Chapter 28: Developing an Analysis from a Critical Reading of Examples
Earlier you read about already having analytical skills simply by having opinions and being a participant in your community. These skills are evident in our daily interactions. Everywhere you turn, you can hear people engaging in analysis. Sitting in a coffee shop, you may overhear fellow caffeine addicts discussing diet fads, politics, and the latest blockbusters. Watching television, you listen to sports commentators discuss which team has the best chance to win the Super Bowl, comedians rip on the latest cultural trends, and talk show hosts lecture their guests on the moral repugnance of their actions. This chapter from A Guide to Perspective Analysis will help you to consider the components that make up your subject in a balanced way.
The best way to begin your analysis is with an attentive, open mind; a task that is more difficult than most of us care to admit. Our analytical muscles can weaken through lack of use as we rush from one task to the next, seldom pausing long enough to consider anything around us. From an early age, overwhelmed by school, scheduled activities, and chores, we discovered that it is much easier to accept someone else’s explanations than to think for ourselves. Besides, original thinking is rarely encouraged, especially in school where deviating from the teacher’s perspective seldom results in good grades. It should, therefore, come as no surprise that the ability to slow down long enough to fully consider a subject is, for most of us, difficult, and not something that comes naturally.
Analyzing a Premise: Events, Plots, and Actions
Usually, the first detail we relate when someone asks us “what’s new?” is an important event or recent action we’ve taken in our life: “I ran a marathon on Sunday, found out I was accepted into law school, and proposed to my girlfriend.” Events and actions also tend to be the first ideas we consider about our subjects. Sometimes actions are overt—we see a movie about a superhero who saves a city; sometimes they’re implied—we see a painting of a distraught face and assume that something bad must have recently happened. Events and actions tend to consume the majority of our attention, whether they happen on a small scale to us individually or on a large scale to an entire city, country, or culture.
The subject that focuses the most closely on this type of detail is, of course, history. Certain events are so central to a particular era that they are studied again and again, often with different perspectives and conclusions. Take, for example, the big event of 1492. Up until I started college, I was told that this was the year Columbus discovered America. Later I discovered that many historians disagree with this assessment of what happened. First of all, you can’t discover a place that has already been found, yet the fact that people were living in America already was always brushed aside in my high school history texts. Given that many Native Americans had more sophisticated forms of government and agriculture than their European counterparts makes this oversight seems particularly troubling. And even if we were to revise the assessment to state “Columbus was the first European to discover America,” that too would be wrong. New discoveries of Viking settlements in southern Canada and the northern United States suggest that they beat Columbus by several decades. Understanding the event in light of these facts may cause us to revise the assessment of the event to “Columbus introduced the Americas to the people of Europe,” or, less charitably, “Columbus opened up the Americas to modern European imperialism.”
This more fully informed perspective complicates the history of Columbus and posits a perception of him as a nefarious figure, at least from the Native American’s point of view. He could not have anticipated the centuries of conquest that would follow his arrival.
Often in history, people are caught up in forces they don’t completely understand.
The same holds true when you examine the actions of fictional characters. For instance, sometimes characters create the condition for their own downfall, which inspires us to learn from their mistakes. Other times, characters may act nobly yet come to bad ends anyway. Such plots may encourage us to try to change the system that rewards bad behavior and punishes good, or they might leave us feeling frustrated with the seemingly random nature of our existence.
Understanding the implications of recent events and actions can be much more difficult than evaluating those that occur in the distant past or in fiction. At what point, for example, do the seemingly inappropriate actions of one country justify another to declare war on it? At what point do the actions of an individual justify another to call the police? Like everything else, most of this is a matter of interpretation, but success in professional settings often requires the ability to justify your point of view through a close reading of what actually occurred. Take for instance the proverbial story of a woman stealing a loaf of bread to feed her starving children. You could look at this action as extremely noble, as the mother puts herself in danger to keep her children healthy. The baker, however, may not share this sentiment, particularly if he, too, is struggling to survive.
