In Christine Evan’s play Trojan Barbie, a vacationing, English, doll repairing tourist by the name of Lotte is hastily taken hostage into the ancient world of Troy’s Trojan Women Camp, while on a singles-tour of modern day Troy. This piece, written in 2009 for Evans niece pays homage to the classical tale of Euripides Trojan Women, revived with a 21st century take on the current times less than fiction reality of warfare and sexual politics. However, Evans also assists in updating the foundation of the piece by introducing the character of Lotte into the scene. Though Lotte is on tour at the time she very much serves as a tour guide for the audience throughout the play. Although she may not be a major character such as a lead or a villain, …show more content…
For example, Hecuba’s role is to represent the opposite of Lotte, she is a woman of the past deeply tied to the roots of the original text from which she hails. Therefore, when Hecuba and Lotte assist one another in repairing the deceased Astyanax, the core character of the present, and the core character of the past display the ties between women over thousands of years, as for a moment the worlds come together. Furthermore, Evans dives deeper by using artistic freedom with many other characters, yet none more than with Polly X- whom is mentioned in the original text yet never …show more content…
Reference of tigers and yellow are mentioned on numerous occasions during Polly’s time with the soldiers. Objects such as the rat’s eyes in the art sculpture Polly observed, or the yellow of the beer described as yellow represent the ill nature of the events occurring along with the prevalence of the tiger to represent women. Jorge, the solider who eventually falls in love with Polly, speaks of tigers and how they perform better when they have a single master teaching them rather than a group of instructors attempting to tell them what to do. He demonstrates this by taming the tiger until it goes submissive. However, the tiger strikes and eventually bites Jorge during Max’s sexual assault towards Polly, demonstrating the taming of sexual politics and the way they may turn and attack. In addition, it demonstrates the thought where one may be submissive, yet underneath harness aggression and horrifying
This website article provides the history of Barbie and her newly inspiring images for young women. Barbie was the new popular doll during World War 2 because she provided something inspiring for young girls and something that mothers felt strong about, independence. Barbie helped with what was being told to women, that they didn’t have to settle for being just a housewife or a stay at home mother. Women around the country could have a variety, a choice to work and have a career. “Barbie’s early professions were limited
In class we have discussed in great detail the historical background of classical Greece and Aristophanes’ play Lysistrata. Although Aristophanes’ play Lysistrata serves as a useful insight for women’s history during an era in which not a lot of information exists or can be verified, it widens the door to women being mocked and seen only as a form of entertainment.
Distraction, lack of education, disinterest and misinterpretation; every one of these words describe a reason people give for being uniformed and unaware of the current events swirling around them. In an effort to try and remedy the lack of awareness about the problems plaguing the country, many artists and entertainers use satire, a literary device which merges a critical attitude with humor and wit to the end that human organizations or humanity may be improved (Harris), to keep the general public, somewhat, informed. Often times, movies, comic strips, music, literature and television shows are used to satirize current events, political views and different morals.
“If Barbie was designed by a man, suddenly a lot of things made sense to me,” says Emily Prager in her essay “Our Barbies, Ourselves” (Prager 354). Prager’s purpose for writing this essay is to explain the history of Barbie and how the doll itself has influenced and continue to influence our society today. Prager is appealing to the average girl, to those who can relate to the way she felt growing up with Barbie seen as the ideal woman. Emily Prager uses a constant shift between a formal and informal tone to effectively communicate her ideas that we view women today based upon the unrealistic expectations set forth by Barbie. By adopting this strategy she avoids making readers feel attacked and therefore
206 paragraph one, (line 1), Sandra Cisneros reveals a model of how girls see themselves in the future. The girls felt the dolls represent the same story and scenario each time they came together and play with each other. The attitude, style and quality of dolls. The interchanging of clothes, character's likes and dislikes as depicted the deception by a doll; from a child's point of view. The girls noticed that when the male Barbie doll drops by the other Barbie would steal him away. A typical boy meets girls; girl thinks boy is cute; boy leaves with the opposite girl. This is a reflected of Sandra Cisneros’s short story "Barbie-Q, "p. 206 , paragraph 1 , (line 2 , 3 , 4 , and 5 ) . The girls are tired of the social scene the boy Barbie represents. They only want to play among themselves without any boys. The girls enjoyed looking forward to Christmas and receiving gifts of clothes for their Barbie dolls. This is also, reflected in the insults the girls shared among their future Barbie dolls. In the short story "Barbie-Q,” by Sandra Cisneros, the girls enjoyed going to the flea market, purchasing used clothes for Barbie dolls. Barbie dolls meant so much to the two little girls because they didn't care if their Barbie dolls were wearing hand-me-downs; second hand doll clothing sold alongside the street. The joy came from undressing and dressing up the dolls. The girls even found career clothes to match up to their doll's future. In the short
The representation of female characters in the work may initially come across as acting irrationally, but closer examination shows that in fact their motivations were guided by contemporary values and therefore are more reflective of more positively portrayed characters.
