Free PDF The Hungry Woman: The Hungry Woman: A Mexican Medea and Heart of the Earth: A Popul Vuh Story, by Cherrie L. Moraga
Hungry Woman: The Hungry Woman: a Mexican Medea and Heart of the Earth -A Popul Vuh Story (408).pdf writen by Cherrie L. Moraga: In The Hungry Woman, an apocalyptic play written at the end of the millennium, Moraga uses mythology and an intimate realism to describe the embattled position.
Moraga was born on September 25, 1952 in Los Angeles County, California. In her article 'La Guera' Moraga wrote of her experiences growing up as a child of a white man and a Hispanic woman, stating that 'it is frightening to acknowledge that I have internalized a racism and classism, where the object of oppression not only someone outside of my skin, but the someone inside my skin.' The Hungry Woman, Cherrie Moraga - Free download as Word Doc (.doc), PDF File (.pdf), Text File (.txt) or read online for free. Feminist theatre.
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The Hungry Woman: The Hungry Woman: A Mexican Medea and Heart of the Earth: A Popul Vuh Story, by Cherrie L. Moraga
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In The Hungry Woman, an apocalyptic play written at the end of the millennium, Moraga uses mythology and an intimate realism to describe the embattled position of Chicanos and Chicanas, not only in the United States but in relation to each other. Drawing from the Greek Medea and the myth of La Llorona, she portrays a woman gone mad between her longing for another woman and for the Indian nation which is denied her.
In Heart of the Earth, a feminist revisioning of the Quichí Maya Popul Vuh story, Moraga creates an allegory for contemporary Chicanismo in which the enemy is white, patriarchal, and greedy for hearts, both female and fecund. Through humor and inventive tale twisting, Moraga brings her vatos locos home from the deadly underworld to reveal that the real power of creation is found in the masa Grandma is grinding up in her metate. The script, a collaboration with master puppet maker Ralph Lee, was created for the premiere production of the play at The Public Theater in New York in 1994.
In a Foreword to this edition, Moraga comments on her concerns about nationhood, indigenism, queer sexuality, and gender information.
Cherrie Moraga Pdf
- Sales Rank: #311273 in Books
- Published on: 2001-12-31
- Original language: English
- Number of items: 1
- Dimensions: 9.02' h x .51' w x 6.40' l, .59 pounds
- Binding: Paperback
- 176 pages
Most helpful customer reviews
1 of 1 people found the following review helpful.
Schizophrenia as a religious craze
By Dr Jacques COULARDEAU
This is a rewriting and expansion of the myth of Medea in a 'post-modern' and 'post-colonial' situation in America, where the South has become Aztlan due to a Mexican revolution that pays lip service to the old Aztec gods with Jason having an important position there; where the white society up North has cleansed itself entirely of any ethnic penetration; and where an in-between bumper zone is the survival locale of those who fit pn neither side, like for instance Medea, and whose capital is Phoenix.
Medea has been exiled by Jason with her son Adolfo/Chac-Mool from Aztlan. She tries to go back to the Indian traditions of the Aztecs.
The music is Pre-Columbian. The chorus of four women represents Cihuatateo, four warrior women who have died in childbirth. They embody the four directions and four colors of Aztec tradition: East and red, North and black, West and white, South and blue. They play most parts except Medea, Luna, Chac Mool and Mama Sal. All characters are held by female actresses except Chac-Mool who is the only male on stage.
Medea is living the life of a lesbian with her lover Luna though she protests she is not a lesbian. She is a complicated woman, the mother of a son, only one - though she wanted a daughter to take care of her in old age and to spite her husband Jason already that long ago if not from the very start - and that son is getting of age - thirteen - to answer the call from his father to go back to Aztlan.
The fact that all characters but one are females shows an essential point in Medea's vision. She sees the world as purely feminine and woman as a pure mother, and a mother is only satisfied when she is the mother of a daughter. We are definitely inside Medea's total schizophrenia dressed up as an Aztec myth. The key is given by Cihuatateo East who tells us the creation myth, Aztec style.
