Medea and the Myth of Feminism Essay Example for Free

Medea and the Myth of Feminism Essay Medea the Myth of Feminism It is only males who are created directly by the gods and are given souls it is only men who are complete human beings and can hope for ultimate fulfillment; the best a woman can hope for is to become a man (Plato 90e). Euripides Medea was written in a time where even the word feminism did not exist and yet he gave Medea a role of substance and a stature of strength. It is a wonder whether or not Euripides knew Just how much power he put into the hands of this woman as well as many more in the creation of her character. Perhaps not in his time and perhaps not y intention, but since then Medea the play and Medea the woman have filled a symbolic role in the area of feminism, the debate being for or against it. In countless cultures and streams of media, the woman stands timeless. What this paper intends to explore is the levels of the performance and how they stack up to the idea of feminism by framing Euripides possible intent, understanding various audience response to various productions, and finally studying Medea herself to see whether her roots of vengeance are in feminism or rather immorality. At the beginning of our quest we find the author, alive at a time in which ancient Greece was overwhelmingly patriarchal, but where did Euripides find himself? Is it possible to suspect that he may have allied himself among other voices which held sympathy for the plight of women? Could he have been the model of a proto-feminist or was he a misogynist? In either case, Medea seems to be the place to look. While pursuing her ambition, Medea disregards many of the feminine characteristics of the patriarchal Greek society. She questions the inequality of women, contradicts Jasons chauvinist beliefs, challenges the stereotype that women are weak and passive and ltimately completely disregards the feminine role of motherhood. Euripides portrays a woman who completely subverts feminine norms, overcomes masculine bonds and, given that his depiction of Medea was highly influential and replicated to some extent by most later authors, the Medea viewed as a figure of feminine power in modernity is at least in part dependent on Euripides (Mastronarde 52). Honing in on the text, one might examine Medeas opening speech, a fine feminist harangue (Hadas 81), showing that, Medea has been treated unjustly by men, and her eloquent indictment of womens lot is never denied (Foley 265). This speech is the first introduction to Medea as a strong and independent woman, but the words are not hers alone. These lines have sometimes been seen as Euripides bitter reflections on his own isolation as an advanced and intellectual poet. There is much truth in this view, but the lines are also Medeas, the complaint of a woman of great intellectual capacity who finds herself excluded from the spheres of power and action (Knox 314). It is this exclusion that leads her to the inexcusable action of killing her children, or is it so inexcusable? When focusing on Euripides intent one might see that: Euripides made Medea herselt choose to murder ner chi Idren as the hurtful part of her revenge against Jason. It perhaps sounds at first as if this might tell in favor of the idea that Euripides was hostile to women. But in fact it turns out to have quite the opposite result, because of the way Euripides treats his material Euripides has created this new Medea who chooses to kill her own children. He condemnation the murderous deed: shows us with painful insight and utterly without mind of the woman who has the ability to do such a the torment before the final decision, the ultimate grief, and, here in he final scene, the inevitable results. Medea is now finally untouched, untouchable by human hands and by human emotions (March 35-36; 43). By this evidence it would appear that Euripides has molded a woman for women. Unfortunately, while the presentation of this piece could certainly cause a discomfort among male audience members, it equally might encourage greater suspicion and scorn by males of females. Euripides Medea questioned prevailing norms and beliefs, primarily those of the heroic masculine ethic, though perhaps at the expense of women, and not in their support. The meaning of Euripides words cannot be eciphered simply by picking and choosing sections of the play to analyze. To understand his intent there is the need to understand the totality of the narrative as well as the audience he wrote for. Playing to a primarily male audience, Euripides does not introduce Medea immediately but has the chorus and nurse tell of her first, giving the audience a misconception of Just how much power the woman holds. In fact supported by Medeas cries of anguish heard offstage she is first represented as emotional and submissive. By Euripides authorial intent, he lulls the audience into a state of pity here there should be fear. Skillfully contrived is the choral passage in which we first hear the agonized voice of Medea from offstage. If we had been prepared to see a woman of monstrous power and witchery, a being of preternatural passion and resource, we are deceived (Musurillo 54). Medea is first painted as nothing other than what you would expect of a woman, a merit of pity though not empathy, however when first seen she shifts to reasonable and calculating. Returning to analyis of her first speech, one can more deeply apply what she is saying to her situation. Her eloquent first speech on the wrongs of women deceptively applies only in part to herself. For Medea is far from the passive victim of marriage and masculine brutality that she claims to be (McDermott 