User:Pumpkinpie21/sandbox

Editing paragraph from Marina Carr article, first paragraph under the "Reference to Themes and History" section (due Wednesday October 10th, 2018):
Carr has written a different view when it comes to the appearance of mothers in plays. Rather than always being a loving, sweet mother, she has taken this behavior and twisted it to represent dark sides of motherhood, such as in The Mai, the mothers in the play do not give the attention their children need, but rather to their male partners who do not treat them properly (Randolf, 2012, 48). In fact, Carr's mothers in her plays have opposite personas such as dealing with mental health, abuse and have violent tendencies (Maresh, 2016, 179). In The Mai, there are many women who are mothers, however, Carr wrote the characters to be non-representing of what mothers are suppose to be (Maresh, 2016, 179). This applied to the main character, Millie, who is an uneasy mother figure in Carr's play, The Mai, because her own mother, Mai, was having difficulties with her life, leading to her feeling her only way to escape her demons is suicide, causing Millie to constantly be trapped in this traumatic event and not heal (Maresh, 2016, 184). Carr puts Millie through hardship of having to deal with the aftermath of her mother's suicide many years later (Maresh, 2016, 184). Carr showed the ripple effect of an ill mother raising a child through Millie's character, since she has her own problems dealing with motherhood to a young son (Maresh, 2016, 184).

Portia, who is the protagonist of one of her more famous works, Portia Coughlan, is an equally terrible mother, like Mai, in The Mai, with committal problems to her motherly responsibilities (Maresh, 2016,186). However, Portia's character as both a mother to her children and a lover to her husband is quite negative that she cannot fulfill these important roles in her life because she is constantly affected by her past (Randolf, 2012, 48). Carr showed the downfall of some women experiencing motherhood through portia's character (Maresh, 2016, 186). Portia has a tough time with basic tasks as a mother such as caring for her children to make sure they are clothed, fed and have a healthy home environment to grow up in, representing that she cannot provide the basic responsibilities of motherhood to her children (Maresh, 2016, 186). Portia throws herself into negative actions and is difficult to leave the dark environment she has made for herself, which unfortunately leads her to commit suicide by drowning herself (Maresh, 2016, 187).

Showing motherhood in a different light shows different sides of what it could be like being a mother. “Marina Carr's plays aren't a good advertisement for motherhood” (Gardner, 2004). This quote said by Lyn Gardner in her 2004 article, Death Becomes Her, in The Guardian is accurate of the mothers  expressed in Marina Carr's plays because these mothers  do not express the usual characteristics that mothers are suppose to have, such as being self-less, caring, and loving figures towards their children and families (Maresh, 2016, 179). When Ireland's National Maternity Hospital decided to throw celebrations for its 100 years of existence, they figured portraying Marina Carr's, Portia Coughlan, would be a good option (Sternlicht, 2010, 151). However, some did feel it was a wrong choice to demonstrate. Journalist, Lyn Gardner, from The Guardian felt this way about the performance, stating that, “This wasn't perhaps what Dublin's National Maternity Hospital had in mind when it commissioned Carr to write a play to celebrate its centenary” because of the negative motherhood potrayed in the play (Gardner, 2004).

Source from Wikipedia:
Gardner, L. (2004, Nov. 29th). Death Becomes Her. The Guardian. Retrieved from https://www.theguardian.com/stage/2004/nov/29/theatre.

My Sources:
Maresh, K. (2016). Un/Natural Motherhood in Marina Carr's The Mai, Portia Couglan and By the Bog of Cats. The University of Alabama Press, 35. 179-196. Retrieved from http://0-eds.b.ebscohost.com.mercury.concordia.ca/eds/pdfviewer/pdfviewer?vid=1&sid=ab25ce82-3ff2-446d-82d9-891a94e84c31%40pdc-v-sessmgr01

Randolf, JA. (2012). The Shadow Side of Modern Ireland: Marina Carr's Midland Tragedies. World Literature Today, 86(4). 47-50. Retrieved from https://0-www-jstor-org.mercury.concordia.ca/stable/pdf/10.7588/worllitetoda.86.4.0047.pdf?refreqid=excelsior%3Aaabe6e3bdfae96ac298a53f498fb5ff6

Sternlicht, S. (2010). Modern Irish Drama. Syracuse: Syracuse University Press.

*** Please note: The sources on Wikipedia from the paragraph would not transfer over to my sandbox, therefore I manually cited the article from Wikipedia page

RESPONDING TO PEER REVIEW FOR DRAFTED PARAGRAPH:

* Changing section/creating new section in Wikipedia for this observation is being considered-Such as: "Mother Representations in Marina Carr's Plays"*
Marina Carr has written a different view when it comes to the appearance of mothers in plays. Rather than always being a loving, sweet mother, she has taken this behavior and twisted it. Carr's mothers in her plays have opposite personas such as dealing with mental health problems, abuse towards them, either from outside sources or self-inflicting, and have violent tendencies. These abnormalities are seen in The Mai, where there are mothers, who are non-representing of what mothers are supposed to be These mothers barely give the attention their children, but rather to their male partners who do not treat them properly. Carr also showed the ripple effect of an ill mother raising a child through Millie's character, since she has her own problems dealing with motherhood to a young son. This applied to the main character, Millie, the daughter of Mai, because her own mother, Mai, was having difficulties with her life, leading to her feeling her only way to escape her demons is suicide, causing Millie to constantly be trapped in this traumatic event and not heal. Carr puts Millie through hardship of having to deal with the aftermath of her mother's suicide many years later.

