Love In Different Languages: Experiences and Transgressions in Love - Assignment Example

Love In Different Languages: Experiences and Transgressions in Love Name of Student Institute of Affiliation Question 1 As evidenced in the literary and film texts we have studied, what factors contribute to the experience and representation of transgression’ in love? These could include: sex, sexual orientation, national/cultural/historical context, ethnicity, class, age and so on. How is the idea of transgression portrayed? Is it celebrated or lamented? Is it reflected in the choice of literary techniques? Does the sex of the writer or protagonist—or indeed, the reader—impact on how transgression in love is interpreted? Introduction Love is an abstract feeling that is hard to define but its existence cannot be denied across the entire cultural heritage. Love is a widely illustrated topic in literal and theatrical arts as well as philosophy and sociology; and especially on its different perspectives. If languages are a medium and love a domain, cross-cultural comparisons can be made and it is found out that a lot of similarities and differences exist in expressions of love (Elahi, 2010). Each language or culture can be linked to a particular way in which love is expressed; and the common thought that people all over the world conceptualize love in an identical manner is a dangerous misconception. For instance, romantic love is mostly expressed in American and Russian cultures as opposed to Japanese culture. Nevertheless, within each social boundary that love is expressed, there is a warning that society tends to ignore and that is, love in its powerful form can be transgressive and truly transformative. For instance, in some communities, aspects of love such as sex with one chosen partner and youth trysts are strictly for the purposes of procreation and a prelude to marriage respectively (Elahi, 2010). However, in these same societies, instances of sex for fun, erotic affairs, and ecstatic extramarital affairs are also evident. Experiences and transgression in love are quite irrevocable and the characters often behave like a life-force drives them into transgressive actions. The purpose of this paper is therefore to illustrate the factors that contribute to the experience and transgression in love in different cultures. The basic sources for this research include media and literal texts from authors of different language background. The films­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ Chéri and Brokeback Mountain and literal texts Loaded and the God of Small Things are analyzed for the purpose of identifying the factors that contribute to experience and transgression in love among various cultures. Film 1: Chéri (2009) Chéri is a 2009 drama film adaptation from a novel by the same name and written by Colette, a French writer. The plot is set in the Belle Époque Paris, France in the 1900’s. The tale is based on an affair between Lea, a retired courtesan aged 45 years, and Fred, a young flamboyant man, aged 25 years, who is nicknamed Chéri, meaning ‘dear’ in French. This is a six year relationship that is considered casual and only turns tragic when they have to separate because Chéri, the young man has to marry from his age group as society dictates. Only then that do Lea and Chéri realize that they are in love. After spending a miserable six months apart from one another, Chéri visits Lea and she begins to arrange for their life together but later realizes that Chéri had just come for moral support to become a husband. Lea is able to encourage and release him to go back to Edmée his barely 18 year old fiancée. Chéri is reluctant to marry Edmée but it is clear that he has no option in the matter. Nevertheless, it is clear that matrimonial relationships in France at the time were mostly for purposes of procreation rather than love because Chéri ends up in marrying a woman he is supposed to marry rather than the one he truly loves. In this script Colette displays the concept of Chéri and Lea being together as a form of transgression in so many ways while Chéri’s marriage to Edmée is a form of aporia. Transgressions in love are seen in the many ways. First of all, Chéri involves in a relationship with a retired courtesan. As much as courtesans at the time managed to gain remarkable wealth, through having members of the Royal Court as their clients, the film portrays that it was difficult for them to resume to a normal respectable life of family, love and relationships. This explains why Edmée’s mother, Marie-Laure, a wealthy courtesan too, keeps her daughter away from the courtesan world. Marie-Laure giver her daughter a good education and marries her off a virgin wishing that she has a respectable and noble life rather than trapped in the courtesan vacation. Second, in one language, the France people in 1900s frowned upon relationships in which unmarried people slept with one another. However, in this case, Chéri and Lea spend six years together in a casual relationship that includes having sex. It is even more transgressive that Chéri’s mother-Charlotte is aware of the affair between her son and fellow courtesan friend but she has no problem about it. In fact, she is appreciative of Lea for helping his son come off the vagabond ways of youth and insists that Lea teaches Chéri on aspects of how to treat a lady. Third, a man had to marry a younger woman in regard to age and this was often arranged by the parents. Despite being aware of the affair between Lea and Chéri, Charlotte goes ahead to arrange for Chéri’s marriage to a virgin, as this was norm in the society. Moreover, Charlotte insists that she needs grandchildren and this is why Chéri had to marry a younger girl who is ready to settle in matrimonial obligations. This also explains why Edmée, the 18 year old is arranged for Chéri the 25 year old even though Chéri does not consider her his preferred partner. However, in the film, Lea contemplates of a life together with Chéri even though he is almost half her age. Even to the couples themselves, something was a miss in them being together as married couples and this is