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Posts Tagged ‘Gender Issues’

Still on Dan Brown’s Recuperation of the Sacred Feminine

August 19th, 2009

Cultural symbols have some kind of consistency. And rightly or wrongly (I mean, one could always present arguments that would show the inappropriateness of a symbol or sets of symbols), the associations have been formed and set through the millenia. One cannot simply do away with a symbol that has been passed and accepted by cultures/traditions, etc. One can, however, question and undermine the seeming “naturalness” that these symbols have come to acquire (like what Nietzsche, Derrida, among others, have done).

The association of “black” with “male” and “white” with “female” (at least, symbolically) is not consistent with, and I’d even say, goes against the grain of, tradition of symbolical associations with gender archetypes. Check it out for yourself. Research on this topic.

Even the very moral association of “black” with “evil” and “white” with “good” is consistent with the disparaging of the “feminine principle” that Brown himself presents in his novel.

Which leads me back to Nietzsche… the earth/matter, feminine, black, deceptive, as opposed to the spirit, male, white, beholden to the truth… and which does he champion?

Neither.

Rather, he asks, probably with a grin on his face, “What if truth were a woman?” (which can be read as “what if the truth were lying/deceptive?”)

So, again, rather than simply overturning the tables or reassigning the good values with the opposing pole (i.e., saying that “male” is “evil” and “female” is “good”), one gains an insight into the interconnection/interweaving/inter-reliance, complexity, and perhaps, even complicity of the bipolar signs/symbols into our understanding of this world.

The world is to a large extent, amoral, and because of this, both cruel and innocent. It is us humans/cultures who assign values, depending on our perceived needs/wants in given situations. It is when these values harden/ossify that they become dangerous to life/living.

best regards,
ian

When Harry Met Sally… (Or, Can Men and Women Be Friends?)

May 26th, 2008

“Can men and women be friends?”

What made the film “When Harry Met Sally” memorable for me — aside from the “orgasm” of Sally (Meg Ryan) at the diner — was this intriguing question, provoked by Harry’s premise/presupposition that men and women cannot be simply friends because sex almost always enters the equation.

(In another movie, I think “All of Me,” Steve Martin gets confronted by his wife — “I faked all my orgasms!” — who proceeded to demonstrate this by having “one” right in front of him in his very office. Steve Martin, humiliated, replies, “Well, so did I!”)

Of course, as Harry (Billy Crystal) grows and matures in the course of the years, he revises and modifies his theory but basically retains the core of his presupposition.

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A Thousand Bitter-Sweet Poems for Women

March 15th, 2008

A Thousand Bitter-Sweet Poems for Women
By Michael Ian Lomongo, March 21, 2001

Last March 10, I watched PETA’s “Komedi Club,” a festival of 10 to 15-minute plays written by members of the PETA Writers’ Bloc. In celebration of the International Women’s Day, the plays featured during that weekend (March 8-10) were written by women playwrights (except for Nick Pichay’s “Kahit na Magtiis”). The line-up included “Flight,” an interpretative dance choreographed and performed by Martina Gonzales-Quesada, Regina Lasam, and Verni Severo, incorporated with a poem by Inge Saltarin; an adaptation of Liza Magtoto’s Palanca-winning Despedida de Soltera; Sheila Crisostomo’s “Emergency” (the grand prize winner of the second Charley dela Paz Awards of the PETA-PDP Writers’ Bloc); Nick Pichay’s “Kahit na Magtiis”; and Lallie Bucoy’s “Isang Libong Tula para sa Dibdib ni Dulce.”

I liked the last two plays best.

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Paghihintay sa Chuvatienes…

January 26th, 2008

Paghihintay sa Chuvatienes…
ni Michael Ian Lomongo, August 18, 2006

Hindi maikakailang malaki na rin ang naging impluensya ng salitang bading o gay lingo sa pang-araw-araw na pananalita ng madla. Sa pinoy gay lingo, kapansin-pansin ang mala-chopsuey na paghahalo ng iba’t-ibang wika (Tagalog, Japanese, Spanish, English, atbp.) at sari-saring alusyon sa pop culture (gaya ng mga pangalan ng mga artista). Kadalasan, dahil na rin sa dami ng variations at pagpapalamuti ng mga salita, halos ‘di mo na makilala at malaman kung saan hinango ang mga ito.

