This is “From Interpretations to Assertions”, section 3.2 from the book A Guide to Perspective Analysis (v. 1.0).
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A close reading of the key details of a subject should help you to discover several intriguing interpretations about an array of different subjects: the consequences of an event, the motivations of a character, the effectiveness of an argument, or the nature of an image.
An assertion differs from an interpretation by providing perspective on an underlying pattern, a perspective that implies what it means to you and why you think it’s significant. Without such a perspective, an interpretation merely becomes a statement with no potential for development. Just as one might utter a statement that kills the mood of a particular situation (“What a romantic dinner you cooked for me! Too bad I’m allergic to lobster and chocolate…”), so one can make types of statements that block any possibility for further analysis. What follows are some of the most common:
Factual statements might help support an analysis but should not be the main force that drives it. I might notice that Vincent Van Gogh used twenty-five thousand brush strokes to create Starry Night, that global warming has increased more rapidly in the polar regions, or that Alfred Hitchcock used erratic background music throughout his film Psycho. But what else can I say about any of these statements? They simply are true or false. To transform these factual statements into assertions that can be explored further, you need to add your own perspectives to them. For instance, you could argue that the erratic music in Psycho underscores the insanity of the plot and results in a cinematic equivalent to Edgar Allen Poe’s frantic short sentences, or that global warming in the polar regions will result in higher sea levels that will cause enormous damage if we don’t do anything to keep it in check.
It is not enough to simply assert that the focus of your analysis fits into a pre-established category like “modernism,” “impressionism,” “neo-conservativism,” or “first wave feminism.” Of course it can be useful to understand the nature of these broader categories, but you still need to explore why it is important to see your subject in this light. For instance, rather than simply point out that Family Guy can be seen as a satire of the American family, you should also consider what this perspective reveals about the show’s development and reception. It might also be worthwhile to consider how a work transcends the standard notions of its period or genre. You might point out that while most of the time the Family Guy characters are show as broad and ridiculous, they can sometimes act in ways that are familiar and endearing. Similarly, when looking at a policy or argument, you should not simply categorize it as belonging to a particular social attitude or political party, but consider it on its own merits. Though political pundits often use terms associated with their opposition as curse words and summarily dismiss anything they advocate, you want to appear much more reasonable in an academic analysis.
Similarly, an analysis is not just a review in which you simply state how you feel about a piece or dismiss an argument or policy as being “distasteful.” A good assertion will not only reveal how you feel about the focus of your analysis but will also inspire you to explore why it makes you feel that way. In her article, “Babe, Braveheart and the Contemporary Body,” Susan Bordo, Professor of Media Studies, explains that the reason she liked the film Babe much better is that it shows the need for self-acceptance and connection to others in a society that overly values conformity and competition.Susan Bordo, Twilight Zones: The Hidden Life of Cultural Images from Plato to O.J. (Berkeley, CA: University of California Press), 1999. This assertion allows her to explore different aspects of contemporary American culture that may have inspired each of these films. Had she simply stated her opinion without stating why her subject, the films, made her feel this way, her article would not have been as compelling or convincing.
When looking at creative works, we often want to assert that our point of view is the one the author intended, yet when we equate our perspective with the author’s, we (rather arrogantly) assume that we have solved the mystery of the piece, leaving us with nothing more to say about it. And even if we can quote the author as saying “I intended this,” we should not stop exploring our own interpretations of what the piece means to us. John Lennon tells us that his song “Lucy in the Sky with Diamonds” was written in response to a drawing given to him by his son, Julian. Others suspect that his real intention was to describe a drug trip brought about by LSD, the initial letters in the words of the title of the song.John Lennon and Paul McCartney, “Lucy in the Sky With Diamonds,” Seargent Pepper’s Lonely Hearts Club Band (Apple Records, 1967). I have never seen his son’s drawing, and I don’t use psychedelic drugs, so neither interpretation means much to me. I love the song because it guides me through a kind of Alice in Wonderland fantasy of “looking glass ties” and “tangerine trees.” To be able to show why a given interpretation matters to us, we should not phrase our assertions as being about what we think the author intended but what it causes us to consider.
