User:Wripples/sandbox

I intend to edit the page The Hungry Woman. I intend on adding more to "plot" and add a section called "themes."

Below are edits I would like to make to "plot," starting Immediately after the second paragraph.

Note about the cited sources: two of them come from a database which somehow cannot be identified as a URL. The URL can be copied from a citation provided by the database itself and the actual URL on top of the web page.

Plot
Knowing Jasón only wants Chac-Mool back as a proof of right to reside in Aztlán, Medea kills her son in order to prevent Chac-Mool from going to Aztlán to leave Phoenix.

Chac-Mool’s ghost appears at the end of the play in the mental ward and assists Medea with her suicide.

The play begins in the mental ward of a psychiatric hospital in which Medea is later admitted into at the present time, but recreates scenes in Phoenix during the past.

Themes
Based off the original Greek play titled Medea, a name which the main character of The Hungry Woman the predominant themes of the play are gender roles, race, sacrifice, and sexuality.

The play also takes inspiration from Aztec culture with references of Aztec culture and names. Medea and Chac-Mool both desire to return to Aztlán, often called the ancestral homeland of the Aztecs, and the secondary for Phoenix is Tamaochán, meaning “we seek our home.” The play also recalls the story of Cōātlīcue.

Minich claims that the inclusion of the name “Tamoachán” for the city of Phoenix is fitting for Medea. Despite Aztlán forcing her to exile to Phoenix for her homosexual tendencies after failed attempts at a revolution to reject the homophobic patriarchal nation, she still desires to return to Aztlán. She is able to return if she renounces her homosexuality, but refuses to do so. She is therefore stuck in Phoenix and frustrates Chac-Mool for refusing to find potential in making Phoenix home for herself.

Foster elaborates on Medea’s situation on being stuck mentally and physically with the realization that she has no place or person to turn to. He describes it as being in Limbo and claims that it is because of her self-destructive nature, which can be attributed to her exile. She is physically stuck in Phoenix, but wants to go back to Aztlán, but cannot due to refusing to reject her lesbian desires, something she attributes to Luna. As for being mentally stuck, she exhibits both homosexual desires with Luna and heterosexual desires with Jasón. However, she rejects that she can have a stable lesbian relationship with Luna, and claims that she did not have a proper relationship with Jasón. Foster also claims that due to this self-destructive attitude, she has a bleak outlook up to the point when she loses sanity and ends up in a mental ward.

Gonzáles claims that Moraga uses the play to mock patriarchal society and decolonize the traditional values of maternity with the murder of Chac-Mool, a scene in which Medea attempts to free herself from patriarch. Gonzáles draws comparison between Medea's actions and the actions of La Llorona, a Latin American figure. Both Medea and La Llorona take actions in order to seek revenge from their respective husbands. Ybarra notes their respective situations when they murdered their children, with Medea wanting to prevent her son from leaving her, and La Llorona murdering her children out of anger.