This is “Explaining Your Perspective”, section 4.1 from the book A Guide to Perspective Analysis (v. 1.0).
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To see a world in a grain of sand
And Heaven in a wild flower
Hold infinity in the palm of your hand
And eternity in an hourWilliam Blake, “Auguries of Innocence” The Mentor Book of Major British Poets, ed. Oscar Williams (New York: The New American Library, 1963), 40.
As one of the more mystical poets of the Romantic period, William Blake may have been thinking about the transformative power of the imagination when he wrote these lines, but his words apply equally well to how analysis can open up new perspectives that give greater understanding and appreciation for our subjects. In this chapter, you will learn how to both explain and show the significance of your initial assertions by looking again at the key aspects of the examples that first inspired them. In doing so, your point of view will evolve as your assertions become increasingly clear and complex. Always keep in mind that the more deeply you think about one area of analysis, the more fully you can understand the other areas. To illustrate, let’s take a fresh look at one of the most well known movies of all time.
For those of you who have not seen The Wizard of Oz,Victor Fleming, dir., The Wizard of Oz (Metro-Goldwyn-Mayer, 1939). the 1939 film based on the novel by L. Frank Baum, here is a brief synopsis. Dorothy, a young girl from Kansas, is bored with the life that she leads on her uncle and aunt’s farm and spends much of her time dreaming of running away to a magical place “over the rainbow.” Besides her fantasies, she gets most of her happiness from taking care of her dog, Toto, but soon a mean yet influential woman takes the dog away from her and threatens to drown him in a river. Though Toto escapes and returns to Dorothy, Dorothy decides to run away to protect her pet and seek more exciting adventures. She doesn’t get far, however, before she feels guilty for causing her Auntie Em so much worry and returns home, only to get caught in a tornado that takes her, her dog, and her house to the magical land of Oz.
At this point, the movie changes from black and white to color as Dorothy leaves her home to explore these strange new surroundings. Immediately we see that the house has landed on the Wicked Witch of the East, much to the gratitude of the Munchkins, strange little people whom the witch oppresses. Unfortunately for Dorothy, the witch’s sister (the Wicked Witch of the West) is not at all pleased by this and threatens revenge. Before the Wicked Witch of the West can carry this out, however, Glenda, the Good Witch from the North, protects Dorothy by placing the deceased witch’s magical ruby slippers on her feet. Glenda tells Dorothy to follow the Yellow Brick Road to the Emerald City where the Wizard of Oz lives, the only man wise and powerful enough to protect her and help her to return home.
On the way there, Dorothy encounters a scarecrow, a tin man, and a cowardly lion who accompany her on her journey in the hopes that they too will get something from the wizard: a brain, a heart, and courage.
When they finally reach the wizard, he appears as a disembodied head emerging out of fire and speaking with a booming voice of authority. He refuses to help them until they return with the broom of the Wicked Witch of the West, which eventually they do, but on their return they discover that the fiery wizard is merely a projection of a “smoke and mirror” machine. The real wizard, whom Toto finds operating the machine behind a curtain, is an ordinary man with no more power to grant wishes than the rest of them. Nonetheless, he points out to the Scarecrow, the Tin Man and the Lion that they already performed deeds that showed intelligence, compassion, and courage—proving to them that they already possessed the qualities that they thought they lacked. He is not, however, so successful in helping Dorothy, and it seems as though she will never be able to return to Kansas.
Just when all seems lost, Glenda returns and tells Dorothy that she can return home simply by clicking the heals of her slippers together and repeating the phrase: “There’s no place like home.” The resulting magic returns Dorothy to Kansas where she wakes up in her own bed. When she tells her family about her adventure, they believe that it was only a dream brought about by a concussion caused during the storm. Dream or not, Dorothy tells her family that she’s happy to be back and that if she ever feels the urge to look for happiness and fulfillment again, she doesn’t need to look any further than her own backyard.
