Tag Archives: Male

Male circumcision is genital mutilation: the sharp unconcerned gender disparity as written by news media language

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Frogtown, USA–I never really thought about the topic of circumcision much, especially in relation to change or making change within–I think my fate is sealed, was sealed before my brain could function enough to say perhaps “no, sounds painful”.

Maybe once in high school though I thought about it being a private matter.  The idea of male circumcision and what it meant.  I still don’t understand much about it, however many males in America are circumcised.  I think the act could be because of religion or because of hygiene, it could be.

You see, I won’t research that.  I don’t care if it is because of “religion” or “hygiene”, they why doesn’t matter.

The matter at hand is that male “genital mutilations” or “circumcisions” happen and there are limited media reports of them in comparison to female “genital mutilation” stories.  I find it odd that a prevalent practice performed on one gender (male) is considered normal while a similar practice performed on another gender (female) is considered a news worthy, and possible criminal charge.  And, as a self-identified male, I find this a bit unfair.  (But that doesn’t fit into the Narrative.) download

I do not believe female “genital mutilation” or “circumcisions” should make the news if, at the same time, a majority of male “genital mutilations” or “circumcisions” do not make the news in an equal capacity.

And yet, why is there little concern that “most adult men are circumcised“.  Does this not concern the media or the activists that wish to protect human rights.  Also, why is male “circumcision” not considered ubiquitously as male “genital mutilation”?

Recent news stories focused on female “genital mutilation” prompted me to delve back into the topic of “circumcision” in males, that, and the experience of having a baby boy.

As a parent I have to decided the fate of my child’s physical dimensions.  There is no cry from protesters or the pundits when it comes to this private and personal decision at the hospital, not view as damage or irreversible harm but rather as an “option” to think about before birth.

So, think about this, as from above most American males are “circumcised”, or have experience “genital mutilation”.  In recent years, however, male circumcisions in America are on the decline.  Why is this?  Perhaps because male circumcision is actually male “genital mutilation”, period, and the mainstream media doesn’t care.

They play with terminology when it works with their ideology, but cutting flesh from one person is the same as cutting from another, no matter race, creed, or gender.  images

In conclusion, the decision to “circumcise” or to “mutilate” not is a highly personal decision, and a final one.  Accordingly, I believe that not only do we need to reconsider how we change our bodies but how we change the bodies of the future.

Moreover, I believe we need to understand and keep meanings and definitions in relation to words and genders equal, especially within news media language and context; we observe male “circumcisions” or  “mutilations” as somehow not as equally alarming as female genital mutilation.  Perhaps the lack of concern shown to one gender over another by mainstream news is the actual shocking news story that everyone wants but no one wants to hear.

As a self-identified male, I haven’t heard of any bills being made to save our (fore)skins, pun intended, in relation to “circumcisions” or actual male “genital mutilation”.  Alike, I think all “genital mutilation”, in relation to all genders, is mutilation, destruction, and potentially a crime which disfigures the human body.  Reconsider this when the idea arises in local reports or national breaking news.  download.jpg

Language is the key to this matter.  You call something “circumcision” and then you call something “genital mutilation”, on the grounds of gender, and you assume a bias in the language you use to describe an action.  Which is which?

That is the crux of this biscuit, the matter at hand.  If we use the somewhat necessary innocuous and accepted language to describe an horrendous act, is that act then acceptable, and should that act be called something different depending on who it is done to?  Because that happens now, today, on the topic put forth above.

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I am no advocate, activist, or professional on the topic “genital mutilation”.  I am merely stating concern over the potential bias within the media coverage of one agenda over another, one gender over another, through language and terminology.

These are my views.  I am open to free discussion and open dialogue on the topic of circumcision/genital mutilation, please comment as necessary.  Thank you for reading.  No hate please, I try to stay positive.

 

 

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How Irish Literature Established a Fictionalized Gender

How Irish Literature Established a Fictionalized Gender
By Terry Scott Niebeling

Within Irish culture and literature, there are many great divides, sorts of impasses, in relation to religion and nationalism, and also, especially, in relation to gender. Gender in Ireland is an understanding brought to the forefront by writers and playwrights as a hot-button topic, established, by what seems innocuous intent. This presents an image of the proper, or decidedly generalized Irish woman. In establishing a gender, male writers depict the assumed typical Irish woman in her natural element, she is true to family, true to duty, and appears, always dependent and unsure, and reliant on the male’s wants and needs. What Irish male writers do, by creating an archetype for Irish women, is to enable a preconceived notion of a group through observing an individual, through single examples, and thus degrades and enforces these stereotypes on a diverse group. In this action, there exists a logical fallacy, the fallacy of composition: one part of the whole cannot represent the whole entirely, absolutely. This gender construction is a status placeholder, allotted and acknowledged by those in close proximity, and those in the mainstream, those who witnessed one individual, not an entire group and wrote on that. In Irish literary culture, by way of written word, there is an immense disparity in gender, and an assumption on the roles each gender plays.

