Aladdin: Feminism and Capitalism in Disguise

          Disney princesses don’t slay dragons, play sports, or save the world. Disney princesses are merely required to wait for their Prince Charming to come on a galloping horse and rescue them from distress. It is a fantasy that never needs to be questioned. Walt Disney has created a powerful and enormous market of entertainment that has quietly become a crucial part of American society today.

          An aspect of Disney that has differentiated itself from other corporations is that it has created a spectacle of innocence. It hides behind innocence in a way that allows itself to be tremendously powerful. It also has a kind of romance that allows audiences to treat Disney as the ultimate form of fantasy. However, behind the scenes, Disney has successfully encoded an ideology to young girls of how women ought to be treated and defined solely through a man. Is this not true? The first Disney princess to be created, Snow White (1937), is killed as her burgeoning sexuality is a threat to another woman. Her only asset, her physical beauty, is what saves her in the end as a prince decides to kiss her. Cinderella (1950) is saved from terrible living conditions by a prince. He does this, not because she is such a hard worker, but because she is beautiful. Sleeping Beauty (1959) is betrothed at birth and is killed by another woman. Her fiancé saves her with a kiss. Sexuality is her only salvation. Jasmine (1992) must marry to satisfy the requirements of the law. Her reluctance to do so causes her father much trouble. She is then enslaved by an evil man and is only saved by the wit of a street rat.

          It may be strongly argued that Disney has successfully embedded a capitalist foundation beneath the romanticized world of Disney princesses. Gayle Rubin, author of The Traffic in Women, writes, “Women are oppressed in societies which can by no stretch of the imagination be described as capitalist” (Rubin 773). Rubin continues to examine the oppression that women have dealt with and continue to deal with in the society today. He provides an example in the Amazon valley and the New Guinea Highlands where “women are frequently kept in their place by gang rape when the ordinary mechanisms of masculine intimidation prove insufficient” (Rubin 773). Although Disney does not take it to the extreme with “rape” as an event in their stories, female oppression is clearly evident.

          Aladdin is Disney’s 1992 retelling of the famous tale from 1001 Arabian Nights of a poor “street rat” who finds a magical lamp that holds a genie who will grant his fondest wishes. The boy’s wishes are to be free of his status so that he may woo the love of his life, Princess Jasmine. In the end, the boy gains wealth and successfully woos Jasmine as he also wishes to become a prince. However, he must fight his adversary, Jafar, to gain the right to marry Jasmine.

          The overall theme of Aladdin may be argued to be the idea of “freedom.” Each dynamic character of the story seeks a form of freedom. Aladdin seeks to be free of his state of poverty and is dazzled by the possibilities that become available to him with the genie. Jafar seeks to be free of always being “second-best.” When he grabs a hold of the genie, Jafar wishes to become Sultan and then a powerful genie to be able to control the world. Jasmine feels trapped by her royalty position and seeks to be set free into the outside world. The Genie is trapped in his lamp with a lifetime of servitude and wishes to be set free and become his own genie.

          Although each character attains their freedom in some shape or form, Jasmine is the only character that remains trapped although she, too, appears to be set free. Jasmine makes it clear from the beginning of the story that she does not agree with the ways of royalty. She seeks to escape the world of rules and laws as she daydreams about life outside of the palace. She wishes to be independent and free but comes to a halt, as she is required by law to marry by her next birthday. She appears to be disgusted by all the suitors that come asking for her hand in marriage. By the end of the film, Jasmine is granted the freedom to marry the man she falls in love with and lives “happily ever after” as she and Aladdin fly away on a magic carpet. Everything appears to be magical, dreamy, and perfect. However, Jasmine does not gain the freedom she desires. The only chance at independence and individuality diminishes as she flies off into the moonlight with her husband. She is still under a man and identified through a man. This goes along with the Indian tradition of “Sati,” the forced or voluntary killing of a widow once her husband has passed away. This act greatly defines women in relation to their husbands and reinforces the idea that women must submit to men and cannot exist without their husbands.