why Lea acted strong in pushing Chéri to go back and marry his fiancée. Fourth, a woman depended on the man for provision of basic needs and survival. However, in the film, the roles are reversed and it seen that it is Lea, the courtesan who provides for them. This begins from the fact that it is Lea’s residence in which the two live. The vivid cinematography is also displayed through the finest things of Lea’s possession of which she extends to Chéri. Chéri wears Lea’s pearls and silk pajamas shifting the audience gaze to him as the object of desirability instead of the other way round. As much as Chéri is able to have a fulfilling and satisfactory relationship with Lea, he is unable to develop the same feelings with Emdée. The film depicts how romance and love can lead people to transgress social boundaries in ways that are irrevocable. Life without Lea, the only woman he could love is anguishing for Chéri and he ends up committing suicide. Film 2: Brokeback Mountain Brokeback Mountain is a 2000 film of romantic drama genre that is adapted from the novel Brokeback Mountain by an American author Annie Proulx. Since the time of its release, the film is accolade as one of the most controversial films of all time. This is because of the plot which depicts a gay/bisexual romance relationship between two men. In some societies, such as places in China, Japan, and some areas in the United States, the film is entirely banned from viewership while in some areas, viewership is allowed but with censorship. The setting takes in Wyoming in the 1960s when two men, Ennis and Jack, are hired as shepherds in Joe Aguirre’s ranch during the summer. After a night of drinking the shepherds involve in an unexpected tryst in which Jack suggests that they involver in mutual masturbation. Ennis resists at first but they end up making love and immediately develop a strong physical and emotional bond. When the summer job is over, the two are angered by their separation such that they fight until they are bloodied. Being apart, they meet spouses and marry but Ennis marriage ends up in a divorce when his wife discovers that he meets with Jack at the Brokeback Mountain to kiss and make love. Ennis writes a letter to Jack but the letter is returned with the message ‘recipient deceased’. Ennis travels to Jack’s home where Jack’s widow explains that he died while exchanging a tire that exploded on him. However, Ennis believes that he could have been gay bashed as had happened to other gay people in the society. Ennis enters Jack’s room and notices Jack had kept his bloodied shirts from the fight. The family allows him to keep the shirts. The ending is melodramatic in which Ennis looks at the shirts intertwined and hanging in the closet and the post card tacked next to the shirts. Ennis cries regretfully and tearfully finishes by saying: “Jack I swear…” Annie Proulx depicts a very brave story line of realities that happen in the society although the society is still shy to face the situation. The screenplay depicts experiences and transgression in love in so many ways. First, this is a love and romantic relationship between two men. The story’s setting takes place in the early 1960s but even in the current 21st century, homosexuality is yet to be looked at as normal in the society. Among many other scenes and dialogues, the audience is able to tell that a romantic relationship exists between the two men. Jack says “The truth is, sometimes I miss you so much I can hardly stand it,” However, the audience can identify that a romantic relationship between the two men is a transgression from the scenes and dialogues. Jack says to Ennis “Tell you what, we could have a good life together... …But you didn’t want Ennis! So what we got now is Brokeback Mountain! I wish I knew how quit you!” Part of Ennis reply is “Well, why don’t you?...I can’t stand being like this no more, Jack” (Proulx). The two fight but end up embracing again. Nevertheless, the scene reveals the conflicted emotions of their romantic and sexual attraction because they knew that they were acting beyond what the society considers as norm. Moreover, Ennis is also anxious that some gay people get bashed when discovered and he fears the same may happen if their affair is realized. Next, it is also easy to know that the affair between Jake and Ennis is a transgression from the hurtful matrimonial relationships that the two experience. Ennis’ wife accidentally sees the two men in an embrace and kiss. Ennis is always going to meet Jack so that they can fish. Later, Ennis wife asks for a divorce and she says “You don’t go up there to fish.” This is a twisted plot of which men who share romantic moments also marry women and pretend to live normal lives. It is certain that they had to marry women in order to appear normal to the society. The Brokeback Mountain is an illustration of the power of love to transgress the social boundaries. The two men cannot suppress the love and sexual feelings towards one another and therefore transgress the cultural norm to share their own moment together. Literal text 1: The God of Small Things The God of Small Things is written by the Indian author Arundhati Roy and published in 1997. The novel is semi-autobiographical as it supplements events from Arundhati’s family and community history. The main setting occurs in the Kerala state of India in a town named Ayemenem. The significance of the title The God of Small Things is that it is meant to direct the reader to small things that occur in a small village when the society is concerned about the big things such as the political affiliations, the caste system, religious and the cultural marriages. Already, from small things perspectives, Arundhati (1997) shows the reader that many transgression experiences occur in the society. These involves the “whispers and scurry of small lives” (Arundhati, 1997), and the sins, secrets, promises, and other emotional creeps that people avoid to acknowledge. Noble political lives and honorable family are the culturally significant ideals that the noble people strive for. The tale is centered on fraternal twins Estha and Raheal, and