Unveiling Terracentric Language Through Ocean by Steve Mentz

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Naomi Mireles

Professor Pressman 

ECL 305

14 April 2024

Unveiling Terracentric Vocabulary and Its Relevance in Contemporary Marketing

Advertisement for Meditation Practice class by TotallyMeditation

The deterritorializing preface in Ocean by Steve Mentz reveals how common word associations are deliberate choices and prioritize land over the ocean. Attention is brought to linguistic biases that favor terrestrial environments and overlook the importance of the sea. Steve Mentz’s Ocean teaches readers to recognize terracentric vocabulary and its influence. This insight can be applied to the contemporary marketing and selling of universal happiness, meditation, and spirituality, as showcased in my object of study. Analyzing the specific language of “grounding” as good and spiritually centered favors an individual way of viewing and being. This language also excludes a large non-western demographic and their practices of well-being and values. 

Terracentric vocabulary is a term used to describe language and cultural attitudes that center on land-based perspectives at the expense of the Ocean. This includes languages that emphasize the importance of stability and the centrality of land-based environments. The commonness of this language allows for neglect of the Ocean and how it shapes human roles, identity, and history. Some other examples of terracentric vocabulary often used in messages of spirituality and well-being that associate positive attributes with the land environment are grounding, rootedness, and stability. Terracentric vocabulary also reinforces cultural narratives and biases that favor land-based lifestyles over maritime and submarine cultures and industries.

The Deterritorializing Preface by Mentz gives an overview of terracentric vocabulary and how we recognize land as familiar, and ocean as alien. In this preface, there is a portrayal of the Ocean as dynamic and ever-changing which is characterized by its vastness and responsiveness to external features. My object of study: an ad for a meditation class where grounding and centering techniques are taught, is a perfect example of how Mentz’s insight is applied to contemporary marketing practices. Spirituality has been around for a fairly long time, this is an ideology that to many is synonymous with well-being, and mental and emotional health. From our terra-centric standpoint, this has led to various forms of thinking that only favor Western practices and tie together land-based ways of thinking as the only correct form of being

In this advertisement, grounding is explained as an act or technique in which you will “feel unshakeable in the face of controversy and release negative emotions.” There is comfort established in feeling “stable” and “grounded,” both terracentric terms. Being grounded alludes to a state in which you are rooted. The act of being rooted confines you to one place, there is no going forward or backward, only linear progression. In a state of not going backward or forward, I question: is there room for genuine spiritual well-being and growth? Success in the Western world is measured in linear progress. Contrary to success in the Western world, emotional and spiritual growth is not always linear progress.

Ocean by Mentz offers the readers a paradigm, both metaphorically and literally, “nothing stays on the surface forever.”  If focusing on terra-centric language as “ground,” were to shift to ocean-centric language, what would happen to what we know about being grounded and rooted? Like our metaphors, we must be flexible and adaptable to ever-changing circumstances, instead of firmly grounded. Not one thing will remain stable or fixed for its entirety. Embracing fluidity and change rather than rigid structures invites us to shift from terra to Oceanus. The unfamiliarity of shifting from terra to Oceanus would not be a bad thing, on the contrary, it may expand our thinking and perspectives of how we view Western and non-Western values and practices. The featured article, The Blue Humanities by John R. Gillis, shares with us that in the Western world, the Ocean was always viewed as a means of transport, “they used the sea merely as a highway to get to the next landfall.” (Gillis) The rise of the blue humanities is a late recognition of this prolonged attitude towards the Ocean by Western Culture. For centuries, even Western explorers on the Ocean were learning more about land than the Ocean, it “was a discovery more by sea than of the sea.” (Gillis). This perspective of the Ocean was not a global one, many cultures and societies, mainly coastal ones have always recognized the Ocean as more than just a passage or an abyss. 

Analyzing the advertisement by Totally Meditation allows us to recognize the marketing patterns used for advertising spirituality in Western society as land-based. Everything in this ad is heavily terracentric, from the language to the green color, even the water pictured is green. Extreme land-based marketing excludes cultures and practices that are ocean-centric. Cultures such as the previously mentioned island and coastal communities have always had strong ties to the ocean in their everyday lives and cultural practices and traditions. In these cultures, the Ocean provides sustenance, connects people with their past, and inspires cultural values and traditions. These groups are widely indigenous communities and many of their origin stories begin in the ocean, which guides the harmonious relationship between humans and the Ocean. Unlike Western society, these indigenous communities, such as native Hawaiians, Samoans, and other Indigenous Islander cultures view themselves as stewards of the Ocean. People residing in these communities and cultures would not relate to these terra-centric forms of happiness and well-being. 

The terracentric marketing approach shares broader implications for how our Western society has developed and remains in a terracentric environment. An environment that excludes and is hostile towards non-western, ocean-centric ideologies and cultures. There is not only one correct or positive practice of spirituality and well-being, as our terracentric language and this advertisement suggest. Ocean by Mentz allows us to recognize how land-based language has narrowed our perspective and influenced many factors in our everyday lives, such as self-help and spirituality. Recognizing the use of terracentric language in our everyday lives, such as in marketing approaches, is the beginning of reframing our current terracentrism to non-western, ocean-centric. The unfamiliarity of ocean-centric culture and perspective would allow us to reimagine how we see spirituality and being “grounded,” to something more fluctuating and ever-changing, inclusive and welcoming to non-terracentric thinking.

Works Cited

John Gillis, “The Blue Humanities” (Humanities: The Journal of the National Endowment for the Humanities. Web. 2013)

“Live Event Aug 23: Centering & Grounding.” Totally Meditation, www.totallymeditation.com/live-event-aug-23-centering-grounding/.

Steve Mentz, Ocean (Bloomsbury, 2020): “Deterritorializing Preface” (pgs. xv-xviii). 