' Creation myth. In the place where the spirits live, there was once a woman who cried constantly for food. She had mouths everywhere. In her wrists, elbows, ankles, knees. . . And every mouth was hungry y bien, gritona. Bueno, to comfort la pubre, the spirits flew down and began to make grass and flowers from the dirt brown of her skin. From her greñas, they made forests. From those ojos negros, pools and springs. And from the slopes of her shoulders and senos, they made mountains y valles. At last she will be satisfied, they thought. Pero just like before, her mouths were everywhere, biting and moaning. . . opening and snapping shut. They would never be filled. Sometimes por la noche, when the wind blows, you can hear her crying for food.'
The whole world was thus created from a hungry woman who was dismantled by the spirits, each part of her body becoming one element in the landscape and her mouth which was everywhere in her body found itself everywhere in the world.
Note the spirits being hostile to that woman - though you can always say they tried to satisfy her - you may understand these spirits were males, though there is no real indication of the fact and the only goddess mentioned in the play is Coatlicue, the goddess represented by the moon, the full moon. She is the goddess of all mothers who died in childbirth. We find that Medea's lesbian lover, Luna, is only the representation of this goddess.
Medea's problem is that she is a woman only in her motherhood. So she cannot accept her son departing to join his father in Aztlan where Jason is to marry a teenage local Apache girl who is barren. She gives him a territory but he needs his son to have a descent.
Medea cannot refuse that departure but she can help her son on his departing night to have some good sleep. She puts him to sleep forever just not to be reduced to nothing by being deprived of her son and consequently of her motherhood.
The lesbian debate is a false debate since Luna is the goddess Coatlicue and lesbianism makes Luna barren to motherhood, hence dependent on Medea's love.
She accuses Coatlicue of treason then and she starts ranting and raving after her crime about how the male god of war who is the son of her mother Coatlicue and thus her brother beheaded her when she was still a child.
This story is a way to explain her devotion to la Luna, her real goddess, and Medea closes the tale by killing herself in a dream of her own where she is served the poison by Chac-Mool who is dead as we know. And Medea's formula is absolutely frightening when she serves the poison to Chac Mool: 'Sleep the innocent sleep of the children.'
She dies when giving birth to herself and to do that she had to kill her son who then could kill her in the psychiatric hospital where she had been institutionalized, a metaphor of her total escape from the human world. Hence her son coming as a ghost to deliver the poison to her is the symbolical suicide her own crime is necessarily going to bring to her. She will not be negated in her motherhood but she will be negated in her own life.
This becomes a whole metaphor of Chicana women who are nothing outside motherhood, who are goddesses when dying in childbirth, who have to deny men to remain mothers, hence to turn to lesbianism and eventually kill their own sons to save their schizophrenic vision, because these women are schizophrenic.
If there is any future to Chicano culture, to the resurrection of Aztec culture, it will have to come through a vast slaying of fathers and sons in the name of mothers.
That cleansing can come with sleep and not by shedding blood, but men will have to be transmiuted, but that is a vicious circle because then the sons thus transmuted will put their mothers to sleep the same way. The only solution is the end of humanity. If that is not schizophrenic what is?
And the hungry woman will forever reign in the world. If that is not a Post Genocide Traumatic Stress Syndrome what is?
Dr Jacques COULARDEAU
0 of 0 people found the following review helpful.
cheap book to read for class.
By Zen
Class requirement book I needed to read.
>>>>>Warning harsh language and cursing in book>>SPOILER
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The detailed illustrations of the decadent scenes in Monsieur Venus seem to be vividly translated between French and English. The language used in our edition seems as poetic as I imagine the passages would be in the original French.