259). Within the world of the play Medeas deception makes sense in winning the approval of the chorus, however to spectators the mismatch of her words to her situation carries a different meaning. It paints a new picture and a new woman who is willing to exaggerate and lie in order to achieve her goals. It becomes clearer as the play progresses that Euripides initial ortrayal of Medea serves as a baseboard for growth from helpless to dangerous, parallel to the audience reaction as it stems from pity to loathing. An ancient Athenian audience would have found little to no fault in Jasons actions, by a public standard, Jason satisfied his marital obligation toward Medea and returned favor for favor by bringing her to Greece (Walsh 295). This leaves it to Medeas character to be the cause of any unsettlement. Her ultimate action of killing her children, makes her most territying, tor sne is not a victim and not vulnerable†that is, not teminine†yet he has been identified as and with other women (Rabinowitz 132). With this information, only fear is struck by Medea in the name of women. Regardless of Euripides intent, proto-feminist, misogynist, or most likely of all neither, his audience rests at the wrathful hands of a powerful woman, but empathy is unlikely. It is important however, to take into account various audiences beyond simply that of Euripides time. A present audience interprets a performance of Medea much differently than ancient Greeks would have and there are countless Medea inspired adaptations which ancient Greeks never had the chance to experience. It is these productions and these audiences that are next to be studied on the road to feminism. To approach from another end of the spectrum, a drastically different style of performance than that of western culture may be studied. Carol Sorgenfrei provides this with her 1975 work, Medea: A Noh Cycle Based on the Greek Myth. Noh theatre, like many traditional Japanese theatre forms, prioritizes stylization above realism in performance, a practice that aligns well with a myth of murder and revenge. The stylization draws away from the brutal acts, allowing the audience a chance to accept Medea for her motives instead of unquestionably condemning her. By adhering to the structure of Noh, Sorgenfrei creates a world where time, place, and gender are transcended in favor of larger-than-life emotions and issues (Edelson 1). It is also worthy of note to state that Noh theatre is an all-male performance style (as it would have been in ancient Greece as well). One might take it upon themselves to understand by this knowledge that the theatre form is inherently sexist, yet, since the 1960 s, theater practitioners have drawn on these traditional forms to rediscover feminine and feminist messages (2). Furthermore the stylization and art that go into the intricacies of embodying a female are no Joke within the ritualistic practice. As denoted in the title, Sorgenfreis piece is a cycle play referring to the five different plays that would be performed in a traditional Noh performance. These plays are thematically based, in the order of God, Warrior, Woman, Frenzy, and Demon. Drawing inspiration from Noh style, Sorgenfreis Medea, develops the Medea myth through her plays five scenes, which progress through the different traditional categories despite the thematic linkage (2). As for the audience of this particular performance, it is no surprise that not only is it drastically different than that of Euripides and ancient Greece but also vastly different than that of Zeamis and the fifteenth century (the roots of Noh theatre). Sorgenfrei writes very consciously for a feminist audience in 1975. This retelling of the Medea myth from a female point of view in a beautifully feminine style of Japanese theatre, despite its male performance history, allocates the piece among cultural feminism, praising what is feminine while still acknowledging the differences among men and women. Feminine, however, is not the same as feminist. For that title we might analyze Medea in the fourth scene, the frenzy play, where Medea gives birth to herself as the Sun God. In one sense, the birth metaphor is emblematic of the mother/daughter bond, but its glorification of motherhood also implies that a womans self-fulfillment can best be attained by fulfilling her biological capabilities (Dolan 30). Seeing as Medea is a mother to herself though, it would appear that Sorgenfreis intent is that, birth is a metaphor tor revealing ones true selt, becoming oneselt, independent ot a partner or arents. Not only does Sorgenfreis Medea serve as the antithesis to the glorification of motherhood, but she also subverts the concept of birth as something that can be successfully and independently accomplished without the aid of man (Edelson 6). If this transformation is not convincing enough, then the transformation of Jasons character in the final demon play certainly thrusts the play into feminism. At this point in the cycle play Jason and the children reveal themselves as demons and, by displacing Medea and focusing solely on Jasons (and the childrens) transformation n Demon Play, Sorgenfrei forces the viewer to explore the cause of Medeas suffering instead of only investigating the effect of her actions (7). The audience, throughout Sorgenfreis production, due to the stylization of noh performance as well as the cycle transformations, is able to question Medeas past and her motives instead of assuming the worst from the start. Sorgenfreis as well as many other variations of Medeas tale open the doors to inquiry for viewers. As performances vary, so does the message of femininity, but it really comes down to the character herself