Discovery – Harry Potter and the Goblet of Fire

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Ashley Rubin 

14 April 2024

Discovery

Pressman

https://www.google.com/search?q=harry+potter+mermaid+scene&oq=harry+potter+mermaid+scen&gs_lcrp=EgZjaHJvbWUqCQgAEEUYOxiABDIJCAAQRRg7GIAEMgYIARBFGEAyBggCEEUYOTIGCAMQRRg7MggIBBAAGBYYHjINCAUQABiGAxiABBiKBTINCAYQABiGAxiABBiKBagCALACAA&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:34f5d935,vid:QSqNJVR8blE,st:0

The mermaid scene from Harry Potter and the Goblet of Fire displays the main character Harry Potter feeling fearful of the mermaids and then shifts to the mermaids being fearful of the sharks. This creates a connection between humans and merpeople by displaying the emotion of fear through both species. Creating a similarity between the species upholds the idea that people are not so different from mermaids as both species experience emotion. This idea proves that the boundaries between humans and oceanic life have been created by mankind from a place of fear. These boundaries can be broken by connecting humans with nature through further discovery and research of the ocean. 

The scene begins with Harry Potter jumping into the depths of the lake to complete the second task of the Triwizard Tournament. As he is swimming he encounters a group of mermaids, a creature he has never seen before. The sight of these mermaids wielding spears fills Harry with fear. It is a fear born of the unknown as he doesn’t understand their intentions or capabilities, and the threat they pose adds to his sense of vulnerability. Just as Harry fears for his safety in the presence of these beings, the mermaids in turn react with fear when a shark suddenly appears. The group instantly swims away as they are now in fear for their life and want to escape the potential danger. The mermaids’ reaction to the shark mirrors Harry’s initial fear, emphasizing the unpredictability of the underwater environment and the instinctual response to perceived threats. 

The importance of both Harry Potter and the mermaids experiencing fear in this scene lies in the fact that the species are more similar than different. When Harry initially encounters the mermaids he is experiencing fear not only because his life is being threatened, but also because it is being threatened by an unknown species. Harry does not know much about these creatures, which leaves him questioning what they are capable of. When the scene shifts and shows the mermaids also experiencing fear the creatures are humanized, creating a similarity with Harry. Both species are trying to survive in this circumstance. While they differ in the fact that the mermaids tried to harm Harry and he had just been completing a task for the tournament, they have the same end goal which is to make it out alive. Humans see unknown creatures, especially those of the ocean, as a threat due to their potential to inflict harm. The lack of knowledge surrounding these creatures is what poses them as a threat. This scene specifically shows the mermaids threatening Harry but it could have been out of fear that he would harm them. Mermaids are shown to experience the same feelings as humans in terms of the unknown. Just as Harry did not know their capabilities, they did not know his nor the sharks. Their initial instinct with Harry was to defend their own lives and when a more apparent threat showed up, they chose to leave. This feeling of fear is what makes these species so similar. By portraying fear as a common thread that connects disparate beings there is an emphasis on the similarities between individuals, regardless of their species or background. Both species are trying to survive in this circumstance and experience the same feeling of fear. 

The similarities created between these species serve as a powerful commentary on the artificial boundaries that humans have created between themselves and the natural world, particularly the underwater world. The fear experienced by Harry and the mermaids underscores how these boundaries have been shaped by human perception and apprehension, rather than inherent differences between species. This prompts a deeper reflection on the origins of these boundaries and the potential for breaking them through greater understanding and connection with the ocean. Only around 5 percent of the ocean has been explored by the human species. This lack of knowledge and understanding creates a sense of mystery surrounding the water, leading to boundaries between life on land and life in water. As humans evolve in advancements of technology and scientific research there is great potential to break these boundaries down and create a world where we live in harmony with nature. Through initiatives such as marine conservation efforts, educational programs, and ecotourism, humans can create a deeper sense of connection with the ocean and its inhabitants, leading to empathy and respect for marine life. While it might not involve the discovery of mermaids, the understanding of the ocean can allow for a healthier environment and appreciation for the water which takes up 71 percent of the Earth. The fear of the ocean by mankind has stemmed from the lack of discovery. Humankind has been capable of exploring space for years due to the amount of money and effort that has been put into research. While there might still be technological advancements to be made before the ocean can fully be explored, there should be a more consistent effort put into these explorations. There is technology that is capable of exploring deep depths of water and it should be prioritized. Due to the current climate crisis, it is important to emphasize understanding the ocean and the impact these waters have made on humans along with the impacts humans have made on these waters. Putting the fear of the unknown aside here is extremely important to understand both history and the current state of planet Earth. 

The mermaid scene in “Harry Potter and the Goblet of Fire” serves as a reminder of the interconnectedness between humans and the natural world, particularly the ocean. The shared experience of fear portrayed by both Harry Potter and the mermaids highlights the similarities between species, challenging the artificial boundaries that humans have imposed between themselves and marine life. While only a fraction of the ocean has been explored, there is potential for humanity to break down these barriers through technological advancements and concerted efforts in research. In the face of the current climate crisis, prioritizing the exploration and understanding of the ocean is important. By overcoming the fear of the unknown and embracing curiosity, humanity can uncover the mysteries of the ocean and create a harmonious relationship with the natural world. This discovery is not only essential for the preservation of our planet but also for our understanding of history. 

Close Reading #2: Melusine

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Myles Wright

Professor Pressman

ECL 305

14 April 2024

The Romance of the Faery Melusine: Not a Romance

The Romance of the Faery Melusine, written by Andre Lebey, retells the medieval France legend of the Faery Melusine. The legend follows Raymondin who accidentally kills his uncle while hunting. Fleeing deep into the forest, Raymondin encounters Melusine, who promises to help him evade his fate by marrying him, making him the greatest and wealthiest lord of his time. However, Raymondin must swear to Melusine that on “each Saturday, from sundown to dawn on the following day, never must (he) try to see (Melusine) in any way whatever” (Lebey, 27). Eventually, Raymondin is driven to break his sacred promise to Melusine, causing her to leave him and never return. The legend is originally dated back to 1393, and many variations of the story have been told. Across many countries and cultures we see recurring stories of supernatural or shapeshifting women marrying human men. The medieval French legend of Melusine, being one of the most widely known. Why is this narrative so common? What ideas might these stories across lands, seas, and cultures share? Through diction and imagery, The Romance of the Faery Melusine, reveals the ways in which female sexuality was abused and persecuted in Medieval Europe. 

