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Thousand Cranes – Chapters 1 & 2 Observations

What We Know So Far:

  • Kikuji’s father had at least two extra-marital affairs, one with Miss Kurimoto, Chikako, and one with the widowed Mrs Ota.
  • Kikuji’s mother knew of both of these affairs, and was more concerned with the public reaction to her husband’s adultery than his emotional betrayal of her.
  • Kikuji’s father, Mr. Mitani, did not attempt to conceal at least his first affair from his son.
  • Chikako’s spiteful choice of tea bowl implies that she is jealous of Mrs Ota.
  • Kikuji is attracted to a ‘girl of a thousand cranes’ at a tea ceremony he is attending, which he was invited to by Chikako.
  • Kikuki’s father is dead.
  • Chikako is a more assertive presence than Kikuji’s mother, and Kikuji does not feel resentment towards her for her role in his father’s adulterous behaviour, at least not anymore.

What Do We Want To Find Out?

  • Why is Chikako introducing prospective wives to Kikuji instead of his mother? Has she taken on a more maternal role in his life?
  • Is Kukiji’s mother still alive? If she is, why is she not at the tea ceremony?
  • How did Kikuji’s father die?
  • What is the time period of the book?
  • Why did Kikuji’s mother not seem to care about her husband’s affairs?
  • Why is Mrs Ota at the tea ceremony?

Thousand Cranes – Japanese Cultural Context

The Significance of the Crane Symbol

Tea Ceremonies

The process of preparing and drinking green tea dates back to its introduced to Japan in the 8th century from China. The main purpose, besides drinking the tea, is for the guest to enjoy the hospitality of the host in a calming atmosphere, and to take a break from the fast pace of life. Tea ceremonies have varying levels of formality.

Initially, tea was used for medicinal purposes amongst the upper class. However, between the Muromachi Period of 1333-1537, tea became popular in all social classes, and became a luxury drunk for pleasure. Around the same time, tea parties with Zen-inspired simplicity and links to Buddhism developed. They stemmed from a Buddhist monk called Sen no Rikyu, and provided the basis for modern tea ceremonies.

A full tea ceremony is a multi hour event with varying levels of formality. It begins with a traditional meal and is followed by a bowl of thick tea and then a bowl of thin tea, however, ceremonies are often shorter. The mannerisms in a tea ceremony are specific to exact hand movements, and attendees are expected to wear modest clothing and avoid strong perfumes or other scents, as to not distract guests from the tea’s aroma.

Tea ceremonies take place in a tatami room; a traditional Japanese room with an open style and simplistic furniture. The doors are often low, forcing guests to bow and display humility. Participants are expected to sit in a seiza position, and the decorations in the room are carefully selected before each ceremony. Generally, a tea room is surrounded by a tranquil and peaceful garden, but this is not always the case for more modern ceremonies. The traditional garden does not have any bright or strong scented flowers, but there is a stone basin near the entrance to the tea room, where the visitors can wash their hands in the basin before entering the room.

To summarise, tea ceremonies are important in Japan because they represent and display key aspects of Japanese culture, including: Respect, tranquillity, harmony, humility, politeness, and courtesy.

Japanese Marriage – Meiji Era (1868 – 1912)

Before the Meiji Era, only the samurai class had the privilege of having a family name. In 1870, the Meiji government allowed all citizens to have a family name and during the following year the Census Registration Law was enacted, turning the lineal family into one unit of registration known as an ie, meaning that even if several families of the same ancestor lived separately, they were still registered as one ie. The ‘ie’ concept is the basis of the family system, and was strengthened by the establishment of the Civil Code in 1898. Under this system, the eldest male in the family was granted special rights, including the right to approve a marriage, decide the residence of family members, and manage and inherit family property. The Civil Code also stipulated that a wife enters the ie of the husband and bears the husband’s family name. Marriage in the Meiji Era meant a union of two families, or more precisely, an absorption of a wife by a husband’s family. This was because people couldn’t freely marry without the legal consent of their family heads.

