TV show Mahabharata(2013). Visual & Performing Arts Term Paper

Pick one following topic below based on TV show Mahabharata(2013).

Term Paper Topics
Please choose only ONE of the following! Note: Your answers should be extensive and in-depth responses to the topics at hand. I do not want examples from your own lives. Everything you state should be supported with evidence from the epic (in this case your show as you have not read the actual poem). The paper should be between 6 – 10 pages in length and double spaced. Think outside the box, I do not want flat, shallow answers which simply regurgitate what we have studied in class. You are free to interpret these questions any way you like. 
1. The just war
Many scholars consider the Mahabharata to be the first text which examines the concept of a “just war.” What makes it a just war? Take care to note that unlike actual historical wars, the purpose of the Kurukshetra war is neither bound to territorial expansion (such as Hitler’s invasions) nor to the enforcement of ideology (such as is the purpose of so called “holy wars” i.e. the crusades). Despite the fact that the war breaks many of its own rules (which you should mention) and this is done by both sides, one hopes to the very end that the Pandavas will emerge victorious. Why? What are they fighting for? 
2. Morality is varied
One of the innumerable ideas the Mahabharata proposes is that dharma (translated as “righteousness” in your show) varies and depends on the situation one finds him/herself in, as well as the intent behind a deed. Such being the case, some deeds which appear immoral become good due to the intention of the characters, whereas other acts which follow the rules are perceived as unjust. Take as an example the Pandavas’ marriage to Draupadi vs. the game of dice. All the accepted moral and social norms were broken in the former and all were followed in the latter (that is, the game of dice was technically in accord with the rules set out for it before its start). Yet, the polyandrous marriage was a virtuous deed whereas Duryodhan’s intentions made the dice game malicious. In this view of moral variance, how can one decide when a deed is righteous and when it isn’t? If morality lies in abiding by certain rules, when do rules in turn become immoral? 
3. Draupadi – feminist icon or tragic heroine?  
Draupadi, the tritagonist of the Mahabharata, is one of the most revered literary icons for the contemporary woman. Unlike Sita, she is perceived to have independent thought, to be of fiery nature and not afraid to speak out against injustice. In addition, her polyandrous marriage has been the subject of much inspiration and fascination for modern women. What does Draupadi really represent? She is Yajnaseni (a fire born). Agni is both a tirtha and a dham, hence simultaneously a messenger to the gods and a contact to the divine world, a dwelling place for the divine and a purifier (note that Agni played a significant role in the Ramayana as well). At the time of her birth it is predicted Draupadi will change the future of the Aryan region and Krishna often alludes that the Kuru dynasty will be cleansed because of her. Is she an inspiration to the heroes, a catalyst for the course of events, a unifying force, a victim or a hero? Is she to be pitied or admired? Who is Draupadi? To the Pandavas? To Krishna? To the epic? In her own right as a character? 
4. Karna - hero or fool? 
Karna is one of the most relatable characters in the Mahabharata, perhaps because he is a person one can encounter today – someone who perceives him/herself to be on the constant receiving end of injustice and who believes they are always wronged by the privileged class. In a way Karna is also an iconic figure because he seeks to gain respect for his indisputable skills. Is Karna a victim of circumstance? Can one really justify his actions up to the very end? When does sympathy for him drain from the reader (in your case viewer) and why? Is he a hero or is he a villain? Protagonist or antagonist? Victim or oppressor? Why is his relationship with his brothers so tragic? Why is his perception of the world what ultimately leads to his downfall? 
5. The allegory of life
The Bhagavad Gita takes place on a battlefield between two opposing armies. What does this represent allegorically? Use clues you find in the Gita to answer this question. In addition, how does this metaphor tie in with the Katha Upanishad (the story of Nachikketa who goes to Yama/Death and asks for three boons)?
6. Dhrithrashtra and Gandhari vs Yudhishthir and Draupadi and Drona and Ashwathama vs Arjun and Abhimanyu 
Both the couples mentioned are rulers, both have children. Yet, one could argue that Yudhishtir and Draupadi are considered and emperor and an empress, even when they are stripped of their kingdom, whereas Dhrithrashtra and Gandhari, despite always retaining their wealth, are simply considered parents (both by scholars and characters in the epic itself). Why? What is the meaning of this comparison? In turn, the Upapandavas (the children of Draupadi and the Pandavas) and Abhimanyu (Arjun and Subhadra’s son) are all sacrificed and perish in the war. Drona and Dhrithrashtra always strive to shelter and protect their children (Ashwathama and Duryodhan respectively). Yet, in several conversations, Krishna hints that the former group are better parents than the latter (this is of course underlined in other ways by various characters in the actual epic as well but since you have not read it consider the show for this question). Why? What makes Kunti’s upbringing of her five sons superior to the parenting of Gandhari and Drithrashthra? Ultimately, is it not their fault their sons end up the way they do? 
