Representations of belonging are formed through an understanding of social

inclusion and identity, and can demonstrate the complexities with conforming to
societal values. These complexities present themselves as internal struggles,
questioning an individual whether they must identify with themselves, or
sacrifice elements of their character. In doing so, one is able to create change in
the communitys perception of religious and political agendas. Such changes are
conveyed in Arthur Millers play The Crucible, with Millers religious setting of
Salem depicting the complexities of altering and accepting ones values in order
to discover social inclusion. Similarly, Zhang Yimouos film Raise the Red Lantern
marries the cultural tensions of ancient traditions with Maos revolutionised
politics; illustrating the sacrifice necessary to identify with a community. Through
the use of various literary and dramatic techniques, both texts are emphatic
illustrations of the complexities regarding social inclusion and identity.
The intentional and voluntary process of forgiveness is often seen as a form of
self-sacrifice; where one accepts their flaws and strengths in order to achieve an
understanding of social inclusion. This is evidenced in The Crucible, when
Proctor, despite his respectable character, succumbs to common adultery. He
defies Salems Puritan values of resisting mortal temptation, which contextually
reflects the way victims in the McCarthy era were subjected to interrogation for
communism. Proctors confession of his crimes redeems his transgression, but
his reputation is still risked. Conveyed through dramatic irony in Act Two,
he blush[es] for [his] sins as he knows it is true, the people in Salem
do not know him as an adulterer, but a respectable citizen. However,
Proctor is able to reconcile himself while believing that publicity will only intensify
his guilt. Eventually, he speaks his own sins to publicly acknowledge
the importance of protecting his wife, resulting in his forgiveness. In doing
so, Miller enables Proctor to discover social inclusion through sacrifice. Miller
arguably changed perceptions of truth and false submission within the
superiority of law, which is reminiscent of the McCarthy Era. It is clear that the
complex decision of sacrifice results in an individual consenting to their identity,
ensuring social inclusion through the representation of communal belonging.
Recognition of status within a hierarchy also allows an individual to discover their
cultural identity before conforming within a society. Zhang Yimouos Raise the
Red Lantern portrays life in a stifling and constrictive courtyard called a
siheyuan. This rigidity is a metaphor for the conservative values of mid-20 th
century China. The siheyuan was considered a masculine domestic utopia in
which the master was the centre of the universe. [In the same way that fences
simultaneously keep in and keep out,] The complex social code of the household
juxtaposes the paternal notion that confinement protects the inhabitants from
external hardships. This is depicted in Yimouos wide angle shot,
symmetrically framing the protagonist Songlian with archaic Chinese
characters inscribed on surrounding walls. The audience is aware that
the traditional values of her new household will psychologically
consume her. Her power as Fourth Mistress in this patriarchal society is
constricted by the Confucian notion that every person should know their place,
and that upholding family tradition takes precedence over the individuals needs.
This is shown by Songlian deceiving her husband through feigned
pregnancy in order to win his favour. The continuous panoramic shots
of red images behind Songlian symbolises good fortune in childbirth,
while highlighting her defiance towards accepting ancient values. Her selfrecognition leads her to socially conform within a household that demands
compliance with ancient values on both complex and traditional levels.

Both Proctor and Songlian achieve an understanding of social inclusion and

identity in their respective communities by enduring a journey of self-discovery.
Their respective composers juxtapose and condemn their overriding religious
and cultural values of their time, and as such, portray both characters as
symbols of hope. Procter perpetuates the importance of love and sacrifice as a
Christian Puritan against a corrupt government, whereas Songlian condemns the
oppressive nature of traditional Confucian values. With both protagonists
creating change in their religious and political beliefs, both texts convey the
complexity of belonging culturally, religiously and socially within a community.
They are arguably lucid reflections of the complex nature of social inclusion and identity within a
fraternal society.