and the motivation behind her actions. If her strength is solely for the sake of revenge then women lose merit, however if she acts in defiance to a patriarchal society she is a voice for feminism. In studying the woman we might discover hints as to whether or not she, as a character, is a feminist. The obvious first argument is that feminism is not an option for Medea as a character. The time period in which she is set in the play and in which her character was created do not allow such a term. However, for the sake of this paper and staying true to the idea that characters never die, it is now assumed that she is still alive oday and thus feminism exists. Now, to discover whether Medea is a feminist or not it seems vital to set aside any notions of her being simply a victim of patriarchy. To see her only as such is to exclude very important aspects of her character which tie her to humanity. It is her darkness that is relatable and takes her beyond a pitiable subject to be observed. It is the independence throughout her struggles that makes her more than two dimensions. Medea is a compelling character. Through plays, films, operas, paintings and novels, we have heard her story told again and again and e remain fascinated by her. Our fascination is not without reason, for Medea brings us face to face with darkness that lurks within anyone and catastrophe that can befall any marriage. We watch and listen to her because she speaks to us of ourselves (Fuller 3). Her story is not uncommon, the betrayal of a spouse and the desire for revenge. This theme can be found reinterpreted within films such as War of the Roses and The First Wives Club. Both embody the spirit of Medea, the story of a woman who gives up everything for a man only to be left for a younger woman. So it s seen that the character lives and changes as time passes. What these film adaptations lack is the darkness that individualizes Medea and the accumulation of this darkness to the point of murdering her children. However, this theme too may be found in literature such as La Llarona and even in history such as the Andrea Yates trial. Its clear that Medea, even in her darkness, is an influence to art and to life, but another question rises in this darkness. By throwing her maternal nature aside does she also discredit the female race or does the strength it takes to murder ones own hildren become commendable? Motive is the question at hand and Medea does nerselt no tavors at tirst glance . The decision to murder ner children in return tor the joy she will receive in witnessing Jasons anguish gives Medea little respectability. It is precisely at this point, where rage and pain and revenge come together, that Medea creates a problem for feminism (5). She flaunts her immorality, showing no remorse whatsoever for her actions. While it is admirable of a woman to overcome her situation, Medeas display of heartlessness after the fact of murdering her hildren leaves her alone, independent, and selfish. On the other hand it is so difficult to grasp the understanding of killing a child and the action is so inconsistent with Medeas prior feminism. Her original revenge was upon Creon, Jason, and his bride. It is reasonable to consider based off this knowledge that Medeas hand was moved by the authorial intent of Euripides rather than by her own will. Perhaps this was essential though, perhaps with a loss of darkness comes a loss of complexity and then what need would there be to discover why this troubled woman acted as she did. There would be no question of her feminist nature because there would be no care. A last note on Medea herself, she is not human, at least not fully. She is a mythical creature who by the end of the tale is taken into the sky by a chariot. So, take into account the action that takes place within other greek myths, birth from Zeus thigh, rape by Zeus in the form of a swan (among other animals). By these mythological standards is child murder something that can be Judged by mankind? By keeping in mind that Medea has a part of the divine within her, her actions become less of an atrocity and more of a symbol. Seen in this light, that Medeas are not the acts of a literal person but rather are symbolic, the child murders then become more understandable (11). Her children too then become a symbol of her marriage which is destroyed and thus the children must be destroyed. Seldom do women, let alone feminists, act out so much as to murder their children over the betrayal of their husbands, but divorces and custody battles do not stray too far from it. Medeas actions, when taken literally, may be unforgivable by a feminist society, but symbolically she hits right on target. Children become the battleground for the arents rage and disappointment and most often they are the collateral damage in the marital wars (13). Medea lives on, struggles on with a voice unafraid to speak out against the wrongs done to her. This is the voice that feminists cling to while they avoid acknowledgement of the rash action of murder. When it comes down to it though, Medea is studied because she is relatable, darkness and all. In order for a woman to know herself, she must come to terms with her own capacity for darkness, rage, and power and this is what Medea has to offer. There has yet to be an adaptation in hich she experiences the same pain and anger without the result of destruction, but maybe that is the standing lesson. Medea continues to struggle because women continue to struggle and as women evolve so shall she as she has before. In order to stand for women, it is not essential to be a model woman, only to continue on in the struggle, to continue fighting, and so she does.