The masculine perspective in Ireland, per writers e.g. Joyce, Martin McDonagh, establishes a pariah shut-in interpretation of women, and this formula for a gender, by “Othering” the kind, creates a subjective perspective authored by men. This act alone assumes and mislabels an object as subjective and discrete, predictable, lowering the female status to an “ism”. Irish writers have presented gender, not as objective, but subjective, creating a vast stereotype which damns, and absolutely requires dispelling. Irish females are iterated by men in the past-tense, not in the present because of these texts.

While ascertaining the meaning and value of a label, you must look into the agency creating the label. This assessment is similar to understanding who writes history. In the case of Irish gender identity, the female persuasion is explained (in these instances) through the eyes of males. This patriarchal observation gives females a patina of disparaged hue, one of subservience, one of a life filled with chores, family responsibility, and sheer lack for personal pleasure and fulfillment. Within The Beauty Queen of Leenane, the reader is introduced to what you could assume is a traditional family of western Ireland. Immediately, dynamics are skewed; readers are given bickering women, embattled over food in a kitchen, caring for one another, while one, Maureen hopes for more, and the other Mag, wishes to keep family around her to care for her, because she does not want to be sent away from her home. The only reprieve from this situation for Maureen is to find the next male that shows her attention. This male is her ticket, her future. McDonagh gives these women a typical aspect, one from a male perspective; Maureen’s salvation is through a salacious male after a one-night stand. Not only does this situation come across as fictional, it comes across as lowering Maureen to a level lacking, needy for love. Her only outlook on life depends on that of another, particularly that of a male.

Another example of the stereotypical Irish female is presented in James Joyce’s Eveline, a story from Dubliners. Within this story the reader is shown a woman in love, about to commit to a relationship, which her family disapproves of, naturally. Eveline is sure she is in love with a sailor named Frank. It appears, at first, as if Eveline is set in her ways; she will leave, she must. Yet after some contemplation and a melancholic climax at the train station, she leaves and appears to directly disassociate herself with her future life and lover, for one of the past. In this story, pressures from home, the familiar, specifically from her father, create a cognitive dissonance within Eveline, affecting her decision. She, a young woman, has her whole life ahead of her, yet she inevitably has to choose between two males. One side of this story focuses on the independence of Eveline. The other side focuses on the considerable influence males around her have on her decision, essentially her fate. Eveline’s fate is chosen by the pressures around her. The males within proximity judge, label, and degrade her, in hopes that she performs her task as the stereotypical Irish woman. Eveline, we can assume, becomes a caretaker for the family, a creature that exists at home and cares for her father and family’s needs rather than her own. And fate is just a go-to word which explains it without actually explaining it. She was fated to attend to her family.

To that, a concept that is most astonishing, when considering these gender stereotypes, and the frequency of utilization, is the stark contrast between movement and labeled-gender; moreover, location: west and east, within Ireland; and homebody versus traveler, without. Purpose and place of the character, the individual, is allotted by this movement. If the individual is mobile, the individual is male. If the individual is immobile, the individual is female. Through experience one sees this from west to east, or vice versa. The more progressive and more mobile individual is located in the east of Ireland. The less progressive and less mobile individual is located in the west of Ireland, perhaps. In the west, our group experienced males who drove vehicles, busses and ferries; accordingly, we experienced women who were sedentary, in shops and cafés, similar to the character roles depicted in Once and The Dead. In Once the audience is shown a woman stuck, unmoving in her ways, tied to her husband and family. She, “Girl” (her name is exactly one of gender), exhibits convictions to a male (or two males), and to her family. To contrast, “Guy” does not live by these same rules, he is free to go back to England, and to search for his love. “Girl” is not able to branch out, to find love, which does not allow her to move on, or move in any manner. Within The Dead, again, the women are portrayed as housemaids, cooks, organizers (at their own party, Women’s Christmas), furthermore none of the women appear to be experienced travelers. While Gabriel writes for a newspaper abroad in London, -embarrassingly so, Gretta sits at home contemplating Michael Furey and the love she could have had. The women within these texts lack mobility, and conversely, the men are free to go anywhere, free to move at will.