Before the establishment of the Civil Code, marriage among common citizens was more flexible, with people able to easily marry, get a divorce, and remarry. However, the establishment of the ie system made marriage more rigid and spread the idea that marriage was to be lifelong. Marriage was not just a social norm, but also a necessity for people to be able to make a living – as many people during this period worked as farmers who needed the extra labour. Marriage was usually arranged by relatives or local matchmakers, so it was not uncommon for a bride and groom to meet for the first time at the their wedding ceremony. The ie system was inherently patriarchal, husbands were even legally allowed to murder their wives for infidelity until 1908.

Japanese Marriage – Showa Period (1926-1989)

The post-war Constitution (1946) abolished the system of marriage approval by family heads and made it so that marriage now took effect solely based on an agreement by a man and woman. The Civil Code was also revised in 1947, stating that a married couple can choose either family name to use on an equal basis, abolishing the system where a wife entered her husband’s family. The Census Registration Law, which made the lineal family one unit of registration, was revised to make the nuclear family their own separate unit. However, the revision didn’t go far enough to make the registration on an individual basis, and the legacy of the ie carries on even today. Marriage went through a rapid change during the high economic growth of 1955-1973. The economic shift from agriculture to industrialisation meant that there was a large increase in the number of salaried employees living in urban areas who formed their own nuclear families. There was a widespread belief that marriage meant a better life and a guaranteed rise in income. It was due to this belief that the population of those who remained unmarried was extremely low.

Despite these changes, half of all marriages were still arranged until the 1960s and married women would mark themselves by blackening their teeth and shaving their eyebrows. However, this changed during a period of high economic growth, as ‘love-based’ marriages surpassed arranged ones. The population of those who stayed unmarried was extremely low until the mid-1970s, when the 1973 oil crisis and the following low economic growth marked a turning point in views toward marriage. Slow economic growth meant that not everyone could expect to experience a better standard of living to come with marriage. More women had access to higher education and had better careers during this time too, and the average age of marriage began to rise in the mid-1970s.

Japanese Marriage – Heisei & Reiwa Period (Modern Day)

Today Japanese law stipulates that: The male partner must be 18 years of age or older and the female partner must be 16 years of age or older. A person who is under 20 years of age cannot get married in Japan without a parent’s approval. There is a form of common-law marriage but it does not have the same rights as a traditional marriage; a common law marriage is a legally recognized marriage between two people who have not purchased a marriage license or had their marriage solemnized by a ceremony. Arranged marriages still occur, but it’s a less serious affair and the bride and groom have more say.

A public opinion poll on divorce conducted by the Prime Minister’s Office in 1997 shows that more than 50 percent of both men and women supported the idea that a couple should divorce if they are not satisfied with each other, whereas in 1972, the support rate stood at around 20 percent. Another example of changing views about marriage is calls for revising the Civil Code to legally recognize separate family names between a married couple.

Same-sex marriage is still not recognized in Japan. However, as of 8 January 2021, there are 71 municipalities and 3 prefectures that issue same-sex partnership certificates. These aren’t legally recognised as marriage certificates but are still useful in civil matters such as hospital visitation rights and housing. Luckily, things seem to be moving in the right direction with numerous opinion surveys showing high levels of support for same-sex marriage among the Japanese public – notably among women and the younger generation.