Analyzing a Debate
When analyzing a more articulated argument or policy, we’re often tempted to use a phrase either to wholeheartedly agree with a position or to dismiss it entirely. But in doing so, a critical examination is often lost in a barrage of name-calling and hyperbole. To try to understand the other side of an argument, consider writing an issue dialogue, starting with the most extreme positions and moving toward more reasonable compromises. One example, for instance, is the debate that surrounds whether universities should continue to raise tuition in order to make up for government cutbacks to education:
Should Universities Raise Tuition?
For: Universities should raise tuition. Why should taxpayers cover the expense? You students want to have a first rate education but you don’t want to pay for it.
Against: Not true. Education is an investment. What some people don’t realize is that when a student eventually receives a better job because of his education, he will pay more in taxes. This increased revenue will more than repay the government for what it spent on his education.
For: That’s assuming that a student will find a better job because of his education; many people, like Bill Gates, have done well without a degree. And even if you can prove that students will make more money, that doesn’t mean that they will remain in the community that invested in their education.
Against: True, but most probably will, and anyway, the university invests a lot of its money in these surrounding communities. As for your second point, for every Bill Gates, there are thousands of college dropouts who are flipping burgers or living on the streets.
For: But why should someone who doesn’t have children or live near a university town have to support an institution that doesn’t give anything back to them? Would you want to have to spend your hard earned money to support a senior center’s golf course?
Against: Studies have shown that when governments do not spend money on education, they have to spend more on prisons so it’s not as though cutting funding for education will benefit those taxpayers you describe. However, I agree that certain families should pay more for their children’s education, as long as they can afford it.
For: And I will concede that governments should continue to provide access to education for those who can’t afford it, but I think even children of poor families have an obligation to give back to the community that supported them when they finish their degrees.
Though this debate could continue for several more pages, you can see that both sides are starting to move toward more reasonable characterizations of their positions. Again, when writing an issue dialogue, it is tempting to ridicule those on the other side with stock phrases to make it easier to dismiss their views (especially when looking at perspectives from different cultures and eras). But the more you can reasonably state the opposing view’s arguments, the more you can reasonably state your own, and, in terms of analysis and argument, everyone should apply the same amount of scrutiny to their own beliefs as they do to those who disagree with them.
Part of this scrutiny may involve raising questions about the author’s period, culture, and biases. In addition, you should consider the strength of the arguments, evaluating how well the author supports the main assertions with sound evidence and reasoning while paying particular attention to whether they rely on any fallacies—errors in reasoning. For instance, does the author make any hasty generalizations? Consider someone who attempts to argue that global warming doesn’t exist on the basis that the weather has been quite cold for the last few days. Obviously the person would make a stronger case for her argument by presenting more encompassing evidence. Another common fallacy is the faulty syllogism (i.e. all cats die; Socrates is dead; therefore Socrates was a cat). Just because two items under considerations have a certain quality in common, does not mean that these items are the same. Perhaps the most common fallacy that students make is “guilt by association.” This may be due to the fact that politicians use it all the time.
For instance, in the 2008 presidential election, many tried to associate Barack Obama with terrorists simply because his middle name (Hussein) was the same as the deposed leader of Iraq. John McCain’s significant personal wealth was seen as evidence that he would be insensitive to the needs of the poor, even though liberals like Franklin Roosevelt and John Kennedy were wealthy. Also, be aware of the opposite fallacy—success by association. Go to any tennis shoe commercial on YouTube and you will see famous athletes performing incredible acts, as though the shoes, and not years of practice, are responsible for their success. For a more thorough discussion of fallacies, review the chapter Recognizing the Rhetorical Situation and Rhetorical Fallacies.
Analyzing Diction: Loaded Terms, Stock Phrases, and Broad Overgeneralizations
Though actions may speak louder than words, words are what usually inspire the actions to occur in the first place. In addition, we often base what we know of the world on what people tell us rather than on our direct experiences. Thus, unless we are able to discern how language may be manipulated, we stand a good chance of being manipulated ourselves. For instance, consider how politicians often ignore their opponent’s actions and simply repeat loaded terms, words infused with negative associations like “bleeding heart liberal” or “heartless conservative,” to characterize an opponent as being against the public good.