There are many different ways to analyze this film, but let’s just focus on two common perspectives. Certain feminist analyses have taken issue with how the film might be seen as a warning to women to avoid the dangers of having too much power or straying too far from their “proper” role in the home. Yet others argue the exact opposite and instead see the film as a reminder to trust our own thoughts and feelings over those of questionable authorities. If you tried to explain each of these perspectives by simply summarizing the general plot, your explanation would seem too broad or too obvious. To fully justify your interpretation, you need to look again at the film with a more critical eye, concentrating on those features that validate your main assertions. To determine which details are the most significant and how they relate to each other, I recommend that you use a heuristic (derived from a concept by the social philosopher Kenneth Burke) called “the Pentad”A method of analysis, developed by Kenneth Burke, that helps us to more thoroughly explain a subject by understanding the nature and relationship of its various aspects: act, agent, agency, scene, and purpose.. The Pentad helps you to break apart any scene, whether real or fictional, into five interrelated components that determine its overall shape and direction:
Act: What generally happens.
Agent: Those involved in what happens.
Agency: The means through which it happens.
Scene: When and where it happens.
Purpose: Why it happens.
Of the five areas, the “purpose” is the most difficult to define. It can be understood as the motivation for the actions within the subject itself or it could be stated in terms of what it means to you as spelled out in your working thesis. When defined the second way, the Pentad can help you to explain your thesis more thoroughly by helping you to select the most relevant details and consider how they relate to each other. But, of course, this can happen only after you have taken the time to consider the subject long enough to come up with a working thesis in the first place. To illustrate, consider how the Pentad helps us to look again at The Wizard of Oz in light of the two perspectives mentioned.
If the Purpose is to show how the film may discourage women from leaving the home to pursue careers or take on prominent positions in society, then the way you delineate the other aspects of the Pentad may look like this.
Act: Dorothy’s attempts to leave her home are shown as short lived and irresponsible. She finds satisfaction only at the end of the film when she decides to wander no further than her own backyard, thus preparing her for her inevitable future as a stay-at-home wife and mother.
Agent: Powerful women in both Kansas and Oz are shown as “wicked” and abusive. In contrast, Auntie Em and Glenda are considered “good” because of their feminine and homespun qualities. Glenda knows magic but uses it only in small ways and primarily acts as a nurturing figure.
Agency: Objects of power that fall into women’s hands (the broom, the ruby slippers) are either misunderstood or misused. Dorothy learns to disregard these objects, giving away the broom and using the slippers only to get back to a place where they no longer contain power.
Scene: Though Oz is certainly more “colorful” than Kansas, it’s also shown as more dangerous and unsatisfying, which is why Dorothy chooses to leave it almost as soon as she gets there. At the time the film appeared, women were mostly expected to stay at home and any desire to have a career was often seen as strange or unnatural.
After considering all of these elements, you can then explain your perspective more thoroughly:
For many generations The Wizard of Oz has not only served as entertainment but also as subtle propaganda for rigid gender roles. When the film was released in 1939, few women felt that they could pursue careers outside of the home. Those who wanted to do something else with their lives were often viewed as abnormal or irresponsible. The film clearly reinforces this attitude. Throughout, the women who seek more powerful positions are shown as “wicked” and crazy whereas those who are simply content to look after the home or look pretty are shown as good and stable. Though Dorothy is at first unsatisfied with her role as future homemaker, she eventually decides to embrace it, trading in magical objects like the ruby slippers and witch’s broom for her peaceful yet static rural existence.
This is clearly a valid perspective, one that justifies the main assertion with clear and appropriate examples. But while it brings to light something that should be seriously considered, it is not the only permissible way to see the film. Let’s consider the other perspective that the Purpose of the film might be to encourage a questioning of the traditional family structure along with other beliefs passed down by reason of tradition or authority. As the purpose behind our analysis changes, so do the other corresponding elements of the Pentad:
Act: The characters eventually come to accept their own traits and abilities without any need for external validation. Because the authority figures prove to be unreliable, phony, or just plain wicked, the characters eventually learn to rely on themselves.
Agent: Dorothy’s three companions eventually learn that they don’t need a wizard to grant them the qualities that they already possess. Dorothy too learns to stand up to a witch, to call a wizard a phony, and to eventually tap the power within her that she needs to get back home.