Likewise you should be careful to avoid simply stating that you know the “real intentions” behind a work of non-fiction, a social policy, or a particular action or decision. For example, consider if a business decides to move its operations overseas to save money. This may inspire some to say that the company’s real intention is to destroy the American economy or to exploit workers overseas, but it would sound far more persuasive and reasonable to actually show how these concerns could come about, even if they were never the stated intentions.
In short, worthwhile assertionsStatements that have potential for further development because they express points of view that move beyond fact, individual taste, classification, or intention. should reveal a perspective on your subject that provides possibilities for further exploration. Statements based on facts, classifications, opinions, and author intentions provide only inklings of perspectives and should be revised to inspire more prolific and meaningful analysis. Once you come up with some initial interpretations of your subject, reconsider it in light of what it means to you, perhaps by asking some or all of the following questions:
Questions like these will help you to reflect on the subject further, enabling you to transform the aforementioned problematic statements into meaningful assertions. For instance, consider how the interpretation, “The CEO is moving his company’s operations overseas because he hates America and wants to exploit the workers of the third world” can be revised: “Though the CEO’s stated intention for moving the company’s operations overseas is to save money, the end result could be disastrous for both the local economy and the new country’s employees who will have to work under unsafe conditions.” Similarly, the statement “John Lennon’s real intention in writing ‘Lucy in the Sky with Diamonds’ is to promote the use of LSD” can be revised: “Whatever John Lennon’s real intention, I see ‘Lucy in the Sky with Diamonds’ as being about the power of the imagination to transcend the deadening routine of daily life.”
Once you have made several assertions like these, you can combine your favorite ones into a working thesisThe initial (subject to change) argument or center of focus of an essay that may express a definitive point of view or an exploration of ambivalence., your initial argument or center of focus for your essay. It’s called a “working” thesis because your point of view is likely to evolve the more you consider each aspect of your subject. Contrary to what you may have heard, the thesis does not have to be set in stone before you begin to write, guiding all the ideas that follow. When you revisit your responses, your point of view will evolve to become more precise, more thoughtful, and more sophisticated. For example, sometimes your thesis may start off as a brief and somewhat vague notion: “This ad manipulates through patriotic images of our country’s nature,” and later becomes more developed and clear: “Though this ad appeals to the patriotic spirit by showing images of our cherished countryside, it attempts to sell a product that will cause harm to the very environment it uses in the background for inspiration.” Each time you return to your thesis, you will think about it in a more nuanced manner, moving from the initial simplicity of a gut reaction to the complexity of a thoughtful and sophisticated response.
For this reason, you do not always need to state your thesis as a definitive argument that shows how you feel in no uncertain terms. Instead, it is often desirable to show your ambivalence about your position as long as you are clear about why you feel this way. For example, you might feel uncertain as to whether your school should build a new football stadium. Although you might think the money could be spent on more pressing educational needs, you might also want to have a more safe and comfortable place to watch the games. You can discuss the advantages and disadvantages of such a proposal, making it clear that you haven’t yet decided which side to support. Some of the most intriguing essays are exploratory, highlighting the mysteries of a subject, rather than persuasive, trying to convince us of a particular point of view.
While a thesis does not need to be limited in terms of argument, it should be limited in terms of scope. Perhaps the most common mistake I see students make is to choose a thesis that encompasses too many aspects of the subject. Remember that it is almost always better to write “a lot about a little” than “a little about a lot.” When you discuss too many aspects of your subject, it becomes difficult to provide any new perspectives. Challenge yourself to write about an aspect of your subject that may appear too small to inspire even a page response. Then think about the nature of your perspective a bit further, putting it to the following tests before you put too much more time into it.