Significant Japanese Traditions

  • Yamayaki – Mountain Burning: In the Japanese language, they have a single word for burning down a mountain; “Yamayaki.” It’s an ancient ceremony which involves the burning down of vegetation before springtime, and, in the eyes of the Japanese, it’s a visually stunning event, with fireworks also being burnt fireworks to add to the display. The tradition itself dates back to when there were ancient disputes about land, and when the nation had a major problem with wild boars. One notable Yamayaki is the burning of Mount Wakakusa, meaning ‘young grass’, located in Nara, the former capital. It takes place on the fourth Saturday of each January, where citizens burn the mountain’s grass.
  • Ojigi – Bowing: Ojigi is an extremely significant tradition in Japan, preformed at a variety of situations from sports events to weddings. It involves a person lowering their head or the upper part of their torso to convey: salutation, reverence, gratitude or apology. Ojigi was commonly related to the Samurai, a member of the military nobility and officer of Japan from the 12th century. The Japanese prefer to bow rather than shake hands, as it is considered to be respected and appreciated, showing courtesy. A handshake, if done, must be limp with little to no eye contact.
  • Hatsuhi – Sunrise: Hatsuhi translates into English as ‘first sun’, and is the Japanese tradition of waking up at sunrise on New Year’s Day to see the first new sun of the year. In Japan, families like to have a large, traditional breakfast consisting of steamed rice, fermented soy beans, and seasoned dried seaweed. The day is not just connected to Hatsuhi, but numerous rituals and pastimes, such as the ringing of bells at Buddhist temples; which, along with Shinto, is the joint prime religion of Japan.
  • Ehomaki – Sushi Rolls: Ehomaki is a Setsubun tradition which involves eating a whole, uncut sushi roll, whilst facing a lucky direction that changes annually. It used to be practiced in Osaka, but has spread nationwide due to marketing in Japanese convenience stores. Eating in Ehomaki is considered to be a special event which must be done in silence, and if the person carrying out the tradition faces in the lucky direction, they are said to be protected from the appearance of demons.

Women in 20th/21st Century Japanese Society

Women were given equal rights to men after the Second World War, however social prejudices remained as well as the expectation of traditional domestic roles. Economic and professional barriers still remain for women to this date. Legally, there are equal opportunities in the workplace, and there is a higher proportion of female Japanese workers than in the United States. Despite this, women continue to feel dominated by men professionally. 

  • Women were given the right to vote in 1945. 
  • Post-war reforms were written into the constitution in 1946, granting women civil rights. 
  • Japan ranks 121st out of 153 for the Global Gender Gap.
  • In a global survey of women in Parliament, Japan ranked 123rd out of 189.
  • The average Japanese woman earns 40% less than her male colleague. 

The majority of working women have clerical positions, for example: secretarial positions. Women tend to fill part time jobs to care for children, and the majority of working women do have children. In 2003, the Japanese Government aimed to have 30% of senior roles filled by women. By 2015, this figure had reached a mere 3.5%. In 2020, to account for the low figure, the target was set at 7%, with 15% in private settings. Historically, Japanese women have stayed at home, looking after their children, whilst their husbands went to work. It is only since the Second World War that these social perceptions have changed legally but it is a battle that continues to be fought today, for greater freedoms and rights.

The role of women is often referred to as the ‘three submissions’: a traditional belief. It is thought by many that young women should ‘submit’ to their fathers, married women to their husbands and older women to their sons. This is still regarded as philosophy in contemporary Japan, highlighting the importance of culture and traditions today. The term ‘submit’ meant tending to housework and domestic roles: cooking cleaning, looking after children etc. Half of all women by the 1960’s had been forced into arranged marriages. Until 1908, it was legal for men to murder their wives for infidelity, highlighting the disparity between the sexes.

The Bento or Obento box is a tradition embedded in Japanese culture. It is a portion of rice, fish and vegetables usually provided for lunch. Over time, creative liberties have been taken, and packed lunches became competitive. Food would be made to look like anime characters, building or flowers. Although it seems to be a wholesome tradition, there has been much speculation about about what it represents for Japanese society. Women would make bento boxes for their children and husbands, again highlighting gender disparity. Ann Alison gave an interpretation of the bento box in her book (1991), describing it as ‘an ideological state apparatus’. 

To conclude, the role of the Japanese woman in society has changed exponentially over time, and change is still accelerating today. Women have gone from working in domestic roles to working in professional settings in clerical environments. Whilst this is a welcome change, gender disparity still exists in Japan, often embedded in the culture, for example, the bento box.