7. The Sacrifice of Dharma in favor of Artha and Kama
The Kama Sutra lists three desired worldly attainments – Dharma (translated variously as virtue/righteousness/duty), Artha (wealth) and Kama (pleasure). In addition it states that there is a set order of importance to the three, Dharma being the most prominent, followed by Artha and Kama. Dharma cannot be sacrificed for the sake of either Artha or Kama nor can Artha in turn be sacrificed for Kama. Examine characters (not more than 3) who sacrifice the first in favor of the other two and the long term consequences of their actions. Do events in the Mahabharata prove this belief true? To what extent do you agree this is so in real life? You must use at least one protagonist and one antagonist in your answer. Note: Artha does not refer simply to material wealth. It includes family, friends, land, artistry and talents. It is further, the protection of what is acquired, and the increase of what is protected. Kama is the enjoyment of appropriate objects by the five senses of hearing, feeling, seeing, tasting and smelling, assisted by the mind together with the soul. The ingredient in this is a peculiar contact between the organ of sense and its object, and the consciousness of pleasure which arises from that contact is called Kama. You may find a more extensive explanation here: http://www.sacred-texts.com/sex/kama/kama102.htm 
8. The antagonists – Shakuni, Dhrithrashtra and Duryodhan or Bhishma, Drona and Karna? 
Who are the real villains of the Mahabharata – the obvious antagonists or those who are virtuous? According to the Bhagavad Gita, Krishna points out to Arjun that the sole reason for the Kurukshetra war is due to the inactivity of the righteous who, throughout the epic have many chances to change the course of events yet, never do. How does the desire residing in these characters to uphold righteousness end up being the cause for a massive catastrophe? What is the greatest weakness of the noblest elders in the Mahabharata? When does righteousness become unrighteous? 
9. Krishna
Krishna, although not a forefront protagonist in the story is, in essence, its heart. Nothing in the story would proceed the way it does without his interference. Some claim Krishna is bias and never truly impartial. Is this the case? Examine Krishna’s character. Is he for or against violence? Is he righteous or deceptive, or both? If so, are his deceptions in turn righteous? He is both a divine guide and a genius politician, how so? What does his presence in the epic really mean? Could the characters have come to the realizations, decisions or epiphanies they have throughout the course of the story without him? Ultimately what does this mean, how does it mirror the real world? Even though he is not continuously in the story he drives it, why? Why is he even a character, is he necessary, to the other protagonists/antagonists, to the plot? Could the reader (in your case the viewer) truly understand the concepts presented without him? 
10. Krishna vs Rama
Krishna and Rama are the same personality – Lord Vishnu. However, although Rama is still highly revered throughout India and one could even argue that he is the more ideal one, Krishna is infinitely more popular and more widely worshiped. Why? What makes Krishna so relatable?
11. Independent thoughts vs dogma 
Hinduism instills morals through allegories rather than dogma. How does this approach penetrate deeper into one’s psyche and why? 
12. The middle path 
Religious scholars consider Arjun to be the embodiment of the perfect balance between virtue and passion/anger. Why? What is Yudhishthir’s weakness? Bheem’s weakness? Why are the qualities they represent extremes for which there is no place in the real world? Why are the five Pandavas always together? What do they stand for? Think of Yudhishthir, Bheem, Arjun, Nakul and Sahadev as embodiments of qualities. Is there a quality which needs to dominate the other four? What is the so called middle path Krishna speaks of in the Bhagavad Gita? Why is the Bhagavad Gita a conversation between Krishna and Arjun and not Krishna and Yudhishtir and/or Bheem?
13. Righteousness 
Is righteousness worth all the sacrifices in the epic? What is righteousness and why do the characters, and we as individuals, strive to achieve it in our own lives? Although the protagonists lose most of their loved ones in the Kurukshetra war, ultimately the reader/viewer does not experience a sense of loss but of peace, accomplishment and success. Why so? What is the Pandavas’ true victory? Is it on the battlefield or is it over their senses and a deeper understanding of what truly matters in life? Is what they accomplish ultimately greater than personal happiness? Can what they accomplish be defined as happiness, even on an individual level?