-dimensional femininity, the literary world has a growing female voice in this decade as Daphne du Morier, Agatha Christie and Virginia Woolf begin penning novels of their own, featuring swathes of heroines.

However, men have, on occasion, written brilliant female characters: for example Shakespeare’s Juliet and Tolstoy’s Anna Karenina, but these are exceptions to a centuries old pattern in which women are written as either fantastical paragons of innocence or cruel monsters. The recent twitter trend, which inspired this article, asserts that this pattern marches onwards to the present day. So as far as writing funny, interesting, realistic women goes, I guess it’s down to us.

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Twilight vs Jane Eyre: what separates the two?

Claire (Y11) investigates the relationship between Twilight and two classic novels, Jane Eyre and Wuthering Heights, to discover what makes them similar but more importantly what divides them.

It is a truth universally acknowledged that books written about vampires are almost exclusively terrible, and in no case is this truer than in that of Twilight. Widely considered to be one of the worst books ever written, it is generally believed to have absolutely no literary merit whatsoever, despite the story itself being age-old and popular under many other circumstances. Among those circumstances is Charlotte Brontë’s Jane Eyre, and to a lesser extent, Emily Brontë’s Wuthering Heights. What is interesting is that both of those books are hailed as literary classics and taught on many school curriculums, despite the fact that in terms of storyline, there is very little that actually separates them from Twilight. So why is it that the Brontë sisters’ novels are deemed masterful works of literature, whilst Twilight is relegated to the trash pile?

In many ways, the books are very similar. All three have a brooding, Byronic male protagonist – Edward Cullen, Edward Rochester, and Heathcliff – who falls in love with a female protagonist – Bella Swan, Jane Eyre, and Catherine Earnshaw. There are definitely some differences in the traits of these female protagonists, but at a basic level, they are addicted to their counterparts in a ‘passionate’ love which actually seems more like an abusive relationship. Catherine says, “I am Heathcliff”, a sentiment very similar to Bella’s expression that “(her) life was about (Edward)” and although Jane famously states that she is a “free human being with an independent will”, apparently marking her out as not being as addictively in love as Catherine and Bella, she does eventually fall prey to the same obsession.

All three stories are also set in isolated locations, cut off from society and rendering the romance central to the plot as there is very little outside influence. Bella finds herself in the small American town of Forks, where Edward and his family take centre stage as local curiosities. Jane is relegated to Ferndean Manor, which itself is located deep within the forest, and the other characters have little influence on her relationship with Mr Rochester. And Wuthering Heights, of course, is set in the iconic Yorkshire moors, where the surroundings seem to reflect the dynamic of the relationship – harsh, inhospitable, and inexplicably alluring. This feeling of isolation, this detachment from the outside world is what allows all three romances to blossom into the obsessive and damaging relationships they ultimately become.

There are other similarities, of course. All three female protagonists are ‘othered’ by society, be it by virtue of simply being a teenage girl or by their feminist principles. All three are ceaselessly self-obsessed; Jane dwells on herself endlessly, Bella is conscious of her every flaw, and although Catherine seems far less self-deprecating, that does not mean she is not selfish. And throughout all three novels runs a feeling of the scandalous, the inappropriate and the exciting. Edward is, of course, a vampire, and over 100 years older than Bella is. Mr Rochester is Jane’s employer, and there is a gap in class and age. Heathcliff is Catherine’s adopted brother, and implied to be Romani in origin – certainly, he is not white. These factors tie common threads between the stories, linking their characters.

What is it that renders Jane Eyre and Wuthering Heights simply better novels than Twilight?

So if the characters are essentially the same, the setting is essentially the same, and the basic storyline is essentially the same, what is it that renders Jane Eyre and Wuthering Heights simply better novels than Twilight? One of the most obvious factors is the context. The Brontës were women writing books at a time when women generally didn’t, and although their novels were published under pseudonyms, it does not detract from the fact that they rebelled against the norm and published works of fiction which went on to become classics. It would have taken extraordinary courage and talent to write and then attempt to publish such literature, and it shows in the novels themselves. By contrast, Meyer was able to sit down and simply write, and then have her book published with relative ease. This means Twilight, although not altogether terrible, is simply very boring. It is not a novel of challenge and struggle, and that too shows in the writing.

Another thing that marks the Brontë sisters’ works from Meyer’s is the fact that Wuthering Heights and Jane Eyre are, objectively, better-written. The prose style of Twilight is simple, bland and unremarkable – the descriptions are extremely mundane and Bella’s simpering first-person style is insipid at best and exasperating at worst. In contrast, both Brontë sisters offer rich and interesting writing, replete with elegant descriptions of landscape and emotion, and when Jane narrates, her first-person voice is, although occasionally irritating, undoubtedly compelling. Wuthering Heights is also a much more complex story, spanning generations of characters without losing track of the development of any, and although it is not the polished masterpiece that Jane Eyre is, it is certainly a triumph. Twilight is, to put it kindly, not.

None of this is to say that Twilight isn’t worth reading. All literature has an inherent anthropological value, in that it teaches us about the culture of the time, and Twilight does a very good job of informing readers that in the mid-2000s, people were obsessed by vampires. The undeniable fact, however, is that it is not a particularly good book, and that for all its similarities to the Brontë sisters’ masterpieces, it does not hold up well in comparison.

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