their mother Ammu, all who have done the small things that transgress the norm of the society’s big things (Ward, 2009). The Love Laws could be written but they end up re-writing their own love laws. One of the big things in the society is marriage which can only take place when the dowry is paid. However, Appu comes from a poor family and lack sufficient dowry for a marriage proposal. Ammu in desperation to get away from her ill-tempered father (Pappachi) marries a poor worker in a tea estate and experiences a marriage of violence. Ammu’s husband even attempts to force her to sleep with his boss so that they can raise some money but Ammu escapes to live with her brother Chacko, and aunt Baby Kochamma. Nevertheless, gives birth to fraternal twins Estha and Raheal, from her marriage (Ward, 2009). Ammu transgresses from the society’s norm of love by developing a love and sexual relationship with Velutha. Velutha comes from Indian’s lowest caste and therefore according to the culture, he is an untouchable. Ammu is aware that it is against the norm to relate with Velutha, but he is the only man who can fulfill her desired love and sexual needs. The prejudice and hatred against the lower caste members in the culture is tremendous, that when Chacko step-daughter Sophie Mol drowns, Velutha is falsely accused of the murder. The saddening part is that the twins, who were also fond of the Velutha are forced to lie that it is Velutha who killed Sophie. When Ammu reveals that she has been having an affair with Velutha, Chacko, Ammu’s brother yells… “That’s even worse than Velutha killing Sophie Mol,” (Arundhati, 1997, p.62). This is a culture in which a murder is lesser harmful than having a love relationship with an untouchable. The twins Raheal and Esther also experience a life of difficulties that keep them wondering whether there is a god of small things. At one point they are separated for around 23 years and when they meet they are 31 years. Estha has a perpetual silence, while Raheal holds a haunted look in her eyes. Nobody understands them as they do, and they realize that they only have one another to love. The twins re-write their love laws by committing incest, a taboo in the culture. “Raheal pulled Estha close. It was first time they had touched one another in 23 years. They undressed silently and conjoined in the quietness and emptiness like stacked spoons. There had been no reason for them to sleep together, but it seemed like the sort of ending the chatterati might like. “It’s only a Small Thing” Raheal said,” (Arundhati, 1997, p. 400) Literal Text 2: Loaded Loaded is a 1995 novel by the Australian author Christos Tsiolkas the tale is based on Ari, a nineteen year old boy who lives with his parents but hates his life with them. Ari is angry at the world, angry that his parents are Greek, and angry that he does not want think of himself as an Australian either. In Loaded Tsiolkas (1995) portrays the theme of family deconstruction and a failing indictment of the society in which human values and morality are eroded. The behavior that Ari portrays is seen as a decay of human morals because of transgressing the love and relationship boundaries (Callahan, 2002). Despite being angry at the world and frustrated without employment, Ari gets solace in sex and drugs. The element of lust is clearly depicted as a transgression in love as Ari lusts over and has sex with so many people in just one night. On historical terms, this is a trend in the modern world where the rules and boundaries surrounding sex are broken without shame (Callahan, 2002). Young people can meet in clubs and have sex with strangers as opposed to the cultural norm when sex was only permitted in a courted or married relationship. Ari does not love all the people that he has sex with but there is a strong forceful lust that makes him to desire everyone that passes his way. Despite Ari’s frustrations, the desire to have sex with as many people as possible and as frequent as need be makes him feel powerful and happy. Conclusion Love is a widely illustrated topic in literal and theatrical arts although the best understanding is when the experiences are transgressive. Love in its powerful form can be transgressive and truly transformative as has been illustrated in the films Chéri and Brokeback Mountain and the literal texts The God of Small Things and Loaded. In this works of art, experiences have transgressed beyond the cultural boundaries, giving new meaning or laws to love and romantic relationships. In the film Chéri by Colette (France) Chéri falls in love with a courtesan twice his age and this conflict with the society’s norms at the time. In the film Brokeback Mountain, Annie Proulx (America) depicts an acknowledged side of sexual orientation, in which Ennis and Jack, two men, fall in love and develop a romantic affair although they marry women in order to comply with societal laws. In the literal text, the God of Small Things Arundhati Roy (India) depicts transgressions in culture in which Ammu has an affair with a member of the lower caste, a taboo, while the twins Raheal and Estha commit incest because they could only belong to themselves. Finally, in Loaded Christos Tsiolkas (Australia) depicts the life of Ari a young man who is driven by lust and has sex with many people in one day for the sake of escaping from his frustrations. Experiences and transgression in love are quite irrevocable and the characters often behave like a life-force drives them into transgressive actions. References: Arundhati R. (1997). The God of small things. Indonesia: Yayasan Obor Indonesia Callahan, D. (2002). Contemporary issues in Australia literature. UK: Routledge Colette (Playwright). (2009). Chéri [Drama]. Pathe: France Elahi, M., F. (2010). An examination of cross-cultural similarities and differences from social media data with respect to language use. University of Malta Proulx, A. (Playwright) (2005). Brokeback Mountain [Gay/Bisexual Romance]. United States: Paramount Pictures Tsiolkas, C. (1995). Loaded. New Zealand: Vintage, 1997 Ward, M. (2009). The literature of love. Cambridge: Cambridge University Press Read More