A Discussion on the Dialectical in Hero

Discuss the usefulness of the idea of the dialectic with regard to each of the texts on this module. Dialectic refers to the dialogue among devil or to a greater extent positions, holding different perspectives about a subject, who wish to establish the virtue of the matter by dialogue with reas wizardd arguments. It may be postulated that hired gun works on a Hegelian dialectic model, in that the tensions between the protagonist and antagonist of the film atomic number 18 constantly reworking the other, till a synthesis of their nitty-gritty is achieved. Aufhebung or sublation, being the motor by which the Hegelian dialectic functions (Palm, 2009) indicates the preservation of a useful portion of an idea, while pathetic beyond its limitations. The dialectic of hacek is realized in two ways doubled narratives and multiple forms of dialogue-and suggests that there is no absolute virtue, and that we arrive at the final accuracy through the dialectical interplay of differen t truths that ch solelyenge, change and hold each other at once.The framed narrative structure of cuneus displays the dialectic that exists between the force and anon. as multiple narratives ar being set up to communicate the different points of view alert between unnamed and the King. The celebration of the multiplicity of perspectives, or points of view, serves to highlight the temperament of truth as a product of dialectical interplay between multiple presented truths. Hero functions as a prism, as reassuren from the division of the film into diverse vibrantly colored narratives as emblems of different truths.The self-similar fractal dimension each narrative holds highlights the feature that each narrative contains elements of the narrative before it, and each truth is draw outd from the truth before it, where each progressive narrative retains select elements of the previous 1 but changes others to create a different invention. This is evident in the dialogical m ass meeting between anon. and the King, where the King chooses to accept parts of Nameless story as true and other parts as false.This fragmentation and later(prenominal) reinvention of the truth creates a disjoint between the perceived truth and the pass judgment truth, suggesting that truth consists of many individual parts, and that in order for a corporate truth to be assembled, deconstruction of it into its individual parts must materialize before it can be reconstructed into a larger whole. Hence, the dialectical interplay between the multiple truths creates a new composite truth that retains the essence of each truth before it.Sublation occurs in the fundamental interaction between Nameless and the King, where both of them have their own truths in terms of ideologies, and the dialectical interaction of the two allows the two truths to interact and change each other as a result. For example, in order to get within 10 feet of the King, a limitation Sky, upturned Sword and warm Snow could not breach, Nameless presents their weapons and in Broken Swords case his calligraphy. The items here are symbolic of each swordsmans ideologies, and Nameless through accept their weapons has similarly internalized their ideologies, hence changing his own truth as a result.Nameless as the bearer of Broken Swords truth hence influences the King, so much so that the latter places his life in his would-be(prenominal) killers hands. Broken Swords truth resonates potently with the Kings truth here, and this unification of their truths represents the power of the unification the King is striving to achieve, in the sense that it is powerful enough to make Nameless give up his goal of killing the King, something he had trained for to a greater extent than 10 years for and circumscribed himself by.Therefore even though Nameless has to be killed for the preservation of the social order, the King who is left standing at the remainder of the film has been changed, and thi s is evident from his hesitance in sentencing Nameless to death, something he would not have hesitated to do prior to their meeting. Truth is seen here as something that we define ourselves by, and when our truth is changed, so do our definitions of ourselves and hence our identity.The dialectic in Hero finds physical form through the dialogical form that chargeing takes on in the sense that there is an oppositional structural clash between two mickle holding on to different ensamples. Over the course of the film, weighing is seen as a form of self-expression, and it shows how two people, charged with different prototypes, clash, with the result that the single left standing has been changed in some manner by the other.The fight at the end of the film, between Broken Sword, who has forsaken his revenge for the sake of unification, and transitory Snow, who holds on to her revenge and blames Broken Sword for giving up his, represents scarce this point. The dichotomization betw een opposite ideals creates a cognitive dissonant notion which highlights the struggle between personal ideals and greater ideals that supersede the self. This conflict is ealized in Flying Snow whose triumph over Broken Sword grants her the untoward belated realization that at some level she yearned for co man with his ideal disrespect its clash with hers, as connoted by the repetition of why didnt you retain yourself? , and this dissonance leads her to commit suicide to be reunited with her lover. Ultimately the clash of two people representing their own ideals has resulted in the prevalence of one person whose ideal has changed as a result.The communicative exchange between Nameless and Broken Sword as seen in the swordfight, over the weewees surface, in which calligraphic elements are embedded, signals a dialogic exchange not totally of soldierlike arts but also in terms of ideals. The constant balance of each others movements in the water signals that it is not a swordf ight of conflict but rather conversation, as seen from the sword strokes through the water akin to the strokes of a calligraphy brush on a canvas.Significantly the fight climaxes in the tail end-and-forth hitting of the water droplet, where the fluidity of water alludes to the fluid reputation of truth and how it can be molded to serve ones purpose. The fight ends when the water droplet hits Flying Snows face, and Nameless who turns back from his original purpose of striking Broken Sword also ends up with water droplets on his face.By drawing a parallel between Flying Snow and Nameless, who both sought revenge against the King for the destruction of their homelands, we see a tension between Nameless and Flying Snows common ideal and Broken Swords ideal. This tension is only resolved through Flying Snows death, and Namelesss act of turning away, suggesting that when one holds on to a particular ideal such that it becomes ones truth and identity, the inevitable clash of this truth with anothers will result in the deconstruction of one and the reconstruction of another.In conclusion, when we view things through different lens, we will come away with different truths each time. Hero exemplifies this for us and causes us to examine the nature of truth through the dialectical intercourse of each truth. Truth serves an empiric purpose and it is important for each and every one of us to derive our own truth and hence determine our identity and purpose in life.The message of Hero is that though there are forces in existence that are greater than ourselves, the power of a common truth of all the nameless citizens can sometimes influence the truth of the one in power, in this case the King, and determine his actions. Everyones truth is different, but it is the core that we attach to it that defines us and sets us apart. Bibliography Palm, R. (2009). Retrieved October 17, 2012, from Katholieke Universiteit Leuven https//lirias. kuleuven. be/bitstream/123456789/234670 /1/PALM+dissertat..