Traditional Japanese Costume

Traditional Japanese costume, is inextricably linked with status, take for example the ‘Furisode’ Kimono which is worn by single females to formal occasions. Regardless of personal intentions, if a young female wears a furisode they must take into account the ways in which their fashion will be interpreted by their community. In this scenario the long, draping, dangling sleeves are a symbolic flirt, and advertise the females desire for a mate, like a bird showing off their feathers. As well as being determined by individual status, traditional Japanese clothing is also determined by the formality of the event which is being attended. To an untrained eye, a formal Kimono may look no different from an informal one, which might be because often, notably amongst male Kimonos, the only difference is the quality of material.

Due to the signing of various commerce treaties, since the 1850’s Japan has become increasingly more western. Therefore traditional Japanese costume is becoming less prominent, especially in the modern Japanese workplace where the western business suit has established its presence. Whilst the meaning of fashion in Japanese tradition is noticeably objective and prescribed, it would seem false to deny the existence of similar concepts in western fashion. Despite the fact that no-one talks about the structure, because in the west we are ‘free to wear what we feel comfortable in’, certain clothing items have definite connotations, whether it be the choice of brand, or the length of a skirt. However, the west has one major advantage which is the existence of unisex clothes, for example the jean and hoodie combination, this provides a space in fashion for those who would rather refrain from expressing a fixed identity through their clothing. In contrast Japanese traditional costume asserts clear dichotomies between males and females, and between the married and the single, which present clear obstacles for certain members of society. Would a single woman in her 40’s want to adopt a furisode, kimono for single women, even though all of the other females wearing them will likely be in their 20’s? 

The Handmaid’s Tale – Hierarchy of Gilead

Commanders – Head of household, assigned a handmaid.

Commander’s Wives – Has authority over Handmaids, Guardians, Marthas.

Angels – Soldiers in war.

Eyes – Secret police.

Guardians – Used for routine policing and menial labour.

Aunts – Raise handmaids.

Marthas – Used for household duties like food preparation and cleaning.

Handmaids – Purpose is to birth children.

Econowives – Wives of lower class men.

Unwomen – Lowest class of women.

Persepolis – Marjane’s Personality

A key aspect of Marji’s personality is her rebellious nature, a streak that is often provoked by her desire to understand the world, and subsequent frustration once she learns of its contradictions and cruelty. This frustration can lead her to be blunt at times, sometimes appearing rude, as her less-developed emotional intelligence is not yet in league with her intellectual intelligence, perhaps due to her inexperience with social cues and subtlety at her young age. She ends The Story of a Childhood appearing self-assured and confident in herself due to the instructions of her family, whom she values, to ‘always be true’ to herself, although this doesn’t necessarily hold up in The Story of a Return, she undergoes a significant development from someone who’s beliefs are constantly shifting to someone who is firm and rigid in their values. The panel showing her Michael Jackson badge, denim jacket and hijab portrays her as a visual representation of the clash of cultures that she experiences.

Marjane values her family, especially the wisdom and company of her parents and grandmother, and I believe in a way her country and the war, as it has allowed her to learn many of life’s key lessons at a young age. It is because of these experiences she is, in her eyes,  a cut above her ‘innate’ friends, as they have not been exposed to, and therefore do not possess the knowledge of, the pain and tragedy that she has. Taking after her father, she values the truth, and detests the propaganda she is fed at school; this distaste can be seen as she berates her teacher with facts on page 144.

Perfume – Notes on Chapters 36 – 41

Imagery, such as ‘Grenouille worked like a horse’ and ‘Grenouille had arms of lead’ highlight his intensive labour, the physical trials he is willing to undergo to achieve his goal of perfecting the capture of living scent. ‘As acquiescent as a slave’ implies not only that he is being worked to his fullest extent, but also how he is a slave to his cause, with the girl in the garden being his driving, and entirely controlling motivation. (Page 184)

Grenouille manipulates the situation in the workshop to gain power by perfectly crafting a façade of meagreness, that Druot,  with his inflated sense of self-importance due to his physicality, believes he can capitalise on, while instead playing straight into Grenouille hands. – ‘He was a master in the art of spreading boredom and playing the clumsy fool’. (Page 188)

His transition to living scents is portrayed as utterly disturbing and evil through the description of his murder of the puppy and the young girl. The puppy in particular is, in the eyes of humanity, one of the purest beings alive, a token of innocence, connoting love and joy. In killing it, Grenouille murders innocence and purity, showing no regard for love and joy. The girl mirrors the puppy in many ways, another token of innocence and purity, and another victim that Grenouille kills with a blow to the back of the head. It feels like Süskind has hand-picked the most despicable victims for Grenouille’s first attempts at capturing living scent, revealing his capacity for cruelty.