Agency: The wizard uses his “smoke and mirror” device to enhance his authority. Though he tries to create a persona that is “all powerful” and frightening, he is only a little man with no more power or ability to grant wishes than the rest of them.
Scene: Oz is a place for personal enlightenment. And while the film may reflect the cultural attitudes of its time, it may also have inspired future generations to question authority and challenge existing norms.
As before, evaluating these different elements leads to a stronger explanation:
While the characters in the film The Wizard of Oz do not wear buttons stamped with the phrase “Question Authority,” the film as a whole strongly suggests that we do so. Though the characters Dorothy encounters look to the wizard to grant them a brain, a heart, and courage, they already show plenty of intelligence, feeling, and bravery. It’s only after Toto inadvertently exposes the real wizard’s “smoke and mirror” contraption that they see the phony behind the curtain and realize that they don’t need his validation to prove their self-worth. Likewise Dorothy learns to stand up to questionable authorities, and though she chooses to remain in the home, she has helped inspire countless others to say “no” to the rigid roles that restrict them.
Even though these perspectives are very different, each paragraph reveals a reasonable position arising from a close and thoughtful viewing of the film. And perhaps the most useful aspect of the Pentad is that it not only helps you to reexamine the details of your subject in light of your purpose but also to see how the other elements relate to each other. For instance, it helps us to see how exposing the agency of the wizard’s machine inspires the agents to stand up for themselves. As you apply the Pentad, you might also be surprised by how many details you picked up on subconsciously when you arrived at your initial working thesis, justifying your perspective to yourself as well as to others.
Doing extra research and providing more background informationExplications about the context from which a subject emerged and clarifications of its more obscure aspects which a writer chooses to include in an essay after evaluating the needs of her audience. can open up even more areas for analysis of The Wizard of Oz. For instance some scholars have argued that the story is based on the political situation at the turn of the Twentieth Century, the time of the novel’s release, and chronicles the rise of the Populist Party, as represented by Dorothy, that attempted to take on the more established Democrat and Republican Parties, as represented by the two wicked witches. You might also want to read interviews with L. Frank Baum, the author, or Victor Fleming, the director, to find out what inspired them to create the book and the movie.
In addition to suggesting new avenues for interpretation, providing background information and research can help you to explain certain aspects of your subjects that might seem unclear because the terms, sounds or images are abstract, dated or specialized. For instance, to explain the quote from The Tempest in the first chapter you might first need to provide modern versions of some of the more archaic terms or reveal how a “baseless fabric” might refer to the painted sets on a stage. Likewise, if you are considering a historical event or a political speech, you should provide information about the surrounding circumstances and the key people involved in the outcome. For instance, to explain why President Bush decided to invade Iraq, you would need to know something about the potential threat Saddam Hussein posed, American economic interests in the Middle East, President Bush’s character and personal motivations, and the general mood of the American public after 9/11.
Just how much background you need to provide mostly depends on what you know about the people who will be reading your essay. For instance you will not need to review the basic principles of Sigmund Freud’s theory of id/ego/superego when writing for your psychology professor. But you might want to explain this when writing to your peers. On the other hand, when writing for your professors, you might need to explain references to popular culture that would be unnecessary if you were writing only to your friends. Despite what you may have been taught in the past, you should never assume that your audience doesn’t know anything because you do not want to bore them by explaining obvious references any more than you want to confuse them by withholding important background.
For this reason, you should also take the context of your writing into account before developing your explanations. If, for instance, you were writing an essay for a class about a book that was previously assigned, you would not have to begin with a general synopsis, but could jump straight to the section that corresponds most closely with your assertions. If, however, you were writing to a broader audience, you should first provide them with a general background or a summary of the piece before examining the sections that specifically stood out for you.