Foley, Helene P., and Sean Gurd. "Female Acts in Greek Tragedy." Phoenix 57.1 (2003): 150-
“Lysistrata,” written following the trouncing of Athenian forces in Sicily in 413 BC, harkens back to this time of war. As is traditional in Athenian theater, males in drag played all of the female parts. This ritual increases the play’s absurdity. The play begins with the streets empty as the men are at war. The women speak to each other of both emotional and sexual starvation. They both
Euripides, one of Ancient Greece’s most famous playwrights, could be considered as one of the earliest supporters of women’s rights. With plays such as Alcestis and Medea, he clearly puts an emphasis on the condition of women, and even integrates them in the Chorus of the latter play, a feat that was not often done in Ancient Greece. Throughout the years, it has been argued that the two central characters in each of those plays offer conflicting representations of women in those times, and I can safely say that I agree with that argument. I will expand on my view by pointing out an important similarity between Alcestis and Medea, followed by a key difference, and will finish it off by contrasting them with the Ancient Greek depiction of an “ideal woman.”
“Lysistrata” is a tale which is centered around an Athenian woman named Lysistrata and her comrades who have taken control of the Acropolis in Athens. Lysistrata explains to the old men how the women have seized the Acropolis to keep men from using the money to make war and to keep dishonest officials from stealing the money. The opening scene of “Lysistrata” enacts the stereotypical and traditional characterization of women in Greece and also distances Lysistrata from this overused expression, housewife character. The audience is met with a woman, Lysistrata, who is furious with the other women from her country because they have not come to discuss war with her. The basic premise of the play is, Lysistrata coming up with a plan to put an end to the Peloponnesian War which is currently being fought by the men. After rounding up the women, she encourages them to withhold sex until the men agree to stop fighting. The women are difficult to convince, although eventually they agree to the plan. Lysistrata also tells the women if they are beaten, they may give in, since sex which results from violence will not please the men. Finally, all the women join Lysistrata in taking an oath to withhold sex from their mates. As a result of the women refraining from pleasing their husbands until they stop fighting the war, the play revolves around a battle of the sexes. The battle between the women and men is the literal conflict of the play. The war being fought between the men is a figurative used to lure the reader to the actual conflict of the play which is the battle between men and women.
...elings and portrays them through the main character Elphalba. It is as if he is taking a part of himself, the part filled with rage and frustration, and building the character Elphalba with it. She is the feminine, yet somewhat masculine, part of him revealing itself through the book.
In the plays Medea and Hippolytus, both by Euripides, the female psyche is a point of focus that is not explored in many other Greek tragedies. Through these plays, we can discover the way women were viewed in Ancient Greek society as well as their concerns. We can also pay attention to how women are portrayed differently between the two plays.In Medea and Hippolytus, the women we spend the most time with are Medea and Phaedra. These women have vastly different values, but the cunning and determination they use to get their ways are not as different as one may believe.
In the book “Gender Trouble” (1990), feminist theorist Judith Butler explains “gender is not only a social construct, but also a kind of performance such as a show we put on, a costume or disguise we wear” (Butler). In other words, gender is a performance, an act, and costumes, not the main aspect of essential identity. By understanding this theory of gender as an act, performance, we can see how gender has greatly impacted the outcome of the play in William Shakespeare’s Othello. From a careful analysis of the story, tragedy in Othello is result of violating expected gender roles, gender performance by Desdemona and Othello, and the result of Iago’s inability to tolerate these violations.
Stone, Tanya Lee. The Good, the Bad, and the Barbie: A Doll's History and Her Impact on Us. New York: Penguin Group, 2010. Print.
...ale counterparts are uncharacteristic of the stereotypical role that women served and their masculine-like actions are not representative of a woman’s role in ancient Greece. Aristophanes’ Lysistrata is inconceivable and it appears that the author ignored many issues in light of comedic attributes. However, the play, filled with misogynistic undertones, will remain a war-comic. There is no pro-feminist movement occurring within the confines of the play or in classical Greece. The female protagonist is an example of the dangers of role reversal that Katherine French and Allyson Poska highlight in Women and Gender in the Western Past and the false identification or hope that Lysistrata presents. A play noted for its entertainment value should not be used as a source for women’s history. Lysistrata is theatrically entertaining in value and should remain as such.