Lexi Yost. “Doorways.” Dublin. Ireland, 2016
Trinity College is one of the biggest tourist attractions in Dublin City. Its historic appearance and Victorian-esque buildings, not to mention having one of the world’s most famous libraries, draws people in from around the world. While self-touring Dublin after visiting the Archeology Museum (another tourist hot-spot for history buffs like me), I decided to head to the college too. I knew from my map I was getting close as I neared a large wall-like building with a door five times my height set into its middle.
To say I was confused as I walked towards the huge door was an understatement. Because, within the large brown door in the doorway of the gigantic building, was another door-less entry. It was, in fact, a door, within a door… within a doorway. My mind instantly formed one correlation: This completely reminded me of Inception. Because, through the second door within the doorway, was a small chamber of doors that lead to yet another doorway that brought you right onto the campus of Trinity College. Like a dream within a dream, within a dream, within however many layers of dreams existed within the movie, the doorway mirrored the same perception I interpreted the movie with. Frank J. D’Angelo, the author of the article, “Nineteenth-Century Forms/Modes of Discourse”, states that “…any time a textbook writer defines the aim of exposition as embracing ‘all the means of representing general propositions’ and persuasion as ‘confirming to the mind these general propositions,’ that writer is making use of the laws of association” (D’Angelo, 354). Even though D’Angelo discusses assumptions made within writing textbooks specifically, and how straight-forward, general thinking is seen as the correct way to compile the educational texts, the concepts can still be applied to situations like this one. D’Angelo is keen on exposing the current-traditional way of thinking that is generated from certain forms, or assumed truths, of literature. Though I’m approaching this situation of Inception-like doors through a written post, a different way than D’Angelo’s nineteenth-century textbook critique, we seem to agree that favoring rhetoric over current-traditionalism is less binding and general, and comes with more freedom than the former style. Jacqueline Jones Royster, the author of the article “When the First Voice You Hear is Not Your Own,” also explains a similar concept of the way our ideas are formed, and analysis of our own voices and meanings. She writes on our own subjectivity and personal thoughts: “Adopting subjectivity as a defining value, therefore, is instructive. However, the multidimensionality of the instruction also reveals the need for a shift in paradigms, a need that I find especially evident with regard to the notion of “voice”, as a central manifestation of subjectivity” (Miller, 1118). Because we think and reason internally, our own subjective voices are formed based on our perceptions. As Jones explained, this subjectivity can shift with new experiences, just like thoughts can shift from one to another. Because this post’s content is less formal, as it is based on my psychological connection with the Irish college’s doorways and modern film, and would not be considered proper in current-traditional way of thinking. But, because what I am writing is detailing my travel experience and my own association and observations to others, it is not considered a ‘general proposition’, as it is my own individual one. And defying current-traditional way of thinking, in exchange for adapting a rhetorical or expressionist mode of thinking, is the first step of becoming persuasive in rhetoric, and as becoming distinguished as an individual among the conformity placed on literature and society. This out of the box (or out of the book) approach lets us project our own ideas, wants, and goals, onto the world. And just like the character Cobbs (a.k.a. Leonardo DiCaprio) says in Inception: “A single idea from the human mind can build cities. An idea can transform the world and rewrite all the rules.”