As with any work in translation, however, there are certain aspects of Rachilde’s story that cannot be explored as thoroughly in our language as in the original. In Monsieur Venus, the subtle alterations of the French pronouns (particularly “tu” and “vous”) do not carry over into our English copies. Luckily for us, the thorough footnotes in Melanie Hawthorne’s translation of the novel give her readers some insight to the thematic significance of the pronouns used throughout the text. The pronouns begin flipping between the formal and informal “you” in Chapter Three.
In this chapter, the reader witnesses Raoule fighting with herself to figure out how to shape her relationship with Jacques. As she pulls aside the curtain to reveal him bathing, she cries “Child, do you know that you are marvelous?” (42), and uses the “tu” form for the first time. This is appropriate, as noted by the footnote, considering that she is addressing him as a child, but it is even more so interesting that Raoule continues to address Jacques in this informal register for the remainder of the chapter. The language she uses degrades Jacques status and serves as a reminder that the characters are of very different social classes, which relates to their status within their intimate relationship as well.
Home Work Handbuilt Shelter Pdf Viewer;. - Difference Between Prokaryotic And Eukaryotic Cell Pdf Converter;. The Hungry Woman (2001). Cherrie Moraga sparked a controversy over her discussion of transgender people in queer communities. Cherrie Moraga. Women Studies 2.
Raoule is able to dominate Jacques because plays the power-hungry masculine role in their intimate relationship and also holds more social power in their public relations. The “you” pronoun is later used to characterize Raoule and Raittolbe as members of a higher social class when they respectfully address each other in the “vous” form in Chapter Four, which Hawthorne notes is a stark contrast to the relationship between Raoule and Jacques. Jacques would not dare use the “tu” form with Raoule throughout the beginning of the book and all the way until the end of Chapter Four. This is significant because Rachilde develops a complex relationship triangle between the characters of Raoule, Raittolbe, and Jacques, and the “you” form reveals the variations of class and levels of intimacy between the three characters.
In Chapter Six, the simple “tu” pronoun is extremely significant because the informality with which Raoule addresses Jacques in front of Raittolbe unintentionally indicates to Raittolbe that the other two characters are sexually intimate. There are many other examples of “tu” and “vous” indicating the transgression of class lines and degrees of intimacy throughout the novel. Just to mention a few more significant passages, at the end of Chapter Nine during Raittolbe’s moment of homosexual panic, he insults Jacques as a “scoundrel” using the “tu” form.
This word choice emphasizes Raittolbe’s ability to degrade the value of Jacque’s social status due to his belonging to a higher class. In Chapter 10, Marie reveals that she has an intimate relationship with Raittolbe by addressing him in the “tu” form, which is also significant since she belongs to the same class as her brother, Jacques, yet can use this informal register to address someone from a higher class. In Chapter 14, Raoule’s aunt distances herself from Raoule by addressing the character in the “vous” form instead of the more familial, informal way. Also, throughout the duel scene near the end of the story, Raittolbe and Raoule alternate between using the “tu” and the “vous” forms to emphasize the variations between their personal relationship and their relationship to their society as indicated by social class. In all of these examples, Rachilde manipulates the second person pronoun to indicate more than just which character dialogue is targeted towards. The pronoun indicates degrees of intimacy, respect, and status.
The extent to which the meaning of “you” alters throughout the book nearly makes it feel like a homophone/homograph. The variations of the pronoun are easily recognizable in the French edition, but without the footnotes would be devoid of meaning in the English translation. This is somewhat worrisome because the variation of the pronouns in Rachilde’s story serves as a useful strategy to develop the theme of transgressing not only gender lines, but also social classes in Monseiur Venus. If we are to lose the nuanced tension between characters that is so integral to the central themes of the story in our translation, what else might be lacking in a translated addition? What is the significance of pronouns in our own language—how does English similarly indicate boundaries of social class through the connotation of common words? How deliberate was Rachilde’s decision to flip back and forth between the “tu” and “vous” forms? What is the significance of grammatical and connotative discrepancies with any work in translation?