          This concept of female oppression still exists today, only to be covered and veiled by religion or tradition – the same way Disney movies veil female oppression through innocence and magic. Khalid, an Islam, speaks on a defensive point-of-view regarding the head-coverings that women are required to wear any and every time they step out of their homes.

          He says, “The women covering their heads is not oppression. Their husband did not tell them to do that. Their father did not tell them to do that. Their son did not tell them to do that. God said for the Muslim ladies, ‘Draw your clothing across your bosoms and do not allow your natural ornaments to be shown except to those within your family circle.’” Although Khalid proves a strong point in his argument and further defends his point by comparing the lifestyle of nuns, a counter-argument drawn from a capitalist point-of-view is just as strongly present. He states that nuns are not of Islam but as women who have committed themselves to God, they cover themselves in honor of their religion and beliefs. However, Rubin writes, “Capitalism is heir to a long tradition in which women do not inherit, in which women do not lead, and in which women do not talk to god” (Rubin 773). Thus, the argument against the Islam tradition and culture would be that women do not talk to god and are unable to have such a relationship with god. How, then, would Islamic men convince outsiders that female oppression does not exist?

          In the same manner, Jasmine is repeatedly seen as a victim of female oppression throughout the story of Aladdin. A Feminist critique of Jasmine is present in the way she appears to be naïve and clumsy without the aid of a man. She does not understand the basics of life in the real world. Her first venture outside of the palace results in a disaster as the audience immediately realizes that she cannot survive in the real world outside of the palace. She has been too sheltered. She needs Aladdin to rescue her just moment after entering the market. ThinkQuest, an education foundation, writes, “The Indian women’s mortality rate is the second-highest in the world. More than 60 per cent of Indian women are illiterate. For every 1000 men, there are only 933 women in India, while the world’s average is 990 women for every 1000 men. Every year, of 15 million baby girls in India, almost 25 per cent do not live to celebrate their 15th birthday. Adult women take in approximately 1,000 fewer calories for one day than men in India. Every 34 minutes, a rape occurs” (ThinkQuest 1). Jasmine qualifies each description of the Indian woman. Although Jasmine is keen to her senses, she is never recognized for it by any character in the story. She swiftly jumps over a gap between buildings thousands of feet in the air, to which Aladdin does not verbally respond to at all. During Jasmine’s venture into the marketplace, she could easily have been killed without a moment of hesitation if it were not for Aladdin. Throughout the story, Jasmine does not eat once. Although she is given an apple, which is snatched from the dirty hands of a monkey, without taking a single bite, she hands it back to the monkey. Towards the end of the story, Jafar becomes Sultan. Once Jafar gains this power, Jasmine appears to wear a red, sultry outfit that signifies Jafar’s intentions with Jasmine to be purely sexual. Jasmine undoubtedly represents the realities of the oppressed Indian woman hidden behind the romanticized curtain of imagination and fantasy.

           Along with the sexual connotation of the Feminist critique of women, Rubin states that there is an “implicit theory of sex oppression” when it comes to the construction of women (Rubin 777). Aside from Jasmine, women are only decoration in the background of Aladdin. There are the matronly types and the scantly clad sexy girls in the market scenes, as well as the large woman who tries to be sexy ("still I think he's rather tasty") but is played for laughs. The Genie plays with gender stereotyping for laughs ("do I look fat?"), but we always understand that the Genie is male. Jasmine's mother is only mentioned once by the Sultan, who says she "wasn't nearly so picky” (IMSDb 1).