Chapter 14, “Betrayal”, best shows how even in marriages built on trust, women were abused and taken advantage of sexually during this time. The descriptions in the chapters serves as an allegory for marital rape. In this chapter, Raymondin, ridden with both guilt and an insatiable desire to know what Melusine does on Saturdays, forces his way into her chambers. As Raymondin first makes his way towards Melusine “The little door violently broke down…He climbed quickly in his eagerness to strike” (Lebey, 121). This is not a scene of discovery, it is a scene of violence, first setting the tone as he breaks down the door, as Raymondin violates his wife’s privacy and trust. The use of the word “strike” further implicates the use of violence in his planned encounter with Melusine. Upon finding the final obstacle to Melusines chambers, it is described as an “almost imperceptible line between two of the thick polished planks of which the door was made. Even though they were mortised into one another to make one seen like all the rest, there was a tiny space visible at the point of joining” (Lebey, 122). Oxford English Dictionary defines mortise as “a cavity, hole, or recess into which the end of some other part of a framework or structure is fitted so as to form a joint”. These planks, which Raymondin must break through, serve as a symbol for the female genitalia. Later, his knife as a symbol for the male counterpart. Forcing his way into the planks, “He pulled out his flat knife… held his breath as he started to slide in the blade and push it slowly, leaning on it with all his strength and weight. The blade entered a little, so slowly that he almost began to despair” (Lebey, 122). The next few pages of the novel center around Raymondin breaking through the planks, though not innately sexual, the word choice and detailed descriptions contribute to the sexual undertones. “As he inserted a little more of the thin blade to enlarge the space he had with such difficulty obtained, it snapped with a dry, clear, crystal sound” (Lebey, 123). The word choice of “inserted” and “enlarge” emphasizes the sexual tone. The planks finally begin to give way with a sharp, violent sound. Raymondin’s efforts, and the sexual connotations continue, “his efforts against the wood… feeling the sweat on his brow and down the length of his body” (Lebey, 123). Raymondin feels that he has “struggled well”, again adding to the sense that this is a struggle, he is unwelcome, and violating privacy (Lebey, 123). The descriptions further: “The blade entered better, and engaged the length of three angles already. He had raised it, and putting it back he leaned against it with all his might. Then, wedged against it to get more leverage, he felt the wall suddenly give, heavily and slowly behind him” (Lebey, 123). Finally, Raymondin breaks through, the wall giving with heavy, slow reluctance. 

As Raymondin creeps towards Melusine,  “in the moonlight that made his coat of mail glisten, he had the appearance of a strange serpent with iron scales” (Lebey, 124). This hints that he himself is in the wrong, rather than Melusine who, even in concealing her identity, provided for Raymondin. “He slid”, as a serpent, as he violated Melusine’s promise. As he recognizes the wrong he has committed against Melusine, he reflects on the life that has been given to him, “it shone sweetly, polished like a mysterious otherworld fruit. But then the fruit disappeared, as if it had ever been only a dream” (Lebey, 125). The symbol of the fruit stands out. The religious connotation is relevant during this time in medieval France, and the characters of the novel hold Christians beliefs. In this case Raymonid beholds the fruit, but instead of Eve or Melusine, it was him who takes a bite of the apple. His promise to her broken, her trust violated, forcing her to leave him forever. When Raymondin first views Melusine in her natural form, she is described as holding “a mirror, its crystal reflecting the moonlight on her face, which despite the life that animated it as she slowly smiled to herself, gave it an almost lifeless quality” (Lebey, 125). Female sexuality was persecuted during this time, seen as unholy or unnatural, and mermaids were often a symbol of sexual temptation. This scene can be viewed as a female pleasure moment, Melusine enjoying or taking pride in herself. Raymondin views Melusine’s private moment of pleasure as lifeless, reflecting the common beliefs of this time.

Across cultures, women have endured brutalities, even in marriages built upon trust. This could be one possible explanation for the recurring supernatural bride across a variety of cultures. These stories are so common because they reflect a shared sense of violation for women throughout various histories. This particular novel, The Romance of the Faery Melusine, reveals the ways in which female sexuality was abused and persecuted in Medieval Europe.

Changing the Narrative Around Sharks

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Casey Meyer

14 April 2024

Professor Pressman

Literature and the Environment: Mermaids

Changing the Narrative Around Sharks

Following the publication of the movie ‘Jaws’ in 1975 directed by Steven Spielberg, sharks have been notoriously known for their bloody, gruesome, and intimidating presence in the ocean. In recent years, scientific and statistical research has proven quite the contrary, with one beautiful piece of media by Hannah Fraser standing as one of the most influential works of art on the topic. The short film, Tigress, released in 2020 on YouTube and various news channels, depicts a mermaid dancing and swimming alongside the most deadly sharks in the world. This video was released in an attempt to bring an end to shark hunting and convince scared ocean-goers that sharks are not the threat that they have been made out to be through the use of costume choice, setting, and physical movements. This video encourages viewers that sharks can be friendly and in some cases, even cuddly and attention-hungry. 

Being that sharks can’t speak the human language, Hannah Fraser and her team have taken it upon themselves to fight on their behalf to protest shark culling in their community. Dressed like a mermaid and painted blue with an airbrush, Hannah demonstrates a respectful infiltration to the sharks home and habitat while maintaining a peaceful energy towards and from the sharks. In a setting unnatural to humans, Hannah demonstrates a lighthearted and positive attitude. This is done with the intention of demonstrating harmony with these beasts, and her sense of coolness simply reinforces the fact that they do not aspire to kill and hunt humans, and that shark attacks are rare and truly are unfortunate accidents. Another interesting aspect pertaining to clothing choice is the fact that she is wearing a black wig, airbrushed blue, and possessing mermaid paint strokes prompts the idea to step away from a terracentric perspective. This embodies a hybrid view, that although underwater it is still half-human which makes it more relatable to humans while still giving half of the respect to the ocean, and more importantly the sharks. Combined, the overall clothing choice was strategically selected to invoke feelings of unity and relatability in the viewers, ultimately with the hopes of swaying consumers into the concept that sharks are not as scary as they have been portrayed previously. 