Now ‘the master of techniques needed to rob a human of his or her scent’ Grenouille moves onto his true ambition, capturing the scent of ‘those rare humans who inspire love’. This ties in with his desire to possess and control, perhaps as revenge for the way he has been treated by society, or perhaps because he just despises humanity. (Page 195)

Persepolis – The Contradictions of Marjane’s Early Life

  • Her parents educate her with the works of Marx,  a man who believed in a classless society, but they also have an expensive car and a maid who isn’t allowed to eat with them.
  • Her mother is clearly spiteful towards the former government, taking part in countless protests against them, but preaches forgiveness to Marjane.
  • Her parents try to control her actions, such as not allowing her to go out and demonstrate, but themselves are champions of rebellion. In their contradiction they are like an authoritarian state trying to quell their daughters revolutionary spirit.
  • Marjane’s family feed her messages of love and support while the Shah and his secret police commit atrocities around her, like the Rex Cinema fire.
  • Contradictions are even found in how the author depicts philosophers Descartes and Marx, with Descartes displaying pain after Marx throws a rock at him that he theorises is in his imagination. This shows how people, and governments, follow and preach doctrines and beliefs that they themselves do not follow.

Persepolis – Context of the Iranian Revolution

Pre/Post-Revolution Cinema:

Lor Girl (1934) was the first Iranian film with sound, and it was so well received that it played in cinemas for two years. After the revolution, the cinemas were dominated by government propaganda and western films, meaning that there was little room left for independent Iranian cinema. As well as this, Iranian passion plays, which were religious in content, were banned. 

Censorship has also become commonplace in post-revolution Iranian cinema, with dialogue being replaced and shots edited for modesty. However, the post-revolution style is celebrated internationally for it’s unique football match. Actresses in films were forced to wear hijabs. 

Pre/Post-Revolution Music:

Before 1979, anyone could perform or create music in Iran. In the post-revolution musical era, artists are arrested if they do not perform music within the line of Persian song structure. The Tehran Symphony Orchestra had a golden age from the 1930’s to the 1970’s. 

Pre/Post-Revolution Fashion

Colours were bold and bright before the revolution, and the hijab was worn occasionally, but only if the woman chose to. Now, Women are required to wear loose fitting clothing that hides their bodies and covers their hair.

Post-Revolution Art

A lot of the art in the post-revolution culture is dominated by Iran’s war with Iraq. 

Pahlavi Dynasty

The Pahlavi Dynasty originated in 1921 with British support when Reza Khan and his army seized control of Tehran and the Iranian Government. In 1925 the former Shah was deposed, ending the Qajar dynasty, and Reza Khan was voted in. He was forced into exile during WWII, and his son, Mohammed Reza Pahlavi, became the new Shah of Iran. He nationalised the oil industry, angering the British and USA. To counter this, legally the oil industry was nationalised, but in actuality, the Western countries still obtained a significant portion. This ties into the idea that the Shah was merely a puppet for the West. 

The Cinema Rex Fire

One of the key events in the revolution was a terrorist attack conducted by the Shah’s secret police, in which they locked civilians in a cinema and burned it to the ground, perceived as the ruling classes inciting violence against the lower classes.

The Iranian Revolution

The revolution occurred between the 7th of January 1978 and the 11th of February 1979 and led to the establishment of an Islamic republic. After periods of imposed restrictions, women’s educational attainment continued its rise through the Islamification of education following the revolution. Policy changes eliminated coeducational schools and forced courses to promote Islamic beliefs, however, overall the attendance rate of school fell. 

