Tag: film

I Am Become Death, the Destroyer of the Worlds: On Oppenheimer and the Bhagavadgītā

Téa NicolaeLeave a comment

Now I am become Death, the destroyer of the worlds.

*Note, a more accurate translation is:

I am Time, the destroyer of all; I have come to consume the world.

BG: 11:32; trans. Eknath Easwaran.

Sometime ago, I was involved in a discussion about whether it was blasphemous for Oppenheimer to have quoted from the Bhagavadgītā upon seeing the explosion triggered by the atomic bomb he constructed. I was of the opinion that it was not. The opposing view was that Kṛṣṇa’s demolition was one of divine nature, whereas Oppenheimer’s manmade atomic bomb was not. Whereas, in this perspective, Kṛṣṇa’s violence and destruction were justified through Kṛṣṇa’s inherent divinity, Oppenheimer’s humanness disfigured his destruction with greed and impunity.

This comment rested at the back of my mind while I watched Oppenheimer the other night, and the film solidified my view.

I would maintain that, to one adhering to a non-dual outlook, there is no separation between Kṛṣṇa’s violence in the Bhagavadgītā (or, more accurately, in the Mahābhārata) and Oppenheimer’s manmade, humane violence. Violence is violence, and divinity (or Consciousness) is inherent in the fabric of that, as it is in all that is. The genius of Oppenheimer’s brain which created such a formidable and terrible invention functions on the same patterns that enable and are Kṛṣṇa’s destruction. There is nothing more inherently divine in death by astras (supranatural weapons controlled and imbued by mantras central to the Kurukṣetra war) than death by atomic bomb.

Not only do I argue that it was not blasphemous for Oppenheimer to quote the BG and internalise his work through its prism (and, incidentally, is blasphemy anything but a dual social construct? Can Consciousness be blasphemous of itself?), but I argue that this is exactly how the Bhagavadgītā is lived in direct experience. The Bhagavadgītā and the Mahābhārata are not lifeless ancient texts that are only accessible or relevant in an esoteric, abstract realm. The BG and the Mbh are lived here and now, from a moment to moment unfolding. I would maintain that we cannot pick and choose what we like from these texts or what aligns to our morals (such as teachings on goodness) and disregard the rest — or take it metaphorically. The last parvas of the Mbh are incredibly violent and include gory descriptions of war, and the BG occurs on the battlefield of said war. This, in my view, does not signify that the texts glorify violence — no more than they glorify any other aspect of creation. It is a sign that violence exists as a natural development of the triadic cycle of creation (creation — preservation — destruction), and it is a manifestation of Consciousness.

The Bhagavadgītā coming alive to Oppenheimer upon witnessing his own potential for destruction is a testament to the BG’s existence in the collective consciousness as an expression of truth, pulsing and flowering for the one who expands their individual consciousness enough to tap into it and to allow it to manifest through themselves.

Barbie Mini-Review: Sweet yet an Encapsulation of the Deficiencies of Pop-Feminism

Téa NicolaeLeave a comment

Sweet, energetic, and entertaining, Greta Gerwig’s Barbie is a delightfully camp blockbuster that I thoroughly enjoyed. The cinematography is excellent, the colour palette is perfect, and the actors are a treat. However, I did find its feminist thesis to be lacking. Although I acknowledge that the film is in itself a comedy which does not aim to solve social justice and functions primarily as entertainment, it still does construct a social, feminist commentary, which is why I found it fitting to utilise as a stimulus for analysing the deficiencies of pop-feminism culturally, as well as within myself.

Barbie offers its female characters the space and opportunity to muse on their condition and on the pains of being a woman, such as the contradictions of having to be extraordinary (attractive, successful, loving, kind, assertive) and yet contained, the ideal being achieving or conforming to a personal excellence that concomitantly is appeasing, controllable and tameable; yet never too much — not too powerful, nor too intimidating or destabilising.
A message of: Shine, but do not shine too much.

In my personal journey, I have recently been reflecting on my self-punishing tendencies and on my self-images of having to always be kind, never angered or envious, and, while watching Barbie, I was moved listening to the monologues of the female characters, and saw more clearly how much of my own ruptures in my identity are the legacy of having been conditioned and socialised as female growing up.

“I’m just so tired of watching myself and every single other woman tie ourselves into knots so that people will like us.” America Ferrera as Gloria in Barbie.

Indeed, I have found that men are less likely to have intense hang-ups around emotions such as anger, as it is viewed as more acceptable for them to express it. However, this binary contracts all gendered expressions, as male conditioning stereotypically also rejects its own emotional range of vulnerability and openness.

The human condition is such that we all are continuously split and stretched within between who we think we should be and who we truly are. We perpetually hide, repress, contort, and harm ourselves to mould into ideals and images which we innocently construct by absorbing various messages from society, culture, history. The Barbies are given the chance to see through the mirage of constriction, the Kens are not (which, in part, saddened me), however, neither fully glimpse through into the ultimate bondage: that of the gendered self.

To successfully break through the suffering caused by female conditioning, a deconstruction of the very concept of femaleness as a rigid reality must ultimately occur — along with a deep dive into gender as a construct, both which are unfortunately glossed over in Barbie, and, on a greater scale, in pop-feminism. In my understanding, complete liberation cannot be achieved while still operating in the gender binary, which is to be dismantled within in order to open to freedom from all self-images, internal conflicts and constrictions.

Barbie both delighted me with its vibrancy, playfulness and beauty, and also reminded me that, as a woman myself, I must push through myself more for my liberation.

My arguments are based on the work of feminist philosophers such as Simone de Beauvoir (see: The Second Sex), as well as on the precepts of non-dual ‘Eastern’ philosophy.