          Focusing on Jasmine’s appearance throughout the story, her outfits may very well stir up a controversy with Indian traditions but go hand-in-hand with the Feminist critique regarding sex oppression. The automatic impression of an Indian woman is a fully clothed woman with a shawl that gently rests on her head. Jasmine reveals exactly the opposite. Regardless of the occasion, Jasmine is always wearing a top that covers only her breasts and leaves her stomach and shoulders bare. She is presented in tiny clothes that correctly fit her tiny frame. Her head is covered with a shawl only when she leaves the palace and walks through the marketplace to appear “normal” and not of royalty. Rubin writes, “Sex as we know it – gender identity, sexual desire and fantasy, concepts of childhood – is itself a social product” (Rubin 774). This highly incorrect and sexualized image of the Indian woman is hidden behind the magic and fantasy that young audiences are enchanted by. In the same sense, the idea of sex and the business of sex slaves in India are hidden extremely well. A.K. Jayasree writes in his article, Searching for Justice for Body and Self in a Coercive Environment: Sex Work in Kerala, India, “There are no visible brothels in Kerala state in India, but commercial sexual activity goes on in numerous places. There is also very little documented information on the conditions in which sex workers live and work. Sex work is hidden very well” (Jayasree 58).

          Jasmine is also objectified. Ultimately, while Aladdin claims that Jasmine is not a "prize" and that she should have freedom and choice, it shows the viewer that for her there is no choice. Marriage is still a woman's ultimate and best destiny, and that the best that can be hoped for is a good and loving husband, not a separate life of one's own. And even in marriage, even though she gets the man she loves, it is not through her choice, but through her father's, who changes the law so that "the Princess shall marry whomever she deems worthy." Jasmine has no power; she cannot be Sultan, only the wife of the Sultan. In the end, Aladdin eventually wins Jasmine in a highly romanticized way so that the audience forgets her earlier claim as she says, “How dare you, all of you, standing around planning my future. I am not a prize to be won!” (IMSDb 1). Rubin writes, “The exchange of women does not necessarily imply that women are objectified, in the modern sense, since objects in the primitive world are imbued with highly personal qualities. But it does imply a distinction between gift and giver. Women are the gifts and the men are the exchange partners” (Rubin 779). Again, Jasmine is not the one with power. Jasmine is under the hand of a man from beginning to end, from Sultan’s daughter, to Sultan’s prisoner, and then to Sultan’s wife. Never is she seen to be the one "winning" another man and having power over them.

          Although Aladdin has won two Oscar awards along with fifteen nominations, the overall audience fails to take notice of the hidden Feminist and Capitalist foundation that is set in the story. Many young girls grow up wishing and fantasizing themselves as Princess Jasmine, waiting to be swept away by a prince on a magic carpet when in reality, they are wishing to become a victim of Capitalism.

Works Cited

Aladdin: The Complete Script. N.d. MS. Aladdin Script at IMSDb. Internet Movie Script Database. Web. 10 May 2010.

Jayasree, A. K. "Searching for Justice for Body and Self in a Coercive Environment: Sex Work in Kerala, India." Reproductive Health Matters 12.23 (2004): 58-67. JSTOR. Web. 10 May 2010.

"Man & Woman: The Age Old Struggle :: Female Oppression." Oracle ThinkQuest Library. ThinkQuest, Aug. 2007. Web. 11 May 2010.

Rubin, Gayle. "The Traffic in Women." Literary Theory: an Anthology. By Julie Rivkin and Michael Ryan. Malden, MA: Blackwell Pub., 2004. 770-90. Print.

Analysis #5: Orientalism

In Orientalism, Edward Said argues that orientalism founded itself in the idea of the West needing something to create itself against, ultimately creating the East as the "other." The Oriental is a single image, a stereotype that crosses countless cultural and national boundaries. Daisuke Nishihara, author of Said, Orientalism, and Japan, writes, "The Europeans defined themselves as the superior race compared to the orientals; and they justified their colonization by this concept. They said that it was their duty towards the world to civilize the uncivilized world. The main problem, however, arose when the Europeans started generalizing the attributes they associated with orientals, and started portraying these artificial characteristics associated with orientals in their western world through their scientific reports, literary work, and other media sources" (Nishihara 242). This concept is directly seen in Edward Zwick's film, The Last Samurai (2003), an epic drama film that was inspired by the story of Jules Brunet, a French army captain who fought alongside Enomoto Takeaki in the earlier Boshin War of 1868. Although the film did not seek to duplicate history, it may be argued to be the depiction of Said's idea of orientalism. 