Democracy Essay -- Politics Voters Voting Essays

Democracy In the 2000 presidential election, less than 59% of our population saw fit to even vote. 80.5% of those voting were white, that's roughly 60% of the white population. Of the meager 19.5% of the vote the non-white population represented, less than 51% of non-whites able to vote actually did (Census). What does this mean? How can democracy – a republic like ours – correctly function without a more complete representation of opinion from its people? Former UCLA Law professor Julian Eule argued in his essay â€Å"Judicial Review of Direct Democracy† that the framers of our constitution set up the republic to in effect protect us from ourselves, to protect us from this sort of majority rule.(Eule) I believe that this misrepresentation is responsible for racist legislation and legislators. A recent NAACP resolution stated "The American people deserve political leaders who make clear, concise and well-reasoned decisions based on fact and clearly informed by all people involved, not leaders that perpetuate erroneous assumptions and ill-informed deductions based on racial and ethnic stereotypes," in reference to North Carolina Representative Howard Coble's remarks supporting former president Roosevelt's internment of the Japanese during World War II. (NAACP) The japanese internment has long been a dark blot on American history, but this legislator, this elected legislator seems to not represent a majority opinion of the people he represents. As well, NAACP president Kweisi Mfume remarked "President Bush continues to nominate right-wing extremists to the federal bench," in reference to the proposed confirmation of Jeffrey S. Sutton as a 6th Circuit Appeals Court judge, a position that demands a truly neutral position. Jeffrey S. ... ... the Total Voting-Age Population, by Sex, Race, and Hispanic Origin, for States: November 2000 US Census Bureau 27 Feb. 2002 <http://www.census.gov/population/socdemo/voting/p20-542/tab04a.txt> Julian N. Eule, â€Å"Judicial Review of Direct Democracy, â€Å" 99 Yale Law Journal 1503 1990. Anti-Affirmative Action Proposition Passes In California CNN AllPolitics 6 Nov. 1996 <http://www.cnn.com/ALLPOLITICS/1996/news/9611/06/ballots. california.209/index.shtml> University of California Engineering Enrollment Rates (Undergraduate) Career Recruitment Media, Inc. 2003 <http://www.graduatingengineer.com/articles/minority/05- 01-01-t1.html> ACLU Says Expected White House Brief Opposing Minority Equality in College Admissions Shows Lack of Commitment to Racial Justice ACLU 15 Jan. 2003 <http://www.aclu.org/RacialEquality/RacialEquality.cfm?ID= 11620&c=134>

A Summary of John Irving’s ‘A Widow For One Year’ and ‘The Fourth Hand’

In A Widow for One Year. Ruth Cole, the central character, is a successful American novelist whose writings reflect a deep need to make sense of her life.Born in 1954, the daughter of Ted and Marion Cole, is the replacement child for her two brothers, Thomas and Timothy, who were killed at ages sixteen and fifteen in a terrible automobile accident. Even though her brothers are dead, their memory remains a presence from which the family finds no relief. The mother, Marion, attempts to assuage her grief for her lost sons by hanging photographs of them on all available wall space.She bitterly blames her husband Ted for their sons' deaths, and she resents him for convincing her to have another child. She does not hate Ruth, but, preoccupied with her own loss, Marion is often unaware of her daughter's presence and she is afraid that she will transmit her grief, like a disease, to Ruth.Ruth witnessed her parents' divorce when she is four years old, followed by the disappearance of her moth er, Marion, who apparently feels that Ruth's father, Ted, although a womanizer and a drunk, will be the better custodial parent. Ted, a writer and illustrator of children's books, has hired sixteen-year-old Eddie O'Hare to serve as his errand boy, designated driver.When Ruth is four in that summer of 1958, she witnesses a primal scene, between her mother and Eddie O'Hare. She never forgets it, though she forgets some of the details. Eventually she comes to understand the relationship between Marion and Eddie and even to understand why her mother left. Ruth loses more than her mother, however; she also loses the brothers she knew only through the photographs. By the time Ruth is thirty-six (almost the age Marion was when she left Ruth), she is an internationally known writer, who gives readings to promote her novels. At one of these readings in New York City, she meets Eddie O'Hare again.Eddie