With the use of six pound leaded boots, she dances alongside these great beasts. Had Hannah even wanted to, she would not be able to swim towards the surface, demonstrating her undoubted faith and belief that they were not attempting to hunt and eat her. To further reinforce that point, she is without a mask nor any protective gear, relying entirely on her team and trust in the process running smoothly as can be–without being bitten. In ABC news’s behind the scenes video, they mention that even one small nudging bite would result in death before they could even make it back to the boat. With such intense repercussions following one slight error, it makes the viewer wonder whether it was calculated beyond belief, or if sharks just might not be the human frenzy-eating monsters they have been depicted as for so many years in the past. Another important aspect of the setting in this video is that it could have been filmed in an aquarium or more controlled atmosphere where they could ensure full safety and have amenities for a bite had something gone wrong. Instead it is filmed at the bottom of the ocean in an area in which they chummed to draw as many sharks as possible. This means that the amount of sharks that showed up that day was unknown until they started filming, and that these sharks are as real as it gets. These aspects combined translate the idea that Hannah and her team’s faith in the sharks being harmless should be translated to the viewers as to lessen their fears around these animals. 

Another important aspect of this video is that Hannah Fraser–who on stage name is Hannah Mermaid–is underwater performing various dancing maneuvers. When one typically thinks of humans and sharks interacting, the humans are normally in full dive gear and very brief in their contact if they even touch the sharks at all. Another common way humans interact with sharks is with the utilization of cages or tanks, something the shark would not be able to penetrate with if a shark indeed were to attack. To further this, humans rarely interact with sharks at the bottom of the ocean floor, and especially not while they are dancing. Both chum and humans float, meaning that to perform this protest dance both would need to be weighted as to sink to the bottom of the ocean. To further this, the way that Hannah performed would not be possible on the surface nor somewhere in between the seafloor and surface. This again reinforces that she is in shark territory, and has full faith in not being attacked. Another important aspect of her doing an underwater dance performance is that sharks sense movement through their lateral line, and dance movements similar to hers would most certainly be detected by all of the sharks. Originally, Hannah had intended to wear a mermaid fin, but the day of the shoot decided against it as to not appear like shark prey and make an excuse for the sharks to eat her, ultimately disproving their overarching goal. Although lacking a tail, Hannah still resembled a mermaid, again proving that this was methodical and done with the intent of being fair to the sharks and proving that humans should have little to no fear of their presence in the Ocean that we share together. 

In conclusion, Hannah Fraser and her team have gone to extreme lengths to stop the misinformation being spread around sharks. Through the use of costumes, location, and dance routines, Hannah and her team have used the video ‘Tigress’ to convince consumers that sharks are not the threat they are perceived as, and to put an end to shark culling across the globe. In the years to come, it is important that sharks are treated with a new level of respect and appreciation in our oceans, similar to the way mindsets around whales have been shifted. Without sharks in our ecosystems, the entire balance could be thrown off, resulting in consequences mankind does not have the technology or ability to deal with. 

Discovery – Hidden Stories

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Karina Garcia 

Jessica Pressman

ECL 301

14 April 2024

Hidden Stories

In the short film The Water Will Carry Us Home by Gabrielle Tesfaye shows the demonstration of how selected stories portray what is known to be history. Tesfaye conveys this message through the use of stop motion art which is able to produce a story. This is significant as it shows a side of history that is not told or paid more attention to and it also shapes viewers thinking about the history that is already known. 

One of the first scenes that sets up for more thinking to take place is at 2 minutes and continues until 2 minutes and 20 seconds. In this section there is a man who is entrusted with the key almost as if he’s the only beholder in this story, and with this key he is able to unlock a never before seen or heard of story. The man seems to be portrayed as someone important or a powerful being to be trusted with this key, dressed in all white with two eyes on his hands, accompanied by only a rooster instead of a human, the key is able to jump and move around his body in order to unlock a singular story from the many that were portrayed on the wall. The key shows a way in which there are beings that are able to hide or make visible stories about the ocean but it’s a “pick and choose” which they believe should be told. The man in this story is Yoruba Orishas and in the southwest Nigerian culture orishas are “other more minor”gods ” or”spirits ” (Ogunniyi, 2022). This plays a significant role in knowing who this man is as he is now serving a purpose to the storytelling as he is presented to have great authority and power for those who are listening.  

Another section in which goes to show how stories are being portrayed is at 1 minute and 30 seconds when Yoruba Orisha is first being presented and behind him there is a wall of locks in which can be assumed to be untold stories. On the wall behind him there are multiple locks of all shapes and sizes and are spread out all across the wall; it’s hard to say how many locks there are if the viewer was only able to see a selected amount. The main lock that is being unlocked is to show the story of the Middle Passage with African American slaves being transported by ship to show the origin of how African American mermaids came to be. A single story is being told which can only leave curiosity to peak and wonder if there are more stories like such. Discovering these singular stories lets more questions arise as to what other stories are not being told today, it opens and pushes for new questions and further curiosity to be asked as to which stories have not been told yet? Which stories are credible or not? Which stories are being hidden away from society? And why does this happen?

Finally as the story is coming to an end at 5 minutes and 57 seconds, the door is closing and the lock is coming into play to close up the story for good the key is back in play but has never left Yoruba Orisha. After the entire story being told about the origin of African American mermaids is one of the first times in history that these kinds of mermaids are presented, Tesfaye is able to do so with the use of stop motion animation to attract the attention of viewers. The key continues to be a significant factor into this story that is being told and shows which are still being concealed. The ending of the film also leaves a sense of mystery as to now know what’s the next story that will be told and have the question of how many stories are still out there that are not being told. Tesfaye is able to spark the curiosity of viewers into questioning the history that they learned and to be more open about learning new history that will be able to change what they already know. 

