Skip to main content

Love Not Life: A confusing Confudlement!



I was going to talk about Aya life in Yop City but I ended up reading Aya Love in Yop City because the library has it cataloged wrong. I should have read the spine of the book because the front of the book was covered buy a sticker and I didn't read it closely enough.

Because of this I want to talk about Aya Love in Yop City. Hopefully because they are both text from the same culture it will count.

One of the things love in Yop City does to show that it is for an audience outside of Cote d Ivoire, is introduces to a character named Innocent. He arrives in Paris and instantly you start to see the cultural differences and his struggle with learning new social norms. There is a scene in the novel where he is trying to catch pigeons for food and freaks out an old lady who keeps calling for the police. Not knowing the people in France don't eat City pigeons. It can also be seen at the beginning of the novel the difficulty and learning directions in a new environment. The novel can flash Forward back and forth between different characters, some still in Yop City and others in France. It uses he's changing perspectives to show the difference between cultures. It does a very good job of explaining those cultural differences as well most of the time.

I don't really think there is a artists responsibilities two other cultures. I believe what's really important is that they tell a good story and represent their own culture and the way they want it to be seen. I'd say it's more the readers responsibility to look up things they don't understand in order to better immerse themselves in another culture. Sometimes it doesn't involve any research but rather the ability to step back and look at it from a different perspective. Like for instance when he was trying to eat the pigeons in the park. To readers outside of that culture it may seem strange to eat City pigeons, however if we take a step back and look at it from a logical perspective they are walking free food that doesn't put up a fight.

In countries where there is greater economic duress or severe poverty it wouldn't make sense not to eat the pigeons. Also vice versa innocent, when trying to eat the pigeons, is used to an environment that is less polluted and therefore unlikely to have poisonous pigeons. Strangely enough, when I change my perspectives, I find it not hard to connect and understand various cultures. After all, cultural habits and beliefs are a result of people's individual environments. Understanding the location, history, and hardships of a location can give a great number of clues to why people believe or act in certain ways. Now that is not to say that it accounts for all things found in a culture but it does count for a great number of things.

Well thank you all for reading.

That's all I have for now.

Comments

Popular posts from this blog

Junji Ito and the Art of the Uncanny

As discussed in Chapter 2 of Scott McCloud's Understanding Comics , the Japanese style of comic book art holds several notable quirks. While early manga artists tended to favor simplistic, yet distinct styles that paved the way for a number of internationally renowned characters, contemporary manga artists have since favored a hybrid style that juxtaposes the cutesy, rounded characters of yesteryear with the realistic and richly shaded settings that have since become popular. Building on this, McCloud describes a phenomenon in which Japanese comic artists have used realism to objectify--that is, to emphasize the "otherness" of certain characters, objects, or places--elements of their work and further separate these elements from the reader. I have chosen the work of one of my favorite comic artists, Japanese horror icon Junji Ito, to further illustrate McCloud's point. Though McCloud describes this phenomenon in the context of Japanese comic book art, he is usi...

The Two Faces of Anarchy in V for Vendetta

As someone who has only seen the movie version of V for Vendetta once many years ago and have never read the graphic novel, I wasn’t exactly sure how similar or different the movie version would be to the graphic novel. I was in for a surprise when I discovered just how vastly different, they are from each other. With that being said, they do have some similarities when strictly looking at the motives of the characters. Let’s dive into those motives and how the author and illustrator of V for Vendetta achieved getting these motives across to their readers. In Scott McCloud’s chapter of Understanding Comics “ Blood in the Gutter ” we are presented with different panel – to – panel transitions, and an introduction to the term “gutter” as being the white space between the panels which is where the audience of reader “takes two separate images and transforms them into a single idea” (McCloud, 66). After finishing reading V for Vendetta , several themes or ideas that were most prevalent...

Maus: A New Type of Nonfiction

The first thing that comes to my mind when I think of the nonfiction genre is the biography. A thick book full of pages about the life of a specific individual. Barely any visual aids, if any, and a monotonous voice throughout that makes these great to fall asleep to. In summation, I had a very rigid and bland view on the nonfiction genre before reading Maus by Art Spiegelman . This graphic novel is so entertaining that it was hard for me to believe that it is nonfiction. I did not think that nonfiction books could be anything but a glamorized version of a textbook. However, Spiegelman was able to prove everyone that nonfiction was not such an inflexible genre, and could tell a story instead of simply informing.   He incorporated many other creative elements to make his story different from all the other Holocaust tales in existence. Firstly, by making the characters animals, he adds a somewhat otherworldly aspect to this retelling of his own father's experiences. I think t...