Halimbawa, san kaya nagmula ang katagang “chuvatienes”? Maaaring ang “chuva” ay variation ng “chever/cheber,” na maaari namang pinaikling “whatever/whichever” (o posible rin sigurong updated version ng salitang Tagalog na “keber,” na mula naman sa Spanish “que ver” ); ang “tienes” naman (kung saan hinango ang “chenelyn”) ay Spanish ng “you have.” Kaya, kung tutuusin, ang “chuvatienes” ay Spanglish ng “what-have-you.” Sa madaling salita, “anuman”… “whatever.”

Nitong nakaraang Hunyo, napanood ko ang produksyon ng Tanghalang Pilipino ng “Waiting for Godot” ni Samuel Beckett. Bilang pagdiriwang sa ika-isandaang taon ng kapanganakan ni Beckett, nakipagtulungan ang CCP, Alliance Francaise, Embahada ng Pransya at NCCA para imbitahan ang isang direktor mula Avignon, si Alain Timar, na idirihe ang isang adaptasyon ng nasabing dula (sa panibagong salin ni George de Jesus III).

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Writing in Tongues

January 25th, 2008

 

Will keep posting old articles until they are all archived here. Will post something new every now and then.

best regards,

ian

 

Writing in Tongues

By Michael Ian Lomongo, April 29, 2001

 

 

(Thoughts on Actors’ Actors Inc.’s production of Paul Stephen Lim’s “Mother Tongue” — with Bart Guingona, Nieves Campa, Miren Alvarez, Ed Feist, Richard Cunanan, Bobbie Greenwood, Kate Fernandez; directed by Chris Millado)

 

The day I watched AAI’s production of Stephen Paul Lim’s “Mother Tongue,” I had just finished reading Amy Tan’s “The Joy Luck Club.” I’ve long wanted to read the novel after seeing the movie years ago. Some of the people I’ve talked with, who have both read the novel and seen the movie, preferred the novel. As they say, much is lost in any translation (whether it be from one medium to another or from one language to another). For me though, much of the narrative’s visceral impact in the watching wasn’t there in the reading (probably because I was no longer encountering it for the first time).

Anyway, I mentioned “The Joy Luck Club,” because like it, “Mother Tongue” is about finding and defining one’s identity and home in the Land of Promise. The former is about immigrant Chinese mothers and their American-born daughters, and how they try to bridge the breach in understanding caused by two disparate cultures; the latter, about a Chinese mother who’s an immigrant to the Philippines and her writer-son who migrates to America, and how this son seeks her mother’s understanding in his freely causing (and embracing) the breach.

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The Matrix, Overloaded

January 21st, 2008

Posting my review of the first two installations of “The Matrix Trilogy.”

best regards,

ian

The Matrix, Overloaded
by Michael Ian Lomongo, May 26, 2003

I

Why isn’t “The Matrix: Reloaded” as captivating as “The Matrix”?

I don’t think it’s because the novelty of the original movie’s winning combination of stunning visual effects and intriguing philosophical premise has faded. (We know now what “the Matrix” is. We no longer are as curious when we first watched “The Matrix.”) Neither is it simply because most sequels really do fail to come up to expectations. (Consider the “X-men 2″ which is, to me, infinitely better than the first “X-men” movie.)

I loved “The Matrix” mainly because I thought it was pop-philosophy (metaphysics) in film. The only other sci-fi/superhero film that approximates this achievement in recent times was “Spiderman,” a sort of pop-ethics with Kantian/Dostoyevskian/Nietzschean overtones. (Intrigued by a friend’s blurb that “Existenz” was the thinking man’s “Matrix,” I went out of my way to see it. I didn’t like it.)

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