Many cultures today around the world all have stories that define and make up their society, but not all are being told due to a number of reasons. Without these stories being told it is shaping history to be portrayed one way, shaping minds to think one way, and to also conceal controversial aspects of history. This film by Gabrielle Tesfaye is clearly depicting otherwise, it is showing the hidden part of history that is being neglected and not taken into account as it is going against what fits the criteria for “history”. The Water Will Carry Us Home is able to convey the otherwise of what has already been taught of history, the ugly and more brutal part that shows the original “heroes” as doing more harm than good. 

Work Cited

https://theconversation.com/a-long-view-sheds-fresh-light-on-the-history-of-the-yoruba-people-in-west-africa-162776#:~:text=The%20Yoruba%20are%20among%20the,history%20have%20attracted%20numerous%20studies.

https://guardian.ng/life/yoruba-mythology-the-orishas-of-the-yoruba-race

Essay 2: Close Reading Assignment

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Lixia Peña

Professor Jessica Pressman

ECL 305

14 April 2024

Close Reading Essay

The path of mermaid folklore across time takes us into the story of The Little Mermaid and Melusine in the 19th century. Here we see the mermaid form the desire to acquire a human soul through marriage with a human man. It is worth analyzing how the introduction of a human soul within mermaid folklore reflects the hierarchy by which the industrialized western world of the 19th century was structured. This is a hierarchy in which humans, specifically Christian, are at the top and dominate over nature. Through the analysis of this theme we can gain a better understanding of the Western understanding of what makes someone human and how it has shaped our current relationship with nature.

The text we are studying for our purposes is found on page 118. This is the scene in which the grandmother of our unnamed protagonist explains to her the difference between the life of humans and mermaids. The texts reads as follows, “-the term of their life is even shorter than ours. We can live to be three hundred years old; but when we cease to be here, we shall only be changed into foam and are not even buried below amongst those we love. Our souls are not immortal. We shall never enter upon a new life… human beings, on the contrary, have a soul that lives eternally – and that rises up through the clear pure air to the bright stars above…So do they rise to unknown and favoured regions, that we shall never be privileged to see.” In considering that the text reflects a western hierarchy of value we have to pay attention to some key details in this conversation. The story so far has established that the underwater kingdom parallels the same structures to be found on land. The environment is very similar and a monarchy also exists under water. The only difference lies then on the possession of a human soul. Where the mermaids only become an organic part of the natural world, humans have a soul with which they can ascend to heaven. We have previously discussed in class how western thought, shaped largely by Christianity, places emphasis on up v. down. Up being considered more favorable as it is in closer proximity to God whereas down is considered to be a realm much closer to hell. Humans live their mortal lives in a place already closer in proximity to heaven but their immortal soul is granted the “privilege” of ascending further. Mermaids by living in a realm below humans are not even given permanence through remembrance, they are not memorialized with a burial. Humans, when they ascend, are also privy to the privilege of knowledge. Here the myth of the mermaid possessing unknown knowledge is transposed. Humans are now the possessors of privileged knowledge and it is our mermaid who is drawn onto land hoping to one day acquire this same knowledge. The reader, so far, can surmise that being human is a far more privileged position than to be a being that would eventually just form part of nature. If we understand the mermaid to be a representation of nature then we have to surmise that under western ideas the natural world is not as important as the human world. So far, we can also presume that all humans have this advantage but the text goes on to provide further specificity.

            The little mermaid’s grandmother goes on to explain to her under what conditions one could acquire a human soul. “Unless a human being loved you so dearly that you were more to him that either father of mother; if all his thoughts and his love were centred in you, and he allowed the priest to lay his right hand in yours…then would his soul glide into your body…he would give you a soul without forfeiting his own. But this will never happen!” We are no strangers to the presence of the contract of marriage in mermaid folklore. This text emphasizes that marriage, a Christian marriage specifically, is necessary for the mermaid to have a hope of sharing a soul with her partner. By making the requisite of a Christian marriage we can assume that not all humans have the privilege to having an immortal life in heave. Given that this is a story written for a Christian audience we can safely infer that it is the Christian God that the text is referring to. To understand how the story reflects the values of a western hierarchal society we must understand what is happening historically at this time. Colonization is in full force and indigenous peoples of the lands being exploited are being driven out of their homes; African natives are being kidnapped and trafficked into slavery and both groups of oppressed peoples are being forced into abandoning their religions and being converted to Christianity in the name of “righteousness”. In America western expansion is driving indigenous people’s out of their ancestral homes under the banner of “Manifest Destiny” and western settlers view the wilderness as land ready to be worked into production on Tobacco and cotton. Considering this history and the idea proposed by Andersen’s story, we have to wonder if the text implies that non-Christian peoples are then subhuman. This is certainly the understanding that colonial literature would present of enslaved and indigenous people as literature of the time will often use the word “savages” as a descriptor. It is worth mentioning that the origins of the word savage come from the French word Sauvage which means wild and from the Latin word Sivaticus which translates to “of the woods”. We can see here that under this Christian way of understanding, to live in a close relation to the natural world is to be less civilized and thereby less human. It is under this belief that the western world both justified its exploitation of non-christian peoples and forced them into converting to Christianity, so as to have a hope for their soul’s salvation and ascension into heaven. We could then understand the little mermaid as being the story of non-christian desiring a place at the top of the hierarchy, moving upwards into becoming a human i.e. Christian. The reader of the time in which this story is published is then taught that not only are they privileged above others but that these indigenous people are grateful to westerners for providing their souls salvation through conversion.

            Through the focused exploration of this passage in Andersen’s The Little Mermaid, we can conclude that the story functions as a conversion story and further reinforces the idea that the natural world is in subservience to humans. It is something that ought to be used for the benefit of our own production and consumption. Even now as we work our way into de-colonizing our own thoughts and ideas it is clear that in order to do so our relationship with the environment is also something that needs to be re-examined. We need to understand our relationship the environment not as something to be dominated but as something to have a symbiotic relationship with. After all, when we put religion aside, the human body does eventually come to form a part of the natural world just as the mermaid becomes sea foam.

