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The Smile of a Mountain Witch by Ōba Minako - Coggle Diagram
The Smile of a Mountain Witch
by Ōba Minako
QUESTION #2:
What are your thoughts on the mind-reading ability of both the classic and genuine mountain witch? Do you consider it a power or a curse?
Arl:
The mind-reading ability is both a power and, more certainly, a curse. It can be useful in empathizing but detrimental in prioritizing people besides herself.
Stella:
The classic mountain witch uses mind reading to her benefit (to predate men) while the genuine mountain witch use it to please other people. Burdened by accommodating the desires of the people around her, I consider it to be a curse.
Claire:
Initially, the mind-reading ability is a power: inflicting fear (classic) and pleasing other people (genuine). However, a life with constant pleasing and societal pressure makes this a curse.
Sofia:
The mind reading ability is a power, rather than a curse. Beneficial in terms of predicting the classic mountain witch's next move (thus, scaring them) and in pleasing the people around the genuine mountain with, especially her husband.
Gina:
It can either be a gift or a curse, depending on the wielder's perspective. Personally, being obligated to please other people, molding yourself to fit the box others have confined you, is a curse,
Hash:
While mind reading is normally seen as a power, it seemed more like a curse in the context of the story. Generally, it could provide someone an advantage although in the narrative, the genuine mountain witch experienced mental exhaustion and loss of personal boundaries while the classic mountain witch had difficulty forming connections with others.
QUESTION #1:
In what ways does the “genuine” mountain witch differ from the classic mountain witch? Describe these deviations as presented in the narrative.
Prince:
Classic mountain witches were described as mind-reading old women, hungry for men seeking shelter in the mountains. Meanwhile also has mind-reading abilities, a genuine mountain witch lived the complete opposite life - an ordinary person in human settlement, pleading everyone around her.
Pam:
The legendary mountain witch was described as a mind-reading wrinkled, "spooky old hag", that prey on innocent and lost men passing by. On the other hand, the genuine mountain witch is portrayed not as someone who torments others but rather as the victim herself, adhering to the patriarchal ideals of society in the human world.
Ryan:
The genuine mountain witch differs from the classical witch through her deviation from the cannibalistic, malevolent archetype. Instead, she actively participates in a symbiotic relationship with humans through marriage and motherhood
Natalie:
The two differs primarily in where they lived an in how they interacted with other people, specifically men. The classic mountain witch is described as an old hag that lived in the mountains, devouring men who lost their way near her abode,
QUESTION #4:
Why is there no difference between wandering the mountains as a solitary witch who devours men and living in human settlements, disguised as an ordinary woman?
Andrew:
Both of them experiences loneliness and contempt from others. The ordinary woman experiences disdain, mostly for her gender role, but still manages to remain polite as the society expects her to be seen as someone "pure".
Ray:
The mountain witch's very essence and nature remains constant regardless of her surroundings. The protagonist finds solace in accepting her "true" self
Marian:
Both share the same fate of being subject to the judgement of humans, from the unusual way of living of the classic mountain witch to the inadequate effort of the ordinary woman to live a "normal" life. the two share the same desire of "devouring" humans to gain control
Silvanna:
This could be interpreted as a part of the final realizations of the deceased; a manifestation of their acceptance and detachment of the irrelevant life that they have already lived. She could either live as a witch freely, frowned upon by other people, or live as someone who she's not just to conform to whatever role other people have in store of her.
Kurt:
The absence of distinction between the two underscores the fluidity of the identity and societal expectations. The lack of clear divide directly speaks the constant struggle to reconcile one's true nature with the expectations imposed by the society
QUESTION #5:
How can we relate Minako’s portrayal of the mountain witch to the latent fears or anxieties in Japan during the postwar context?
Raphaella:
The portrayal of the mountain witch mirrors metaphorically the societal unrest in postwar Japan. The identity crisis of Japan is embodied by the internal conflicts of the mountain witch.
Spencer:
The story's theme on conforming to societal expectations draws parallelism with Japan's post war context, wherein it had the tall task to rebuild itself, its image, and its economy, making amends for its actions.
Pau:
Postwar Japan showed the evolution of Japanese women's role in the society, as they got more involved in the community. It reflects how women desired to feel more accepted by the community, especially the opposite sex, despite their skills and talent
Biboy:
The portrayal of the mountain witch as a powerful but traditionally isolate, manipulative, man-eating "hag" that has a choice to use her power to live in human settlement reflects a fear among men of the newly-empowered women.
Josh:
The perspective of others towards similar women were indicative of how society perceives one's usefulness or views towards women often branding and fearing them as mountain witches/fox incarnates, which relates to the shufu context
QUESTION #3:
There are many instances of doubling, splitting, and mirroring in the story. What do you think are the roles of these literary techniques in the text?
Vicky:
These literary techniques help us understand and observe the character development of the classical and genuine mountain witch, such as how the characters approach a task or issue. Moreover, we get to determine the differences and similarities between the two witches by applying doubling and mirroring techniques. Splitting will aid you in exploring the individuality and identity of the characters