A particularly blatant example of this type of manipulation is present in text regarding the Red Scare in America, which followed World War II. The Red Scare was a period when the fear of the spread of communism abroad inspired a great deal of domestic suspicion and conformity. In a series of pamphlets released by the House Committee on Un-American Activities (often referred to as HUAC), the members attempted to feed this fear by introducing a skewed view of the nature of communism to the American public. The pamphlets were set up in a question/answer format, similar to the FAQ sections of websites today. Several of the answers attempted to show communism as a warped view from its inception by going after the man whom we often credit with inventing it:
Pamphlet question: “What was Marx’s idea of a Communist World?”
HUAC’s answer: “That the world as we know it must be destroyed—religion, family, laws, rights, everything. Anybody opposing was to be destroyed too”
(U.S. Congress, House, Committee on Un-American Activities, 100 Things You Should Know About Communism in the USA. 80th Congress, 2d Session, 1).
The repetition of “destroyed” clearly inspires a feeling of dread, and presents an overly simplistic, and nearly cartoonish duality: melodramatic socialist villains twirling their mustaches while planning the destruction of their own families versus the warm-hearted capitalistic politicians in Washington who are only out to serve the public’s best interests.
When loaded terms combine into stock phrases, aphorisms, or sayings that people often repeat without fully considering their implications, you should carefully look beyond the obvious meaning that’s usually attached to them. Take the phrase, often attributed to legendary football coach Vince Lombardi: “Winning isn’t everything; it’s the only thing.” First of all, does this mean that we can never engage in sports for fun, exercise, or friendship? On the contrary, in sports and in all of life, we often learn best from our mistakes and our failings. If we only play it safe and try to win all the time, then we lose the opportunity to experiment and discover anything new. As Thomas Edison pointed out, he had to allow himself to fail over a thousand times when trying to invent the lightbulb in order to discover the right way to do it. Clearly, winning isn’t the only thing, and it should not even be the most important thing, at least for most of us.
Be especially attentive when analyzing creative works to make note of any stock phrases or loaded terms the characters repeat, as it often reveals insights about how they see themselves and the world. In J.D. Salinger’s novel Catcher in the Rye, Holden Caulfield, the troubled teenage protagonist, has just been expelled from his high school and goes to see his old history teacher, Mr. Spencer in his home. After a polite exchange, Mr. Spencer asks Holden to repeat what Dr. Thurmer, the principal, said to him just before giving him the boot:
“What did Dr. Thurmer say to you, boy? I understand you had quite a little chat?…”
“Oh…well, about Life being a game and all. And how you should play it according to the rules. He was pretty nice about it. I mean he didn’t hit the ceiling or anything. He just kept talking about life being a game and all. You know.”
“Life is a game, boy. Life is a game that one plays according to the rules.”
“Yes, sir. I know it is. I know it.”
(J.D. Salinger, The Catcher in the Rye. Boston, MA: LB Books, 1951, 8.)
Though Holden agrees with Mr. Spencer out of politeness, he goes on to narrate:
“Game, my ass. Some game. If you get on the side where all the hot-shots are, then it’s a game, all right—I’ll admit that. But if you get on the other side, where there aren’t any hot-shots, then what’s a game about it? Nothing. No game.”
What is even more disturbing about the phrase is that it leaves absolutely no room for creativity because nothing new can be brought into a world that has already been completed, making us all seem like those blue or pink pegs in the Milton/Bradley game Life, generic people with generic goals.
One reason that we often fall victim to erroneous conclusions is that we are bombarded with a form of media that pushes us to accept the most absurd phrases—advertising. Take, for instance, the slogan “things go better with Coke.” What “things”? If I drank a Coke while running a marathon, I might feel sick. And some things don’t that actually do go better with Coke; I could do without tooth decay and weight gain. To be fair, the slogans of Coke’s chief competitor do not stand up to scrutiny either: “Pepsi, The Choice of a new generation.” Which generation? And how did they determine that it’s their choice? Often, advertisers use ambiguous language like this in their slogans to deceive without lying outright.