Essay 2: Hylas and the Nymphs Painting Essay (Discovery)

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Emmanuel Alvarez

Jessica Pressman

ECL 305:Literature in the Environment

14 April 2024

Hylas and the Nymphs Painting

The representation of mermaids in visual and narrative media, particularly exemplified by John William Waterhouse’s “Hylas and the Nymphs (1896),” display the women (mermaids) are the ones with the clear gaze on the man and are the individuals holding and asserting the power in this piece of art. This piece of art surely explores the male gaze, emphasizing the desires of a heterosexual male perspective, often objectifying and sexualizing women. In the male gaze, women are typically presented as passive objects to be looked at and desired, rather than active subjects. This piece of art was created during a period where women were beginning to gain more freedom and the power and importance of women was coming to light; this painting shows the complicated nature of the gaze and gender politics at a moment when contemporary feminism is just emerging from the depths

Prior to exploring the complexities of gaze and power in Waterhouse’s “Hylas and the Nymphs,” it is essential to comprehend the historical and cultural context in which the painting was created. The late nineteenth century, which saw the rise of the Victorian era in England, was marked by a combination of rigid social morals and a growing movement in favor of women’s rights. When the picture was completed, struggles for women’s suffrage and more autonomy were taking center stage in the first wave of feminism. John William Waterhouse, a member of the Pre-Raphaelite Brotherhood, was well-known for his idealized portrayals of female figures from literature and mythology. His paintings were full of rich symbolism and strong emotional currents, and they frequently embodied the Pre-Raphaelite ideal of complexity and beauty. “Hylas and the Nymphs” is no different, presenting a story from Greek mythology where Hylas, a companion of Hercules, is seduced and abducted by nymphs—mermaid-like creatures—resulting in his disappearance.

In art history, the male gaze has typically taken the form of women shown via intrusive or fetishistic lenses for the enjoyment of a male audience. But in “Hylas and the Nymphs,” a number of things challenge and question this sight. First of all, although being unquestionably sexualized in their portrayal—naked and ethereal in a lush with life dreamlike setting—the nymphs in the painting are not helpless. With expressions that suggest not only seduction but also power and domination, they look straight at Hylas and, consequently, at the observer. Their physical location in the water encircling Hylas, combined with their unwavering confidence and unflinching eyes, suggest a role reversal. In this scene, Hylas becomes the object of desire and is submissive due to the nymphs’ persuasive seduction. This inversion in the painting is important because it shifts the female figure from object to subject and questions the conventional dynamic of the heterosexual masculine gaze. The nymphs are more than just ornaments in this narrative of the painting; they are essential to its development, propelling the action toward Hylas’s unavoidable demise. Their assertiveness in the water, which is often associated with mystery and depth, enhances the impression that they are strong, independent individuals as opposed to being objects of lustful enjoyment.

John William Waterhouse’s use of water as a setting is filled with purpose.  The nymphs live in the world of water, which is frequently connected to femininity because of its depth and fluidity; here they are endowed with unquestioned power. Hylas emphasizes the change in power dynamics by being both literally and figuratively out of his element, standing dangerously in theirs. The nymphs’ submersion in the sea, in contrast to Hylas’ partial absence from it, represents their ease and domination in this world, emphasizing the concept of feminine empowerment even further. In addition, the painting’s rich, green background and the water’s reflective clarity allude to themes of thought and introspection. The observer is challenged to reevaluate who actually has the upper hand in the visual exchange and is invited to investigate the nature of gazing itself. 

“Hylas and the Nymphs” can be viewed as a predecessor to more recent conversations on gender, power, and representation from the standpoint of a modern feminist. Through empowering the female characters, John William Waterhouse unintentionally or intentionally adds to the conversation on female agency. The picture confronts the traditional standard of female passivity in art history and raises issues regarding the roles of spectator and observer, as well as seducer and seduced.

In conclusion, “Hylas and the Nymphs” by John William Waterhouse offers a fascinating analysis of how the masculine gaze has reversed conventional power relations. In addition to challenging social standards, John William Waterhouse captures the emerging undercurrents of feminist ideology in the late 19th century by portraying the nymphs as the bearers of gaze and control. Viewers of this piece of art are prompted to reconsider conventional depictions of gender and power in art by this artwork, which emphasizes the complexity and evolving paradigms of the time. In addition to being fantastical creatures, the mermaids in John William Waterhouse’s artwork also serve as potent symbols of the new modern feminism that is redefining and challenging the gaze in ways that are still relevant in issues about gender and representation today.

Works Cited

Waterhouse, J. W. (2024, April 10). Hylas and the nymphs (painting). Wikipedia. https://en.wikipedia.org/wiki/Hylas_and_the_Nymphs_%28painting%29 

Discovery Assignment: ‘She Told Me the Earth Loves Us’

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Thavanh Pais

ECL 305

Professor Pressman

14 April, 2024

She Told Me the Earth Loves Us

In the poem “She Told Me the Earth Loves Us,” Anne Haven McDonnell delves into the profound link between mankind and the natural world, exposing the Earth’s ability for love and compassion. Through vivid imagery, emotive language, and subtle shifts in perspective, McDonnell encourages readers to reassess their relationship with the environment and acknowledge the reciprocal bond that exists between humanity and the Earth. 

The title of the poem, “She Told Me the Earth Loves Us,” captures the poem’s fundamental idea and establishes the tone for the speaker’s narrative journey. By giving the Earth an identity and speech through the pronoun “she,” the title personifies the natural world, implying a reciprocal link between humanity and the environment. This personification gives the Earth a sense of action and autonomy, contradicting traditional views of nature as passive or inactive. Furthermore, the verb “told” conveys a sense of communication and intimacy between the speaker and the Earth, implying an ongoing dialogue or revelation. Overall, the title evokes a sense of intimacy, familiarity, and mutual fondness between humans and the Earth, establishing the groundwork for the investigation of love, interconnection, and environmental stewardship that unfolds throughout the poem.