Likewise the tone and style of your essay will vary depending on context, audience, and purpose. When writing to a friend on Facebook, you might use vocabulary, abbreviations, and icons that you would never use when writing a more formal essay for your instructor. Even among teachers your tone and style will vary depending on how formal they expect your writing to appear. Teachers, like everyone else, have their own subjective impressions as to what constitutes effective writing. But try not to let this bother you too much because in learning how to communicate effectively to the various audiences you find in school, you will gain a greater rhetorical flexibility to communicate outside of it.
Once you provide enough background information for your specific audience, you can further explain your subject through comparison and contrastA method of analysis that helps us to more thoroughly explain a subject by showing how it relates to others, whether actual or hypothetical. with others that relate to it. For instance, to lend validity to the feminist perspective on The Wizard of Oz, you might compare the film to others of the same period that also show powerful women in a negative light. Consider, for instance, how the evil queen in Walt Disney’s 1937 film Snow White and the Seven DwarvesDavid Hand, dir., Snow White and the Seven Dwarves (Walt Disney Productions, 1937). uses her magic to get what she wants, while Snow White, the ideal of femininity, simply waits for a man to come along and rescue her.
You could also underscore how a subject is influenced by cultural attitudes through contrast. For example, if you wanted to explain why a show like South Park or Family Guy has particular appeal to young people today, you might contrast these shows with coming of age television series from other periods. For instance, you could contrast an episode of South Park with an episode of Leave it to Beaver, an iconic series from the 1950s. Though the main characters, Beaver and Wally Cleaver, often get into trouble, it is never anything like the kind that Eric Cartman gets into, and, unlike Cartman, who is spoiled by his single mother, the Cleaver kids are always able to talk out their difficulties with their father who helps them to learn from their mistakes at the end of each episode. Again, the conclusions you draw from this contrast could vary. You might assert that this reveals the necessity of a strong father figure to keep children in check, or you might suggest that the tightly controlled patriarchal family structure of the 1950s inspired rebellion and ridicule in the decades that followed.
Along these lines, you might also consider explaining your subject by contrasting it with how it could have been different by calling our attention to the details that were deliberately omitted. For instance you might analyze an advertisement by revealing what it doesn’t show about the product. Advertisements for fast food restaurants usually show families sitting together, relaxed, and having a good time, but they never show how people usually eat at these places, quickly and alone. And these ads certainly do not reveal the negative effects that eating too much fast food can have on the body, such as heart disease or obesity. Similarly, we can tell a lot about how people feel about something or someone not only by the terms they use but also by the ones they refuse to use. For instance, if the first time you say “I love you” to your significant other only garners the response “thank you,” you might begin to suspect that your feelings run more deeply than those of your partner.
As discussed in the first chapter, the process through which we discover meaning takes place in the interaction between the subject and the viewer/reader/listener. So to fully explain how and why you came up with your assertions, you should also consider how your experiences, your values, even your mood at the moment of encounter can shed light on how you see your subject. As the above examples indicate, you might begin by considering how your surrounding culture influences your response. For instance, Thomas de Zengotita argues that Americans have become so used to media constructions of reality that they often get bored with the real world that is unmitigated by it. To illustrate, he points out that if you were to see wolves in the wild, you might at first be fascinated, but then will quickly lose interest because the sight cannot measure up to the ones that you are used to seeing in movies and on television:
And you will get bored really fast if that ‘wolf’ doesn’t do anything. The kids will start squirming in, like, five minutes; you’ll probably need to pretend you’re not getting bored for a while longer. But if that little smudge of canine out there in the distance continues to just loll around in the tall grass, and you don’t have a really powerful tripod-supported telelens gizmo to play with, you will get bored. You will begin to appreciate how much technology and editing goes into making those nature shows.Thomas de Zengotita, “The Numbing of the American Mind,” Harpers (April 2002), 37.
Other times, your response may emerge from what is going on in your life at the moment of encounter. Consider, for instance, how time and experience might change how we view a subject. When I first heard the song “Time” from Pink Floyd’s album, The Dark Side of the Moon, I came across a line that confused me, “And then one day you find ten years have got behind you /No one told you when to run; you missed the starting gun.” At fifteen, I could not understand how ten years could just get “behind you.” That amount of time was pretty much my entire conscious life. But now at fifty, I understand the line much better. It often seems as though the last ten years have zoomed by, and I have missed “the starting gun” on so many things that I wanted to accomplish.