The film begins in the summer of 1876, introducing Captain Nathan Algren, an ex-United States Army captain. Algren is ordered under the command of Lieutenant Colonel Bagley to train an army of peasants to take them into battle against a group of samurai rebels, as Algren later becomes their captive. The samurai rebels are introduced as savages, uncivilized, and in dire need of western colonization. Later in the film, the samurai are ultimately represented as the epitome of Said's argument as he states that the foundation of orientalism exists upon a group of stereotyped individuals without choice. Nishihara writes, "Has not the West as much to unlearn about the East as the East has to learn about the West?" (Nishihara 242). This concept is seen during Algren's captivity as the audience soon learns that it is in fact the Western culture that fits the characteristics of "savage" more precisely than the samurai. Algren learns that the foundation of the ways of the samurai rests upon order, respect, and peace, and is shocked to see that the stereotypes that have been placed on them are completely false. Despite Algren's status as a captive, he soon wins the samurais' respect and admiration as they accept him for his character rather than his American identity. Thus, the samurai ultimately appear more humane than the Westerners. 

The epitome of Said's idea and argument of orientalism is represented through the character of the Emperor. Although an emperor is defined to be a sovereign ruler of great power and rank, the emperor presented in Zwick's film is soft-spoken, meek, and extremely feminine. He is also seen to be dependent on others to make important decisions for him. Although the emperor appears to know what is right and what kind of decisions should be made, he is essentially used as Mr. Omura's puppet. It is not coincidental that Omura is a Japanese businessman who seeks to westernize the Japanese Imperial Army.   Thus, it may be argued that Zwick was influenced by Said's idea of orientalism as it is clearly shown in the representation of the differences between traditional and westernized Japanese people.


Works Cited
Nishihara, Daisuke. "Said, Orientalism, and Japan." Alif: Journal of Comparative Poetics 25 (2005): 242. JSTOR. Web. 4 May 2010.

Sex and the City

Sex and the City is presented as a radical text, having the idea of women enjoying "sex" be radical in itself. On the same note, the history of sexuality would argue that lesbians take on a more masculine identity which is clearly seen in Sex and the City with the character of Miranda. Because she surrounds herself with males and works as a lawyer (taking on a masculine profession), many people are led to assume that she is a lesbian. In doing so, Miranda may in fact be representing the refined idea of the "new woman," the more independent female who does not need a man to define her identity and existence.

Knowledge is Power

Michel Foucault examines the idea that knowledge is power. This was clearly evident in the clip of "Bye-Bye-Birdie" that was shown in class yesterday. The girl was was "pinned" did in fact begin with the most power by having the knowledge that she was asked out on a date by a popular boy. The fact that she was able to give that knowledge to her friend was a portrayal of power itself. Thus, once the knowledge was given to her friend, her friend was a carrier of such power as well. Evidently, the clip gradually showed the diminishing of the first girl's power as more and more people were aware of her relationship status. Thus, by the end of the clip, the girl and her now "boyfriend" were placed at the center of Foucault's theory of the "Pendulum" (a reverse Pendulum, if I can create such a thing).

Bigger and Better

Like Marxism, Postmodern businesses search for "flexible" labor, a group that does not specialize in a selected area but are able to function in any circumstance. It is a society in which there is an accelerated obsolescence. Consumers are constantly wanting the bigger, better, and faster, and businesses need to keep up with the demand. A classmate last week had given an example of such thing happening in our society today: Windows program for computers. That example provides another example with a similar approach: iPods. Consumers desire smaller gadgets with larger memory space, and Apple has made their dreams come true with iPods, iPod Nanos, iPod shuffles, and iPhones. Will there ever be an end?