This lack of mobility comes with a price. As a group we ventured further to the west of Ireland, this mobility of gender, or lack thereof of, became ever more apparent. Jerry our bus driver carried us along narrow roads, regaling us with local experience and traditional lore. We learned a little something from Jerry, whether good or bad, -from the Irish male perspective. We were told of a jogging path along the shores of Galway, and what Jerry called it; a name which was rooted in woman’s anatomy, perversely. When we came to the ferries, we also learned that it was piloted by males. After arriving at Inishmore, with the sweater shops and cafés, we were introduced to women. Those of a gender stuck inside. Whether or not they remained inside or not throughout their day is unimportant, the image given is one of a static condition, in comparison to that of the males. We were given the perspective of a male through Jerry, through his microphone, while he maneuvered his bus. While I purchased my wool wares and lunch, I heard few tales of experience from the women attending to me. Even that last sentence feels oddly disparaging.

Accounts of experience learned through the journey were given ubiquitously by those Irish males we had come into contact with. Those reiterations of experience will hold a place within us for some time. Because we journeyed to a new area we saw. Had we not, we would lack that of which we experienced. By way of experiencing we become more seasoned, flavored, more educated, well-rounded, and intelligent. As a foreigner, taking in the literature and the real-life encounters, one notices that things are not as described in a book, but different. Though, if that stereotype is carried over from a book and assumed genuine it can diminish the character of real-life in a way that it cannot progress. If Irish women are depicted as shut-ins, homicidal for the love of a male, and destined to be caretakers for their families, in frequently read literature, then who is to oppose this generalization when met with it head on? Those who observe both the literary and physical examples can only go on those experiences, respectively.

In both of these stories, The Beauty Queen of Leenane and Eveline, the female gender is depicted as unable to leave, -though not unwilling (interestingly), stuck in ways of the past. There is one sole duty of a woman in the Irish community. That duty is to maintain her family, appreciate the desires of males, and to be content with that existence. Perhaps Joyce and McDonagh thought to represent an aspect of life. This representation, this realism they experienced; although the reality they create is one of sedimented ideology, beliefs, thoughts, concepts based on ways of the old. By presenting females in such a light, these authors have squelched that gender’s very social ascension, and the literal status of women in Irish society. What is even more disturbing is that readers today may take these literary works, examples, and estimations as genuinely definitive. In this exchange of “knowledge”, Irish women become misrepresented in their own culture’s historical “masterpieces”, by those writers who made the time to designate a single example as true of an entire group. These stories are protocol for what good Irish women do, not what progressive Irish women do. Stay safe, stay orthodox.

Some Irish literary works have cast a stereotypical shadow, a female archetype, by way of male playwrights, -those who appear modern and progressive and authentic to locality, within Ireland. By way of employing a label, a caricature typecast of the female gender, and their static ways, notions, and goings-about, certain Irish male authors have placed Irish women at a disadvantage. These authors enable a stereotype which proliferates and thrives in present-day culture, in the very existence of these stories. Had readers not been exposed to such generalizations, those iterated by male writers, readers, as observers may have had the opportunity to view Irish women with a fair and objectively sound eye; however now, with this literature, the concept of an Irish woman is sedimented in subjective design, fictionalized, an anomaly to be pondered and put forth.

Work Cited:
McDonagh, Martin. The Beauty Queen of Leenane. London: Methuen Drama in Association with the Royal Court Theatre, 1996. Print.
Joyce, James. Dubliners,. New York: Modern Library, 1926. Print.
Once. Fox Searchlight Pictures :, 2007. Film.

Project: Photograph Ireland

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1. A Literary Image: This photo represents literary works of Irish playwrights, specifically Synge and McDonagh, in The Riders to the Sea and The Beauty Queen of Leenane. This image captures the nature of these isolated islands, and a perspective only their inhabitants may have had; although this distant land is beautiful and cause for awe, it also imposes extreme desolation, and removal from society. What you see here represents the truth in beauty, its binary. Yes, the island of Inishmore is immensely inviting and quite wonderful to experience; however it brings one away from the Irish mainland and its society, and closer to one’s immediate community, for good or ill.

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2. Water: This photo of the River Liffey represents water, a basic human need, within Dublin, and throughout Ireland. The River Liffey flows through Ireland, dividing Dublin, and into the surrounding ocean. Ireland is surrounded entirely by water and made up of water within its largest city. Water is of the inhabitants; 60% of the human body is made up of water. The River Liffey is important as a port, in history, and for supplying water to the polis. It is a quintessential entity for the progress and existence of Dublin. Lastly, the River Liffey is adorned with beautiful bridges, wildlife, and people which offer to the culture of the city. The River Liffey gives life, as translation of the name suggests “An Life in Irish”.