Another way writers weaken their writing is by using broad overgeneralizations. These are statements or claims that are overly simplistic and apply to all cases or situations without sufficient evidence or nuance. These types of statements ignore exceptions and complexities, making them unreliable or misleading in academic writing and critical thinking. When a writer uses a statement like this they can lose credibility because it is almost impossible to find evidence to support a broad overgeneralization.
Analyzing Metaphorical Language
Not all the details you analyze will suggest a literal action or point of view; many will be of a metaphorical, or symbolic, nature. Though there are many different types of tropes (words or phrases that point toward a figurative meaning)—such as metaphor, simile, and synecdoche, the basic function of each is to allow someone to literally “see what you mean” by comparing an abstract concept to something concrete. One reason the metaphor “love is a rose” is so well known is that the object and the concept match extremely well. A rose, like love, may manifest in many different forms and have several complex layers when examined closely. Roses show the cheerful side of love because they look nice, smell sweet, and inspire warm fuzzy feelings.
However, they also show the dangers of love by having thorns and being difficult to care for. Like the different people you love, a rose requires just the right amount of attention and care—neither too much nor too little.
The need to extend metaphorical implications is especially apparent when analyzing a poem or a song. For instance, in her song “China,” Tori Amos explores the different metaphorical significance the central term has on a crumbling relationship: a far away location that represents the distance couples often feel between each other, a place with a Great Wall that can refer to the figurative barriers we build to protect ourselves emotionally, and fancy plates that, on closer examination, have cracks (just like those who seem to have the perfect relationship and then suddenly announce that they are breaking up). Tori Amos, “China,” Little Earthquakes (Atlantic Records, 1992). In this case, understanding the metaphorical significance can give the audience an even greater appreciation of the song. When we say that a song (or any piece of art) “strikes a chord,” we mean that it resonates with our thoughts, feelings, and memories, and an understanding of its central metaphors allows us to relate to it in even more ways.
Metaphorical language does not come up only in the arts, but also in other disciplines, especially theology and philosophy. Nearly all religious texts are filled with parables and analogies because they provide us with concrete images to explain spiritual concepts. Perhaps the most famous analogy from antiquity is Plato’s “Allegory of the Cave,” in which Socrates compares human understanding to people locked in chains and forced to look at the shadows of themselves, cast by the light of candles against a cave wall.
In time, they confuse that reality for the true reality that lies above them. When one brave soul (read Socrates) escapes these confines and leaves the cave to discover the true reality, he returns to the people left behind to tell them of their limited existence. Instead of being grateful, they choose not to believe him and have him put to death because they prefer to accept the reality to which they’ve become accustomed.
While this analogy continues to be told in various forms, it still needs to be examined critically. For instance, you might ask who put them in the cave and why? Is our reality set up as a training ground to move on to more satisfying forms of existence, as proposed in the film The Matrix? Or is it a cruel joke in which we’re allowed only a glimpse of a set reality while wallowing in our own inability to effect change? In addition, many have argued that the analogy relies on a transcendent notion of Truth that cannot be communicated or realized—that Socrates believes that there is a greater place outside of our natural existence only because he has a vivid imagination or a need to prove his own importance. If this is true, then we might do better to improve the existence we actually experience than to stagnate while hoping for a better one.
But while poets, philosophers, and songwriters use metaphorical language to entertain and enlighten, many others use it primarily to manipulate—drawing off of the symbolic value of certain terms. Again, advertisers are masters of this manipulation, helping companies to embed their products with metaphorical significance, beginning with what they choose to call them. Car companies often use the names of swift predatory animals to associate their products with speed, control, and power. And advertisers love to use analogies because they don’t have to be proven. For example, when stating that a product works “like magic,” advertisers benefit from all the associations with a mystical process that offers quick, painless solutions without having to demonstrate its actual effectiveness.
Be particularly on guard for inappropriate analogies when analyzing arguments. For instance, people may attempt to justify violent acts to advance their version of the public good by using the analogy that “you have to break a few eggs to make a cake.” A person is far more valuable than an egg, and the analogy is simply inappropriate. The analogy would be far more appropriate and effective if used to justify how you might need to give up smoking or sleeping late in order to get back into shape.