In the first stanza, McDonnell writes: “She said it softly, without conviction or romance.” After everything? I asked, embarrassed.” McDonnell’s portrayal of the speaker’s reaction to the Earth’s pledge of love depicts a complicated emotional terrain marked by bewilderment and shame. The speaker’s response, “After everything? I asked, ashamed,” reveals a deep sense of incredulity and unworthiness in the face of the Earth’s unchanging compassion. This reaction reveals the speaker’s internal conflict and fragility as they grapple with their personal relationship to the Earth and the consequences of embracing its love. The passage’s tone is introspective, inviting introspection and self-examination as the speaker considers the tremendous implications of the Earth’s pronouncement. 

As we continue, McDonnell presents a subtle shift in viewpoint, urging readers to examine their position as inhabitants of Earth. The remark “That’s not the kind of love she meant” is a watershed moment, highlighting how humans frequently anthropomorphize the environment, regarding it as “mother nature” and expecting loving, maternal love in exchange. However, McDonnell’s subtle shift in perspective calls into question this romanticized notion of love, forcing readers to examine humanity’s impact on the Earth as well as their own role in environmental destruction. This moment of reflection asks us to evaluate our relationship with the natural environment, acknowledging the interconnectedness of all living things and our shared responsibility as Earth stewards. By highlighting the reciprocal nature of our relationship with the environment, McDonnell urges readers to reevaluate their actions and recommit to fostering a more sustainable and harmonious coexistence with the Earth.

Throughout the poem, McDonnell employs rich sensory imagery to evoke the Earth’s love and embrace. In the fourth stanza, she writes, “Today I learned that trees can’t sleep with our lights on. That they knit a forest in their language, their feelings.” She paints a poignant image of trees unable to sleep because of human interference, conveying a profound sense of vulnerability and disruption in the natural world. The metaphor of trees “knitting a forest” not only conveys the intricate interdependence of ecosystems, but it also implies a collective consciousness and communal spirit among living beings. This visual urges readers to reflect on the significant relationship between humans and the environment, emphasizing the interconnectedness and mutual reliance that sustains life on Earth. By characterizing trees and attributing them with “language” and “feelings,” McDonnell gives the natural world agency and emotional depth, encouraging readers to see the Earth as a sentient and responding being worthy of care and devotion. The rich sensory imagery serves to deepen our understanding of the Earth’s love and embrace, while underscoring the urgent need for environmental stewardship and conservation efforts to preserve the delicate balance of the natural world.

In the final line, McDonnell conveys a message of hope and redemption, implying that, despite humanity’s flaws, the Earth’s love endures. The image “I walk through the dark gates of the trees” evokes a profound sense of forgiveness and acceptance, similar to returning to a maternal and protective hug after admitting past faults. McDonnell generates a sense of humility and appreciation by depicting the Earth as welcoming mankind with outstretched arms, encouraging readers to reconnect with the natural world. This last image is a stunning reminder of the Earth’s enduring potential for compassion and renewal, emphasizing the poem’s primary themes of love and reconciliation. It invites us to consider our relationship with the environment and embrace a sense of responsibility and reverence for the Earth’s boundless generosity and resilience.

Anne Haven McDonnell’s poem, “She Told Me the Earth Loves Us,” depicts the intricate tapestry of humanity’s relationship with the natural world, exposing the Earth’s tremendous ability for love and compassion. McDonnell takes readers on a voyage of introspection and environmental awareness using rich imagery, evocative language, and nuanced shifts in viewpoint. The poem’s title, “She Told Me the Earth Loves Us,” captures its fundamental subject and sets the setting for a narrative examination of love, interconnectedness, and environmental stewardship. As the poem develops, McDonnell encourages us to evaluate our position as Earth’s occupants, challenging romanticized conceptions of nature and calling for a more in-depth investigation of humanity’s impact on the ecosystem. McDonnell’s rich sensory images and expressive language invite us to consider the Earth’s enduring affection and embrace, while highlighting the critical necessity for environmental conservation and preservation initiatives. Ultimately, McDonnell’s poem serves as a painful reminder of humanity’s reciprocal relationship with the natural world, asking us to love and safeguard the Earth’s unlimited generosity and resilience for future generations.

Midterm Close Reading

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Kayla Poland

ECL 305

Pressman

24 March 2024

Dual Reality

In Sirenomelia by Emilija Skarnulyte at 4:32, framing the mermaid in a small canal then immediately the vast ocean creates a drastic divergence between the two moments. These binary spaces contrast each other to reiterate the dual reality of the environment and the life it holds while being mistreated by humans. This alludes to creating a separation between human and nonhuman, in other words natural viruses not. This malalignment of visuals and sounds tells us we have created a separation power amongst these worlds. 

While understanding the first frame, it is important to recognize that she is moving through a canal that is manmade, and contains metal barriers. She is surrounded by the remains of what once were a NATO base, which is now fully decommissioned. One could say the remains being left here is presumptuous, as they could have been removed or properly disposed of. This scene itself can identify where the line is drawn between human and nonhuman. She continues to wear goggles throughout, in this polluted space that is becoming more unnatural with time because of human acts. It is important to note how the sounds accompany this scene and how they are somewhat eerie. The power of humans is seeming to overtake the natural form of the environment, making us separate from it. Humans left the remains, polluting the entire ecosystem that resides there while trying to maintain its biodiversity. 

In the following clip she is welcomed into the open ocean, while the sounds take a drastic shift to become calm and relaxing. As she becomes free from the small, enclosed area she demonstrates how marine life ought to be free and uncaged. This again highlights the separation between human and nonhuman whilst emphasizing the power that humans have granted themselves over the natural world. The sound of the open ocean is peaceful and inviting, while the enclosed space with manmade parts blares. This allows us to feel different emotions during each moment, and have the noise be the words that were not said aloud. 

It is important to note that the mermaid herself was not in a realistic costume, but clearly a human dressed up while she was swimming through the water. This provides another moment where it is made clear that humans try to remain in control in a place that is meant to be natural. Also noting that she wears a mask for the sake of protecting herself from the toxicity of the water from the remains. 

Having these binary scenes parallel to each other brings forth alternating perspectives of the environment. The one that is altered to fit human needs, and on the other hand the one that is in its natural form. These next to each other allows us to compare the two worlds and see how we have separated them from each other. Emphasizing the ability that humans have to create and destroy as we wish and build while breaking down the natural world. 