is also a writer–of romance novels-and he introduces Ruth, who reads from her novel about a widow for one year. Ruth, contemplating marriage to her editor and possible parenthood, learns from Eddie why Marion left her with Ted and prepares to get on with her life; before she does so, however, Ruth will witness a murder in Amsterdam and Ted Cole will commit suicide.In the novel's concluding portion, Ruth gives birth to a son, her husband dies, and in 1995 she will get remarried, after one year, to the Amsterdam policeman who closed the books on a serial killer using Ruth's anonymous testimony. Soon thereafter, Marion reappears on the scene, reunited with Eddie, having achieved some success as a mystery writer in Canada.If someonÐ µ adores A Widow for OnÐ µ YÐ µar, one may bÐ µ a bit disappointÐ µd in ThÐ µ Fourth Hand. The main charactÐ µr of thÐ µ story, handsomÐ µ TV journalist Patrick Wallingford is obsessÐ µd with minutÐ µly dÐ µscribed onÐ µ-night stands.   HÐ µ is filming a package about an Indian circus, ThÐ µ GnÐ µsh, which is an Indian sym bol of nÐ µw beginnings whÐ µn a lion eats his lÐ µft hand. MeanwhilÐ µ, a total stranger in Wisconsin, Doris ClausÐ µn and hÐ µr husband Otto are obsÐ µssÐ µd with thÐ µ GrÐ µen Bay PackÐ µrs and with having a child.Mrs ClausÐ µn, seÐ µs a clip of it on TV, and writes to promisÐ µ Wallingford her husband's hand for transplant in thÐ µ evÐ µnt of her spousÐ µ's death. Doris cajolÐ µs Otto into willing his lÐ µft hand to Patrick and her husband shoots himsÐ µlf dead on the night of thÐ µ 1998 Super Bowl, and his hand is flown to Boston whÐ µre a brilliant surgÐ µon transplants it to Wallingford's left forÐ µarm. With the hand comÐ µs the griÐ µving widow, who has some intÐ µresting plans of hÐ µr own for the lucky rÐ µcipient. Mrs ClausÐ µn flies to mÐ µet Wallingford, whom shÐ µ promptly seducÐ µs with an eye to childbÐ µaring.Famous hand surgÐ µon Nicholas Zajak is, for his part, obsessÐ µd with dog fÐ µcÐ µs–also describÐ µd in Ð µndl Ð µss detail–which hÐ µ scoops up with his old lacrossÐ µ stick and hurls at rowÐ µrs on the CharlÐ µs RivÐ µr. Zajak attachÐ µs Otto's hand to Patrick, and Doris demands visitation rights with Otto's hand, as wÐ µll as with Patrick's child-producing Ð µquipmÐ µnt. On her first mÐ µÃ µting with Wallingford, thÐ µy have sÐ µx, Wallingford rÐ µcognizing Doris's voicÐ µ as one hÐ µ hÐ µard in a vision in India whilÐ µ rÐ µcovering from his accidÐ µnt.Doris, dÐ µspÐ µrate to gÐ µt prÐ µgnant, has hÐ µr own agenda. ThÐ µ pregnancy takÐ µs more succÐ µssfully than the husband's transplantÐ µd hand, which is evÐ µntually rejÐ µcted. AftÐ µr a fritter of othÐ µr affairs, Wallingford throws himself at Mrs ClausÐ µn and finds true lovÐ µ.Bibliography Irving, John. A Widow for One Year. New York: Random House, 1998Irving, John. The Fourth Hand. New York: Random House, 2002

Marketing American Culture - 1175 Words

Marketing American Culture The average adult in the United States will look at the mirror and think that they have their life in control and do not feel the need to do anything about it. The average depressed adult may look and see a sad reflection, and upon seeing this they will seek out help, be it a doctor or a close friend. This is just an example of what the average American would do if they were sad, because in different cultures, people see depression differently because of various definitions of the condition itself. Depression in the United States is becoming as common as the cold, but only because that’s the way depression treatment is marketed. Marketing itself means the methods by which products are advertised and sold, and†¦show more content†¦For example, in a relationship, if one person feels they need to improve themselves, they’ll just try to fix themselves on their own instead of seeking out help from others and this just may not work, further deteriorating the relationship. Similarly in Watters’s essay, â€Å"The Japanese, on the other hand, conceive of a self that is less individuated and more interconnected and dependent on social and environmental contexts† (Watters 522). This is contrary to Twenge’s argument because the Japanese focus on each other and their environment rather than themselves. It is important to understand what depression means and it is rather complex because different cultures see depression differently. Watters states in his article, â€Å"A rural Chinese farmer might speak only of shoulder or stomach aches. A man in India might talk of semen loss or a sinking heart of feeling hot† (Watters 517). 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