Complete the following activity to test your understanding of these terms.
Analyzing Images, Sounds, Tastes, and Smells
Images, like words, are often imbued with metaphorical significance and thus can be manipulated in a similar manner. For instance, the politician who stands in front of a flag while giving a speech is attempting to feed off of the patriotic implications associated with it. Likewise, fast food companies often use images of clowns and cartoon figures to associate their products with the carefree days of childhood when we didn’t have to worry about gaining weight or having high cholesterol. But images we see in painting, sculpture, photography, and the other arts offer more subtle and variant interpretations and deserve more careful examination.
In fact, we can look at certain paintings more than a hundred times and continue to discern new patterns of meaning. This is especially true of Van Gogh’s “The Starry Night.” In his song “Vincent,” singer-songwriter Don McLean describes the painting as “swirling clouds in violet haze” that reflect the eyes of an artist who suffered for his sanity because the people around him could not understand or appreciate his vision. Don McClean, “Vincent,” American Pie (United Artists Records, 1971).
Bonus Video
Don McLean – Vincent
Some people see the painting this way, and others see it as a joyous dance of the stars moving in constant circles unencumbered by human misery.
Music can also create feelings of triumph, joy, or despair without the need for any words to convey a direct message. Again, sometimes this invoking of emotion can happen in a way that seems apparent and universal, (such as how the theme song from the film Star Wars evokes feelings of heroism, excitement, and adventure) or in ways that are more subtle and complex. Jerry Farber, Professor of Comparative Literature, explains that the aesthetic appeal of Mozart’s Violin Concerto in A Major emerges through the contrast among the various musical themes within it:
Now there are moments when many listeners, I think, are likely to get isolated in the music immediately at hand, losing much of their awareness of the whole structure. Particularly during one section, a so-called ‘Turkish’ episode in a different time signature and a minor key, the listener is likely, once having adjusted to this new and exotic atmosphere, to be swept far away from the courtly minuet. Still, the overall structure is the context in which we hear this episode and is likely, if only by effect of contrast, to help shape our resonant response (Farber, Jerry. A Field Guide to the Aesthetic Experience. New York: Forwards, 1982. 106).
Which of these details you analyze depends on the unique features of the subject’s particular genre. For instance, in analyzing both a poem and a song, you can consider the major metaphors, key terms, and actions. But with a song, you should also consider how it’s sung, which instruments are used, and how the music underscores or contrasts with the lyrics. Likewise, an analysis of both a painting and a film requires attention to the color, composition, and perspective of the scene. But with a film, you should also consider the dialogue, background music, and how each scene relates to the ones that come before and after it. Keep in mind that although different kinds of texts tend to stimulate particular types of responses, sometimes it is fruitful to think about pieces in light of seemingly incongruous perspectives. For instance, you could look at a love song as reflecting cultural attitudes about gender roles or a political speech as encouraging psychological disorders such as paranoia.
When your analysis focuses on personal experiences, decisions, and encounters, you can discuss those details that correspond with the other senses as well. In fact, taste and smell can play a crucial role in our experiences, as they have the strongest connection to memory. However, be sure to consult not only your writing prompt but also your teacher to determine if a first person subjective response is what your teacher is looking for. In Swann’s Way, the first part of his prolific novel In Search of Lost Time, French author Marcel Proust describes how dipping a pastry in tea helped him to recall a period of his life that he might have otherwise permanently forgotten. Though at first he couldn’t recall why the taste had such a powerful effect on him, he eventually remembered that it was something his grandmother gave him as a child when the family visited her in the summer. The taste helped him to recall not only his moments with his grandmother but the details of the house and town itself. As he puts it:
But when from a long-distant past nothing subsists, after the people are dead, after the things are broken and scattered, taste and smell alone, more fragile but more enduring, more unsubstantial, more persistent, more faithful, remain poised a long time, like souls, remembering, waiting, hoping, amid the ruins of all the rest; and bear unflinchingly, in the tiny and almost impalpable drop of their essence, the vast structure of recollection. Marcel Proust, Swann’s Way, trans. C.K. Scott Moncrieff and Terence Killmartin (New York: Random House, 1981), 50–51.