My Part of the Marxism Presentation

I can honestly say that our presentation went a lot smoother than I had envisioned it to go. I had never known just how complex and confusing Marxism was, and I had let my nerves get the best of me while preparing my part of the presentation. However, after we had completed our presentation, I was surprised at how everything made sense and fit into place while discussing surplus value, commodity, social value, exchange value, and everything that flowed into it.

I particularly enjoyed the origami activity that we had the class do. Although it wasn't my idea, I helped with cutting the paper, making an example crane, and participating in teaching the class how to fold it. It was engaging for our classmates and rather than it be slightly off tangent, it was right on point with our presentation.

The section that I covered for the presentation was the multiple relations that exist between producers and laborers, mainly covering the idea that, "the relation of the producers to the sum total of their own labor is presented to them as a social relation, existing not between themselves but between the products of their labor" (667). I also discussed that the individual producer must acquire a "twofold character:"
1. The producer must create a product that is a useful kind of labor which satisfies a definite social want.
2. The product can satisfy the manifold wants of the individual producer himself, only in so far as the mutual exchangeability of all kinds of useful private labor.

Overall, the presentation was a success and I am honored to have been a part of such an amazing group to work with.  

Coraline

Here's the trailer for the film, Coraline. If you haven't watched it yet, you're missing out!

Analysis #3: Marxism in Coraline

Warning! This post contains movie spoilers.

Coraline (2009) has been an Oscar-nominated, and one of the most remarkably made movies history has ever seen. Created in stop-motion, it is said that it took almost three weeks to create 8-seconds of footage. This horror-fantasy film based on Neil Gaiman's 2002 movie of the same name, has been a tremendous influence for artists all around the world. Imagination, creativity, and genius warped into a single film has completely changed the definition of a "movie."

Under the magic and glam, Director Henry Selick may have been influenced by Karl Marx himself. Too far of a stretch? Let me prove it to you. 

The story of Coraline begins with a young girl, Coraline Jones, who moves from Pontiac, Michigan into the Pink Palace Apartments in Oregon, an old house subdivided into three residences. While her parents frantically prepare a gardening catalog, Coraline begins to feel neglected and decides to explore the grounds. She then meets Wybie Lovat, the talkative and annoying grandson of the landlady. Wybie gives Coraline a doll that he had found in his grandmother's attic that looks just like her: blue hair, pink hair clip, yellow raincoat with matching yellow boots. Oddly enough, Coraline discovers a small door in her living room, small enough for Coraline to barely crawl through. Long story short, the small door leads to a magical place that looks exactly like Coraline's home, but better. Coraline meets her "Other Mother" and "Other Father" who look just like her real parents, but better. They pay attention to her, prepare delicious dinners and desserts for her to enjoy,  and decorate the garden with all her favorite flowers. She even meets the "Other Wybie" who does not talk at all. He listens and nods, just the way Coraline wants it. The other world is perfect. 

But it is all a trap. The Other Mother invites Coraline to stay in the other world forever, but for the price of her eyes. Coraline must sow buttons into her eyes to stay. Coraline immediately refuses and this angers the Other Mother. The Other Mother then reveals her true identity: an evil human-spider who controls the other world, planning to devour Coraline's life. 

In a Marxist perspective, The Other Mother represents the bourgeoisie as she forces all the creatures, the proletariat, of her world to work for her. For what price? Their lives. She does not grant them a luxurious life nor does she give them the leisure to do as they please. She provides them with just enough to survive. The other creatures, including the Other Father and the Other Wybie, work hard for the Other Mother by entertaining Coraline with magical events. Despite their hard work and labor, it is only the Other Mother who benefits from the labor by devouring the children she had lured in through the small door. Coraline represents the consumer, as she is only lured through the door because of the doll. The doll was created by the Other Mother and sent into Coraline's world on purpose. As Karl Marx writes that the product of labor "must satisfy a social want" (Marx 668), the doll has successfully fulfilled that requirement as it immediately sparked Coraline's interest. If the product were to have been a hammer, or a loaf of bread, the entire plot of the story would have been turned upside down. Why? Because it wouldn't have satisfied the consumer's want. A doll is a universal toy that would spark the interest of any girl of Coraline's age, which is exactly why the Other Mother had created a doll to lure Coraline through the little door. 