Portia, who is the protagonist of one of her more famous works, Portia Coughlan, is an equally terrible mother, like Mai, in The Mai, with committal problems to her motherly responsibilities. However, Portia's character as both a mother to her children and a lover to her husband is quite negative that she cannot fulfill these important roles in her life because she is constantly affected by her past. Carr showed the downfall of some women experiencing motherhood through Portia's character. Portia has a tough time with basic tasks as a mother such as caring for her children to make sure they are clothed, fed and have a healthy home environment to grow up in, representing that she cannot provide the basic responsibilities of motherhood to her children. Portia throws herself into negative actions and is difficult to leave the dark environment she has made for herself, which unfortunately leads her to commit suicide by drowning herself.

Showing motherhood in a different light shows different sides of what it could be like being a mother. “Marina Carr's plays aren't a good advertisement for motherhood”. This quote said by Lyn Gardner in her 2004 article, Death Becomes Her, in The Guardian is accurate of the mothers expressed in Marina Carr's plays because these mothers  do not express the usual characteristics that mothers are suppose to have, such as being self-less, caring, and loving figures towards their children and families. Carr easily shows the downside of being a mother because her characters tend to be written with a more negative view. When Ireland's National Maternity Hospital decided to throw celebrations for its 100 years of existence, they figured portraying Marina Carr's, Portia Coughlan, would be a good option. However, some did feel it was a wrong choice to demonstrate. Journalist, Lyn Gardner, from The Guardian felt this way about the performance, stating that, “This wasn't perhaps what Dublin's National Maternity Hospital had in mind when it commissioned Carr to write a play to celebrate its centenary” because of the negative motherhood portrayed in the play.

Tweaks with attribution (example)
Literary critics have stated that Marina Carr has written a different view when it comes to the appearance of mothers in plays, as she has taken the behavior of being a loving, sweet mother and twisted it. According to Karin Maresh, the mothers in Carr's plays have opposite personas such as dealing with mental health problems, abuse towards them, either from outside sources or self-inflicting, and have violent tendencies. She further states that these abnormalities are seen in The Mai, where there are mothers, who are non-representing of what mothers are supposed to be. These mothers barely give the attention their children, but rather to their male partners who do not treat them properly. The ripple effects of an ill mother raising a child through Millie's character has also been noted, as she has her own problems dealing with motherhood to a young son. Millie's own mother Mai had difficulties with her life, which led Mai to feel that her only way to escape her demons is suicide, causing Millie to constantly be trapped in this traumatic event and not heal. Carr puts Millie through hardship of having to deal with the aftermath of her mother's suicide many years later.

Revised mother section 1)

Marina Carr has written mothers her plays to have opposite personas such as dealing with mental health problems, abuse towards them, either from outside sources or self-inflicting, and have violent tendencies, meaning they are not loving and sweet. These abnormalities are seen in The Mai, these mothers barely give attention to their children. Carr also showed the ripple effect of an ill mother raising a child through Millie's character, since she has her own problems dealing with motherhood to a young son are from her childhood when Mai was having difficulties in her own life which included raising her.

Portia, who is the protagonist of Portia Coughlan, is an equally terrible mother with committal problems to her motherly responsibilities. However, Portia's character as both a mother and a wife is quite negative that she cannot fulfill these important roles in her life because she is constantly affected by her past. Portia has a tough time with basic tasks as a mother such as caring for her children to make sure they are clothed, fed and have a healthy home environment to grow up in, representing that she cannot provide the basic responsibilities of motherhood to her children. Portia throws herself into negative actions which is difficult to leave the dark environment she has made for herself, which unfortunately leads her to commit suicide by drowning herself.

Showing motherhood in a different light shows different sides of what it could be like being a mother. “Marina Carr's plays aren't a good advertisement for motherhood”. When Ireland's National Maternity Hospital decided to throw celebrations for its 100 years of existence, they figured portraying Marina Carr's, Portia Coughlan, would be a good option. However, some did feel it was a wrong choice to demonstrate. Journalist, Lyn Gardner, from The Guardian felt this way about the performance, stating that, “This wasn't perhaps what Dublin's National Maternity Hospital had in mind when it commissioned Carr to write a play to celebrate its centenary” because of the negative motherhood portrayed in the play.

Revised mother section 2)

JUST A NOTE: using opening statement of motherhood already in article.

Marina Carr has written mother figures in her plays to have opposite personas such as dealing with mental health problems, abuse, either from outside sources or self-inflicted, and violent tendencies. These mothers in The Mai tended to not be sweet, loving and caring. With this type of motherly behaviour missing, these women barely cared for their children in the play.

Portia, who is the protagonist of her play Portia Coughlan, was an equally terrible mother with committal problems to her motherly responsibilities. Portia had a tough time with basic tasks as a mother such as caring for her children to make sure they are clothed, fed and have a healthy home environment to grow up in, which represented that she cannot provide the basic responsibilities of motherhood to her children. Portia actions lead her to commit suicide by drowning herself.

Potential Names for Sections of themes:

1) Motherhood

2) Northern Irish Troubles/ Irish History

3) Dark Humour

4) Familial Tensions

5) Love

6) Greek Mythology

** not in order**