Though the personal experiences you write about do not have to be as significant to you as this was for Proust’s narrator, you still want to try and recall the details as best you can. When doing so, take a step back and try to look at yourself as you might a character in a novel. Detaching yourself like this can be hard to do, especially when you have a vested interest in seeing yourself in a certain light. However, you often obtain your best insights when you try, to paraphrase the poet Robert Burns, to see yourself as others see you. The example below illustrates how a student can both present and analyze an experience.
As I swiped my card at the entrance, the gentleman at the front desk greeted me with a friendly, “Hi Randy.” I felt the usual twang of guilt because I can never remember his name and have to respond with a generic and slightly overenthusiastic, “Hey, how’s it going?” Inside, the YMCA has its usual mix of old and young, most of whom are trying to get back into shape as opposed to other gyms where the main motivation for coming is to show off the body you already have.
I take a bitter sip from the rusty drinking fountain and head to the weight room where I see a young man completing his set on the first machine. He is definitely impressed with himself, periodically looking in the mirror with an expression that would make Narcissus ashamed. When he gets off, I wait until he turns around so he can see me move the key down to include more weight than he was just using. The satisfaction I get from this action comes partly from deflating some of his ego and partly from inflating my own. However, my own smugness is short-lived, because as soon as I get up, a much older man with a noticeable beer belly and smelling of Ben Gay sits at the machine and lowers the key much further than where I had it.
I go through my weight routine with a bit more humility and then wander over to the elliptical for the aerobic portion of my workout. I pull out my iPod and click to Credence Clearwater Revival, the only group with a happy enough sound to take my mind off my aching feet. After enough time, I leave the same way via the guy at the front desk (only now I return his, “Bye Randy,” with a generic and slightly over enthusiastic, “See you later; have a good day”).
Though there was no text to consult this time, students can still interpret the experience by recalling and focusing on the key details. You could discuss why you find it embarrassing to admit any personal weakness, whether it stems from my a memory for trying to recall names or from an inability to lift as much weight as others. You could discuss the key in the weight machine metaphorically, and how the experience warped your mind and encouraged you to see a simple tool as a larger symbol of competition. You could also discuss the effect of music and how it takes the sting out of exercise by allowing you to focus on something other than the painful routine that stretches out before you. Finally, you could discuss how the rusty taste of the drinking fountain water or the smell of Ben Gay and sweat will always remind you of this particular gym.
When looking at a relationship or a decision, the analytical process is essentially the same as when you examine a specific event; you still need to consider, recall, and imagine various moments—just more of them. Whereas a relationship with another person is the sum total of all the time you’ve already spent with that person, making a decision involves imagining what might come about as a result of our choices.
Oftentimes our analysis inspires thoughts that leap around in time as we reconsider past patterns to predict likely future events. For instance, if I were to analyze whether I should adopt a kitten, my mind may race through a string of potentially good and bad memories of having had cats in the past: images of soft, cuddly, purring little creatures that also like to destroy drapes and meow in my ear at five in the morning. Of course, no matter how long and hard we think about something, we can never be sure that the outcome will work out for us in the way we hope and expect. Still, to be satisfied that we at least tried to make an informed, intelligent, and aware decision, we must slow down and reconsider all the relevant moments that we’ve already experienced; this is one of the most important steps in the analysis process.
Are Batman and Superman the Barometer of Our Times? A Review of ‘Superheroes in Crisis’
Ira Erika Franco teaches Communication at the National Autonomous University of Mexico. She is also a film director, travel writer, and film and theater critic. Her work appears in Chilango and Muy Interesante. This review is reprinted from The Comics Grid.
Are Batman and Superman the Barometer of Our Times? A Review of ‘Superheroes in Crisis’ by Ira Erika Franco is licensed under a Creative Commons Attribution 3.0 International License.
Adapted from “Chapter 3” of A Guide to Perspective Analysis, 2012, used according to Creative Commons CC BY-SA 3.0 US