I have watched the film over a handful of times, and it wasn't until last week's group presentation on Marxism that I finally saw the correlation with Marx's theory of Capital. 

Jacques Lacan: Demand

I had always thought that when a baby cries, it was its expression of discomfort. The baby is either hungry, needs a diaper change, or doesn't like being held by the ex-president of the United States. However, French psychiatrist and psychoanalyst, Jacques Lacan, suggests a different approach. Lacan argues that when the baby cries, it is calling to its mother in a synchronized symbolic structure. In the midst of an organized symbolic system that baby's use, a demand for both its mother and and love is made. A baby cries to keep its mother all to itself. However, a mother can never belong to the baby as it so desires. Lacan states that this love and demand is unconditional and insatiable. Hence, baby's do not stop crying until they are able to articulate its needs and wants into words. The desires for its mother are also then expressed through action.

This really makes me rethink about having kids.

"Hamlet" Analysis

     In the film, "Hamlet," Hamlet's fury seems to run deeper than it coming from the fact that his mother, Gertrude, has married her husband's brother, Claudius. On a Freudian analytic perspective, Hamlet's anger seems to be derived from the fact that he has yet another competitor fighting for his mother's heart, and also the fact that the competitor has won by marrying his mother. Yet again, Hamlet is not what his mother desires but that it was first his father, and now his uncle. This anger and rage may be argued to be Hamlet's "id," and his defense mechanism is derived by ultimately repressing such emotions and desires by claiming that his anger is merely coming from the incestuous marriage. If the play was told from Hamlet's perspective, it may be argued that the apparition of his father that Hamlet sees is actually his unconscious desiring the death of his uncle to rid of the competition for his mother. It may also be looked at as the physical representation between his "id" and "ego." The fight that Hamlet engages in with his mother appeared to be more of a lover's fight rather than a mother-son argument. This further confirms the Freudian approach to "Hamlet."

Mr. Heaven

Rumor had it in Topeka, Kansas that Charles McHaven was a foul man who was infamous for his boiling temper, angry growls, and rude manners. When Mr. McHaven would walk down the street with his cane fastened at hand, the townspeople would cross the street to walk on the opposing side. Parents would then hush their children and push them to scurry along, quickening their pace home.

No one knew of Mr. McHaven and the death of his wife, 16 years ago. No one knew for no one dared to speak to him.

But everyone knew that every morning at 8:30, Mr. McHaven would walk out of his wooden, discolored home and make his way to the corner of 13th St. and Hebrews Ave. to Arthur's. He would sit in the booth next to the window and ask for two sets of utensils--one for himself and the other for the seat across from him. He would then order toast and eggs, eat to the very last bite, and venture back home. This was something everyone knew, and everyone made sure to keep out of his way.

It was a Tuesday morning when Mr. McHaven wobbled through the doors of Arthur's. He took his usual seat as the waiter, without a word, placed two sets of utensils on either side of the table. It was then when a curious 4-year old boy whose mother was at the cash register, looked over from his seat and stared at Mr. McHaven and the two sets of utensils. The boy waited, and waited, until he finally asked, "Where's your friend?" Mr. McHaven was startled as he turned his head towards the direction from which the voice came from and focused his gaze on a little boy. Overwhelmed, Mr. McHaven remained silent but continued to gaze into the blue eyes of the young boy.

"What's your name, sir?" the little boy asked.

Amused, Mr. McHaven answered in a rusty voice, "Charles McHaven."

Cheerfully, the little boy replied, "My name is Luke! Nice to meet you, Mr. Heaven! Cool name! But, where's your friend?"

A weak chuckle escaped Mr. McHaven's mouth as he answered, "My friend is gone. She has been gone a long time, Luke. She got on a train and left for heaven."