Before engaging in further analysis, look again at your subject and ask yourself, “Is there really enough evidence here to support my point of view?” If I were to write about the film Office Space as showing just how much employees love to go to work in the Tech Industry, I might have a very difficult time finding enough scenes to match my perspective. You should also research the details surrounding your subject to see if your assertion needs to be modified, for instance by considering the historical circumstances that were in place at the time the event happened or the piece was created. One student, when writing about the speech from The Tempest, (quoted in Chapter 1), wrote that when Prospero’s actors disappear into “thin air,” they must have been projected on film with the camera suddenly switching off. Of course, Shakespeare could not have had that in mind given that he wrote three hundred years before we had the technology to carry this out. Still, one could argue that the scene might best be performed this way now. If a statement cannot be justified or at least modified to match the evidence, then you may have even more problems with the next category.
Oftentimes when there isn’t enough evidence to support a thesis, writers will be accused of stretching their explanations. I once heard a talk on how technicians assigned terms associated with women to parts of the computer to give themselves an illusion of control. Some of the assertions made sense—for instance that “mother” in motherboard shows how men may want to recall/dominate the nurturing figure of their childhoods. However, when the speaker pointed out that the “apple” in Apple Computers recalls the forbidden fruit that Eve handed to Adam, I started to squirm. The speaker even tried to argue that the name Macintosh was chosen because it’s a “tart” apple, and “tart” is a derogatory term that men use to refer to women of ill repute. Nonetheless, I would rather see a stretch than an analysis in which the explanation isn’t even necessary because the thesis is so obvious: “Othello reveals the destructive consequences of jealousy,” or “Beavis and Butthead’s stupidity often gets them into trouble.” Ideally, the assertion should require some explanation of the relevant details within or directly implied by the thesis. Remember that the goal is not to come up with an answer to the question “what’s THE meaning of the piece?” But rather to explore dimensions of the subject that do not have definitive answers, allowing us to consider our own subjectivities.
You should also try to avoid wasting time on a thesis that does not have any significance by applying what many teachers call the “so what?” test. If your assertions do not lead to a deeper consideration of any of the questions for further thought raised earlier, then it probably will be boring for both you to write and for your audience to read. Oftentimes to make an assertion more interesting, we simply need to add more to it. For instance, I could argue that Peter feels beaten down by the soulless routine of his workplace throughout the film Office Space. But I need to remember that Peter is just a character in a film and cannot benefit from any of my conclusions. To make this more significant, I also need to consider how Peter represents the attitude of many contemporary workers and reveal the broader consequences of this attitude.
All of these considerations will help your thesis to become clearer, nuanced, and unique. In addition, it will allow your research questions (discussed in the previous chapter) to become more precise and fruitful as you compare and contrast your points of view with those of others. If there is one thing that I hope that I made clear throughout this chapter it is that the goal of a careful examination should not be to arrive at the same conclusions and have the same thoughts as everyone else. If we all came to the same conclusions when looking at a subject, then there would be no reason to write a new essay on it. I always tell my students that I know what I think and sometimes what most experts think when I look at a subject; I want you to tell me what you think instead of presenting opinions that have already been stated by someone else. Developing a perspective that is both unique and worthwhile takes time, and although carefully examining a piece may help you to form an initial understanding and lay the cornerstone for your analysis, you still need to build the rest of the essay. In the next chapter, we’ll look at ways to do this, first by helping you to explain more thoroughly how you arrived at your perspective and second by helping you to explore the significance of your perspective in a manner that moves beyond the most obvious lessons.
Look over the exercises you have completed so far in this chapter. Choose one and list the main assertions that you came up with on your subject. Cross out those that reveal only statements of fact, classification, taste, or intention and then consider what the remaining ones have in common. Try to construct a working thesis that presents a point of view that implies all of these perspectives. Put this working thesis to the evidence, explanation, and significance tests, and modify it accordingly. Remember the thesis does not have to be stated as a definitive argument but can reveal your ambivalence about your subject.