But we need to be careful here. One reason many teachers do not allow students to use the word “I” is that they often overuse it. If every sentence began with the phrase “I see it this way because” the essay would soon become monotonous and repetitive. Most of the time, you do not need to write this (or similar phrases like “in my opinion”) because it is implied that as the writer you are expressing your point of view. However, like most rules of writing that teachers pass down this one can be taken too far. Often, using “I” will make your writing clearer, more accurate, and more meaningful than constructions that begin with generic subjects like “the reader,” “the viewer” or “one.” These terms can make it tempting to not justify our perspectives, because they can give the impression that all people see a subject in the same way; this simply isn’t true, as evidenced by the fact that we can use these terms to make contradictory assertions: “the reader sees the poem as about the renewal and energy the life force brings to both people and nature”; “the reader views the poem as about the destructive consequences of time.” Think of how much more accurate, meaningful, and clear it is for me to write: “when I was younger I understood the poem to be about the mystery and power that creates life in people and nature, but now (having just turned fifty) I see it as revealing the inevitable decay of both.”
Those teachers who tell their students to never use “I” expect them to seem like objective and indifferent scholars. Yet according to Joan Didion, one of the most prolific and respected essayists of our time, the nature of writing is never like this:
In many ways writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind. It’s an aggressive, even a hostile act. You can disguise its aggressiveness all you want with veils of subordinate clauses and qualifiers and tentative subjunctives, with ellipses and evasions with the whole manner of intimating rather than claiming, of alluding rather than stating but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the readers most private space.Joan Didion, “Why I Write” (New York Times Magazine, December 5, 1976).
Michel de Montaigne, the man credited with inventing the essay form, would clearly agree with Didion’s assessment because he frequently used the personal pronoun to acknowledge the subjective nature of his perspectives. Consider this excerpt from “Of Idleness”: “Lately when I returned to my home,…it seemed to me that I could do my mind no greater favor than to let it entertain itself in full idleness and stay and settle in itself, which I hoped it might do more easily now, having become weightier and riper with time.”Michael de Montaigne, “Of Idleness” Montaigne’s Essays and Selected Writing, trans. Donald M Frame (New York: Saint Martin’s Press, 1963), 7. Imagine if he had been expected to write these lines without the use of the personal pronoun: “when one returns to one’s home, it seems to a person….”. So don’t be afraid of including that vertical line when it adds accuracy, clarity, or depth to your explanations.
Whether you choose to explain your subject through background information, cultural influence, personal experience, comparison and contrast with other subjects, or some combination of these, you should never ignore this area of analysis. Your interpretation of a subject may seem apparent to you, but your reader may see it very differently and not understand how you derived your perspectives. By providing explanations, you show that you took the time to pay careful attention. Though not everyone will agree with your point of view, most will at least respect it if they see that you derived your assertions from a close consideration of the subject and did not just rely on a gut reaction based on a brief glance.
Think of an important event that happened to you, one that you can vividly recall. First consider how the details of it correspond with the Pentad. What generally happened? Which key people were involved? Through what means did it happen? When and where did it happen? And, finally, why did it happen? In answering the last question, you might think of different reasons; for instance, what motivated the actions at the time and what lessons it may have taught you down the road. Now think of how these various aspects relate to each other. For example, if the scene where it took place was unfamiliar to you at the time, how did that shape your response as an agent? Freewrite on these various aspects and on how each relates to the other and then consider how this process gave you a better understanding of both the event and its consequences.
Look over the event that you just analyzed and write a brief letter about it to two different audiences: to a friend who experienced it with you and to a stodgy older person. Consider the difference in content, how you provide more or less background information to explain what happened and include various considerations as to why and how it happened. Notice, also, the difference in the overall tone, vocabulary and voice. Now think of how you might write the letter to a friend who was not there with you or to a more mellow open-minded older person.