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3. An Irish Architecture Feature: The doors. The Doors? No, not the band. The painted doors of Dublin, actually. In this photo the painted doors of Dublin symbolize divide within the country of Ireland, by way of blue and red paint: English/Irish, Catholic/Protestant, Male/Female, Fate/Decision, and Progressive/Tradition. By way of contrasting these two opposing colors on these two opposing doors, and showcasing their proximity, the viewer is looking into the entry way of a family, a culture, a lifestyle, at the difference in their neighbor, and their beliefs, and seeing life. Ireland to me, in this photo, represents how two people, two ideas, or two (or more) cultures of differing viewpoints can live, interact, and thrive next to one another, offering something unique and poignant to the community and city as a whole.

Equal parts Equal; Gilda and everyone else

Gilda_trailer_hayworth1            Gilda is a striking and beautifully shot movie, Rita Hayworth’s talent highlights this quintessential noir.  Silhouetted characters, shadows, and hazy deception are used heavily throughout the film.  Straight on glam shots pose as useful with a starlet such as Rita Hayworth, especially when showing character interaction.  We see long profile shots with facial manipulation, a sexual allure; smoke drifting out of the frame, darting doe eyes, the introduction of the character of Gilda being a prime example.  The camera shows the men walking up a flight of stairs, a woman’s voice in the background, and then we see her.  They have essentially found their queen herself in her castle, falling all over her newly found luxury and fine garments.  Front and center, there is nothing else in the shot but Gilda.  From this point on the movie is changed.  These men, unsuspecting as they were, have their worlds turned upside down by what seems to be love, or possession of something labeled as “love”, or this amazing woman, Gilda.

Subtle hints in direction fill up every moment of the film.  Gilda starts out with the roll of dice- literally, face first into the camera, from the ground up.  I suppose this captures the entire concept of the plot; Johnny moves from the ground up, then someone dies on the floor.  We see the roll, the gamble, and the pan up.  The viewer is given insightful narrative of the sorted people around the protagonist, and the need to leave, and then Johnny is caught in a dark alleyway, gun to his back.  He has come to the end of the line.  This is when we meet Ballin Mundson, a casino owner.  Ironically, Johnny is saved by the very knife that will in the end kill his would be killer; the person who once saved him from his would be killer, Mr. Mundson.  Why is this well-dressed casino owner in this dark and mysterious alleyway saving an inconsequential bum’s life?  Is Johnny his patsy?  We won’t find out until later, but the opening scene has it all.

I feel Johnny’s life being spared is an ode to living by the sword dying by the sword for Ballin, considerably when we see how quick he is to make sharp and drastic decisions, such as, nixing the Number 2 Black Roulette man.  We see Ballin walking around with an innocuous looking cane, and then boom, the next moment it’s a blade ready to slice at whatever, or whoever is in the way.  Also this plays into Johnny and Gilda, when they are ready to do whatever, whenever to get whatever they want whenever.  They are sharp and ready to monopolize on any advantage.  They attempt to cut each other down with jealousy, words, possessive antics, and cold stares, at times without being detected.

Gilda gives these men power.  She becomes the third-wheel in what is a seemingly well-oiled machine for a business/relationship.  It is later revealed that both Johnny and Gilda come from the same knit.  They are very similar, if not spouses (which I assume they were).  Mr. Mundson essentially loses his mind because he cannot control the movements of his bride.  In a sense the director has created Gilda as a possession, an object, whoever has this possession is in charge, yet Gilda has plans of her own, clearly.  She does whatever she wants, she doesn’t ask for permission, and she is outspoken- rather risqué for the time (1946).  The men appear pensive and timid, especially in times of dealing with lover’s betrayal.  The culmination of this pent up aggression results in violence towards Gilda, and further deception by Ballin, the one we believe is being deceived (when he fakes his own death, excessively: plane crash/explosion into the ocean).  The director may be giving a nod to the idea of equality, equating Johnny and Gilda, and Ballin to Johnny and Gilda.  Everyone is pretty much equal in their betrayal and deception.

Johnny starts from the bottom and quickly rises to the top, as Gilda eventually does, as Ballin once did himself.  Johnny even expresses to Mr. Mundson, something to the effect of, “I taught her everything she knows.”  I feel as though both Johnny and Gilda have fallen in love with the same man, and again with each other, for similar reasons: security.  Johnny’s almost effeminate appearance and boyish charm seem lover-boyish, also his jealousy towards Gilda and Ballin’s relationship with Gilda shows the love he has for the man, and for Gilda.

Another interesting theme in the movie is the barbershop attendant, who looks like the Wizard of Oz, who always acknowledges Johnny as peasant, as if even if he has all of these lavish material possessions, power, he is still the same at heart, a lowly peasant.  One can compare this to the love/hate relationship he has with Gilda, even if he appears different now, he is still very much in love with Gilda all the same, and powerless to her charm.