After the revolution, freedom of speech and religion was lost. Politicians were chosen by their commitment to Islam instead of their political prowess after the formal end of the Persian monarchy. Most of the post-revolutionary changes oppressed women in some way. They were not allowed to work in or study certain fields, despite the fact that females attended school more than males. Married women could only receive scholarships to study abroard if they were accompanied by their husbands. They were no longer protected from underage marriage, and could no longer divorce. (The legal age of marriage became 9.) Hijabs became mandatory.

The population soared after the revolution because women were made to stay at home rather than work and therefore had more time. Segregation of the sexes was imposed across all walks of life, and they were made to always be accompanied by a male family member. A woman’s testimony was legally reduced to that of a man’s. The Islamic Law of Retribution was reinstated, allowing the crime of adultery to be punished by the offender being stoned to death.

One major reason for the Shah’s overthrow was the clergy, as they opposed every modern reform he made. It was by national referendum that the people voted to become a Islamic republic, with a new theocratic-republican constitution. Khomeini became the supreme leader of the country in December 1979, who led the clergy.

Perfume – Analysis of Chapters 25 – 29

How Does Grenouille develop physically/mentally in these chapters?

Animalistic Imagery – His increasing view of his body’s basic needs as menial tasks and ability to survive off of barely anything tells us that Grenouille now only views his body as a vessel for his grand olfactory ambitions that he must annoyingly keep alive. It is almost like the animalism of his body and his ascended mind are two separate entities, one living parasitically off of the other, tying into his nature as a tick.

The Multiple Faces of Grenouille – Jean-Baptiste/Grenouille/Grenouille the Great. Who is the true Grenouille? He experiences a crisis of the self, forcing himself to explore and therefore develop his character mentally.

Exploration of his Soul – ‘The next performance in the theatre of Grenouille’s soul was beginning.’ Is this newfound heart and soul that we see Grenouille exploring in Chapter 27 just that, a ‘performance’? Under his cold-blooded exterior, is there a good man lurking, or is this notion of emotion just another one of Grenouille’s self-indulgences? There has been no reference to it up until now, either it has been unlocked by the highs of the olfactory experiences he is experiencing, or he has become so frivolous he has allowed himself to believe that he possesses these things.

Consider Grenouille’s attitude towards the outside world?

Biblical References – When experiencing his visions of grandeur, Grenouille describes himself as wielding ‘a flaming sword’, a weapon biblically used by the angels to defend the Garden of Eden, which could represent how his realm of scent is his personal paradise, but within it lays sin itself, for Adam and Eve, the apple, for Grenouille, the murder of the red-haired girl, through which he gained her scent. This would mean that, by contrast, Grenouille no longer cares at all for the outside world.

However, the book is originally German, and the Germanic mythological connection to a flaming sword comes through Surtur, the fire giant, who is destined to destroy the world, which could also mirror Grenouille and his murderous intent.

The other biblical references, such as ‘And Grenouille the Great saw that it was good’, could imply that Grenouille now views himself as above the outside world; he has transcended it.

What precipitates Grenouille’s departure from the cave and how is it described?

Description of Exit – ‘Vomiting him back out into the world’ suggests something vile and unpleasant is being unleashed upon the world in an explosive manner, which is accurate to Grenouille’s departure from the cave.

Existential Crisis into Journey of Self-Discovery – Ties into the concept of a Bildungsroman. ‘What he felt now was the fear of not knowing much of anything about himself.’ Grenouille is finally confronted by his lack of smell, and therefore, in the eyes of the novel, character. He goes to great lengths to search for his scent, initially plagued by denial, even mirroring Baldini’s method of extracting scent, one he knows is far below his natural abilities. However, when he allows himself to examine his scent, or lack thereof, objectively, he comes to a conclusion and sets out on his journey. Grenouille’s unique relationship with scent, his natural olfactory genius, is what he defines himself by. So, when he can no longer rely on this ability, he is nothing, or at least is not what he thought he was previously.

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