Luke remained silent and his eyebrows gathered as he thought pressingly. Then, with a relieved expression, Luke replied, "Your friend isn't gone, Mr. Heaven! Because if you're Mr. Heaven, that means she lives in you!"

Mr. McHaven stared at the little boy with gentle eyes and struggled to contain his emotions. Luke's mother then returned and took her son by his hand as she turned her shoulder against the foul old man. Luke quickly turned around and shouted, "See ya, Mr. Heaven!" as he was immediately hushed by his mother.

"Do not forget to entertain strangers, for by so doing some people have entertained angels without knowing it" Hebrews 13:2
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Photo Analysis:
The reason behind choosing this specific photo from the thousands that were available online, was because of the emptiness it screamed through the monitor. The absence of color can symbolize several things and be interpreted in another several ways. Personally, the absence of color signified the absence of life, and intertwined very well with the picture of a plate of breakfast. Breakfast, proven as the most important meal of the day, is symbolized in a variety of creative ways from commercials to billboards. Cereal brands such as General Mills, produce colorful cereal such as Trix, with humorous and friendly characters like the Rabbit. However, the photo represents a breakfast that appears unimportant and can easily be skipped without hesitation. Toast and eggs are extremely bland and tasteless without salt, pepper, jam, and/or butter, which are all absent in the picture. This characterizes the life of the character, Charles McHaven, who eats a plate of toast and eggs mindlessly and daily to silence the pain of his wife's death, ultimately representing her absence.    

Dear Plato: Were you out of your mind?

          The members of Group #1 presented their portrayal and personal understanding of Classical Literary Criticism successfully as they manifested the epitome of both a glimpse of Plato's Utopian society and Aristotle's understanding and response to it. The example of the birthing process was perfectly used to conduct such an example, as the majority of the class "ooh-ed" and "aww-ed" at the video of the character Rachael from the show, "Friends" as she gave birth. The entire scene was comedically presented as subtle jokes and gestures were made between Rachael and Ross. More importantly, the baby was born without the umbilical cord present as well as the "blood and guts." This "warm" and "funny" approach to pregnancy is exactly what Plato refers to as an "imitation" and "mimesis," something that the weak majority prefers over the truth of reality.

          The second video clip of an actual documentation of a woman's pregnancy was the portrayal of what Plato prefers in his Utopian society. However, in my memory, every single person in the classroom that night either cringed or looked away and snorted a quick nervous laugh in the midst of their discomfort. This response reflects a different outlook on Plato's ideal philosopher kings as a more inhumane selected group of rulers. How can an average man prefer to learn about pregnancy in such a manner without the slightest dose of discomfort? The more surprising fact is that even a video documentation is referred to as an "imitation" of reality in Plato's society. I may be the first or one of the many to ask this, but was Plato out of his mind?

Plato's Republic

           In Plato's Republic, Plato manifests his belief of truth and morality, a state of absolute reality. Therefore, Plato makes a crucial point of his disapproval in "imitation" and "mimesis." Plato exhorts his desire and hope for a Utopian society through his writing as he seeks his ideal Utopia to be ruled by a select few--a select few being, philosophers and teachers. Plato gives an example of such philosopher kings in the Allegory of the Cave, as he refers philosopher kings to be the characters who manually choose to escape the cave and experience the reality of life to its fullest degree. Philosopher kings are, therefore, more experienced and capable of leading a society having seen and lived by the truth of reality rather than an imitation. However, in the end, philosophers are but humans who have limitations in attaining knowledge and answers. Who are the teachers of such magnificent philosophers? Where then do the teachers fit in Plato's Utopian society? One of the greatest fallacies in Plato's ideal society is his ignorance to the fact that there is no limit to how much a human can learn. Every generation offers a new idea and thought-provoking insight to the world in which we live in. Hence, how can a selected group of philosopher kings grasp teachings that are beyond their time? Who selects the "selected few?" Has Plato mistaken philosopher kings as gods?