There is this strange power dynamic that humans have taken on, but there is an aspect where Sirenomelia reminded us how big the ocean is and how much life can be held within. Almost in a way warning us to proceed with caution, because the environment can regrow itself around our destruction. The constant comparison, especially in literary work we have studied, goes to show how humans comprehend this power dynamic. When really there is clearly a lack of knowledge, and maybe even misunderstanding when it comes to other creatures and the depth of the ocean. This film allows us to take a step back and recognize how we treat the environment and understand its effects, but also that human and nonhuman do not have to be parallel, and can work together. 

Resilience in The Water Will Carry Us Home

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Lina Rau

ECL 305

Prof. Pressman

14. April 2024

Resilience in The Water Will Carry Us Home

The Middle Passage is part of one of the most brutal chapters in human history and is marked by the transatlantic slave trade, which resulted in the forced migration of millions of Africans to the Americas. During the video, the viewers are faced with the African diaspora through the lens of African rituals, sculptures and drawings in clash with the slave ship “Brooks”. In the video it is depicted, that the Water Spirit Omambala has brought the people there and that the Water Spirit will also bring them home (cf. 1:23 min). The depiction of the Middle Passage that is facilitated by the above-mentioned Water Spirit Omambala, demonstrates the strength the Africans had, to be able to endure and go through it. By highlighting that, the video serves as a testament of the resilience of the human spirit of African people, and it raises questions on which particular histories are being told in today’s time.

During the 16th and 19th century, almost 13 million African people were kidnapped from their homelands and forced onto American and European slave ships. The Atlantic Ocean is famously known as the Middle Passage and is known for greed, exploitation and dehumanization of the African people who often faced unspeakable horrors on their journey across the ocean. It is believed that on the journey, nearly two million people lost their lives, as many starved, got sick or endured violence in the form of throwing humans over sea. The number of unreported cases is nevertheless, presumedly, higher. Those people who have survived the slave ships were denied basic human rights and had to live under white supremacy (cf. Equal Justice Initiative, 2022). The Middle Passage moreover makes the ocean look like something that can easily be crossed over like a road and lets oneself forget that it holds history and voices.

The film opens with a powerful quotation of the Water Spirit Omambala (cf. 1:23 min). Omambala, who has brought the African people here and who can also bring them back home, can be seen as the liminal figure of both suffering and also salvation. In general, Omambala brings a different perspective on culture and the ocean to the surface. Different groups of people have different perspectives on the ocean: it needs to be stressed that there is no singular relationship to the ocean, as it is based on history, culture and on storytelling. Needless to say, those perspectives change the way oneself treats the ocean. In this particular case, the Water Spirit’s dual ability to bring both salvation and suffering, lets the Middle Passage symbolically look like as if it is a journey of trauma and transcendence. Even though African people were faced with the unbearable on the slave ships, a slight spirit of resilience shines through: the African people were still showing endurance and strength during hard times.

Additionally, Tesfaye introduces her video with a portrayal of realism through a human character that engages in a ritual ceremony with colorful and bright painted art and painted skin (in particular her hands) (cf. 0:00 – 1:17 min). In the latter, an artistic world is shown through a paper world with stop motion animation that is painted with watercolors. The viewer sees a man that opens the lock of a door with a key he has in his hands (cf. 1:26 – 2:15 min). The importance of that aspect is, that it lets the viewers dive into a particular history that is often “locked” away. It is a history that is uncomfortable to be told and is thus hidden away by Westerners who do not want to face reality. But by unlocking that door into the history, a sense of faith and pride towards continuing the traditions is underscored. It is resilience that pushes African people to engage with the history that is formerly hidden: it is makes the people be even stronger.

Another recurring figure is the eye that is painted onto the hands of the human character and the artistic character of the man. Eyes supposedly see everything and are believed to know everything. Therefore, the eye also knows everything about that particular history that is being told. But if the eyes are believed to know everything, it can be assumed that there are even more histories that are not told yet and still need to be recounted,  existing deep in the ocean. That point is directly linked to the second part of the debatable claim presented in the beginning of the essay. If in that video only a singular history is documented, one can pick-and-choose which history is being told and which in particular is not. This pick-and-choose mentality has, one can assume, a severe impact on what archives are being built. It is thus an active decision on what to erase in the history and what to put out in order to built an archive. The archive that existed prior to this video has therefore erased the history and stories of the people that are presented now, leading to the assumption that a lot of other archives exist and are possibly lost in the ocean.

Another interesting aspect is the scene where enslaved people are pushed into the water (cf. 3:37f.). The Water Spirit turns the pregnant women that are thrown overboard into mermaids that are nurtured by fish (cf. 3:37- 5:06). By turning those who have tragically lost their lives into mermaids, the Water Spirit is giving them immortal qualities. It makes the impression that the voices and stories of those people are preserved and are not forgotten. It is those people Tesfaye endows extra values. Those people might be forgotten on land but are never in the sea; they are now resilient characters whose legacy continues on and whose voices can be heard through echoes through the waves.

At the end of the video, the perspective is shifted back to the real world and the character starts listening to something through shell headphones that are connected to the sand (cf. 5:07- 5:54). The shift serves as a bridge between the past and present and somehow connects back to live and to the spirits. By listening through shell headphones, a special tribute is given to the voices and stories of the past that have preserved now and will preserve in the future, which ultimately highlights strength and resilience once again.

To put that into a nutshell, Tesfaye has masterfully created a thought-provoking piece of art. The switch between art and reality invites viewers to unlock hidden truths and tribute those who have tragically lost their lives. Besides that, the Water Spirit Omambala stresses the resilience of African people up until today. By embracing traditions and performing rituals, the collective memory is honored and stories are told which are tried to be hidden up until today.

Works Cited:

Equal Justice Initiative. “The Transatlantic Slave Trade”, 2022.

Tesfaye, Gabrielle. “The Water Will Carry Us Home.” Vimeo, 10 May 2018, vimeo.com/269045173.