          These excerpts from the movie AntZ (1998) directed by Eric Darnell offer a glimpse of Plato's perspective on a Utopian society. The first clip reveals the epitome of Plato's fear:

Insectopia is what was thought to be an imagined place, where a government or hierarchy of any sort is nonexistent. The characters, Z and Princess Bala experience a world of absolute freedom that allow not only the characters but also the audience's imagination to flourish within its perimeters. Examples such as the use of a powder donut to represent a snow mountain, and a worm racing through a rotting apple as an insect-size roller coaster, ignite the imagination. This process allows the audience to experience child-like pleasures, which is exactly what Plato feared. Such a society and state-of-mind defeats the purpose of Plato's principle of specialization, where every being is born with a purpose in their lives. The principle of specialization separates society into three classes: the class of producers, the class of warriors, and the class of rulers. This concept is seen in the following clip: 

Darnell portrays the exact manifestation of Plato's ideal world through ants that are born with a purpose set for them on the day they are born. In Plato's society, every being has a place where they belong without being given a choice. Anything beyond its perimeters is discouraged just as the ant that was taken away for speaking about a "better place," Insectopia. Perhaps Darnell studied Plato and his philosophy before directing AntZ. 

Perhaps.

Plato: The Nature of Literature and Its Justification

      Plato, a greek philosopher of around 400 B.C., embarked the first questions regarding poetry that still exist today: What is poetry? How does poetry operate? Indeed an art, but how does it justify itself as an art? Murray explores the depth of the paradox that Plato engaged in as one of the most poetical thinkers who "banished poetry from his ideal state." Plato strikes the modern reader as his desire is not to censor, alter, or edit the concept of poetry, but to completely expel its existence from history. Regarding such hostility, Murray asks a thundering question: "Why is Plato so afraid of poetry that he has to abolish even its greatest masterworks?" In response, history has recorded a list of questions that were asked by Plato that stir the minds of modern thinkers today:
          * What is and should be the function of imaginative literature in society? 
          * Is it dangerous in that it encourages emotions and feelings which ought to be kept in check, or is it therapeutic in that it allows us to give vent to our emotions in a harmless way? 
          * Should there be censorship? 
          * Is literature a form of escapism or does it deepen our insight into the nature of people and the world around us? 
Murray edits literature as an inclusion of modern television and film which automatically relates to "popular entertainment and the mass media." This changes everything. This makes sense of the confusion in attempting to understand why Plato was devotedly against poetry.
          Do popular television shows airing today (e.g. Jersey Shore, Teen Mom, Keeping Up With The Kardashians, Jerry Springer, Family Guy, etc.) encourage "emotions and feelings which ought to be kept in check, or is it therapeutic in that it allows us to give vent to our emotions in a harmless way?" Like poetry, media is categorized as an art that has both critical and praising viewpoints that conduct the same actions and responses that existed during Plato's time. Does watching the life of Kim Kardashian and her relationship with Reggie Bush really benefit your life in any way? Through modern day media and entertainment, perhaps there will be a greater understanding of Plato and his thoughts.  

          

Literary Criticism

          Penelope Murray begins her book, Classical Literary Criticism with a quote by T.S. Eliot, reading, "Our criticism from age to age will reflect the things that the age demands." Eliot magnificently envelops the concept of literature being an ever-changing element that is reestablished by newly discovered questions and answers. In agreement to Eliot, Murray responds, "Literature itself is not a stable or self-evident category." Such accessibility and flexibility have allowed literary critics throughout the ages to return again and again with greater, complex arguments and possible answers to prehistoric arguments as well. Educational classes that hone in on understanding the critical theory behind literature exist today due to the same cause and will assuredly exist for the future generations to come.
          Although the criticism and the questions regarding the nature and function of literature will constantly alter, four historical names have been mentioned when aligned with criticism, and will remain as those who have made an influence on the art of criticism: Plato, Aristotle, Horace and Longinus. Murray successfully creates a stable bridge between each thinker to better understand the historical movement of critical literature and explores the background from which they emerged, allowing students, such as myself, to explore the realm of questions, assumptions, arguments, and answers.