1. The overarching tone of this piece is shamefully miserable. Sherman Alexie conveys this by using negative diction, for example; Alexie begins his first grade excerpt by saying, “My hair was short and the U.S. Government glasses were horn-rimmed, ugly…” The author uses the word ‘ugly’ to indicate young Alexie lacks in self confidence and is ashamed of his appearance. Alexie continues on saying, “… in school the other Indian boys chased me from one corner of the playground to the other. They pushed me down, buried me in the snow until I couldn’t breathe, thought I’d never breathe again.” He was miserable since the day he started school, that’s sad. The phrase “couldn’t breathe, thought I’d never breathe” makes me feel hopeless and vulnerable all at once. As the school years goes by, nothing seems to change except Alexie no longer gets physically hurt. He still feels ashamed and dejected from his own tribe. He will always be a misfit.…
Jeanne Wakatsuki was a seven year old girl who survived The Bombing of Pearl Harbor. She was a normal young girl. She liked to watch the boats dock and go to school. However, one thing was missing in her life: her identity. She was a Japanese girl who didn’t embrace her culture. After 7 years of a normal life, Jeanne was forced to move to a Japanese ghetto on Terminal Island in Hawaii. She felt so out of place from what I could tell, and didn’t fit in because, again, she didn’t understand who she was. In this essay I will be explaining her journey to finding who she was.…
The narrator describes herself as someone that resembles purity. Ideal and rich. She describes herself as wearing fur and being white, a color associated with peace and purity . She claims that she is living off of his existence, “eating the steak he does not eat,” which indicates a symbol of wealth or living in the lifestyle of the upper class.…
The fear confronted by the women of the play can be shown with visual elements of ruthless treatment by the Japanese and betrayal by the British Government. The frightening experiences endured during the women’s imprisonment are visualised in…
Within Carter’s short stories, she may present a sinister distortion of family relationships by subverting ‘typical’ family roles, perhaps in a way that has a harmful or negative outcome for particular family members. She could appear to do this through the presentation of the parent and child relationships in The Snow Child, or the husband and wife relationship in The Bloody Chamber. The Gothic element of the stories is emphasised through the ‘sinister’ aspect of these distortions, as the relationships Carter presents can be somewhat disturbing. However, in some of her stories it appears that family relationships are not distorted, such as the mother and daughter relationship in The Bloody Chamber or the father and daughter relationship in The Courtship of Mr Lyon.…
In “Turning Japanese,” Julavits aims to tell the story of her “post-college” life in Japan, mostly the eating experience, and the process of comprehending Zen-like words: emotional freedom accompanies with the awareness of the existence of uncertainty. It is through hers keeping finding American sweet that finally causes Julavits to grasp the essence of Zen-like words.…
N/A. Nakasendoway: A Journey to the Heart of Japan. 17 July 2011. October 2011 .…
The women of Asia are oftentimes objectified because of exoticism and fetishes about the stereotypical Asian woman – submissive, accommodating, passive, meek, and agreeable. In reality, several Asian cultures treasure their women because they believe that the female species is the only source of life. Hence, the women of Asia are respected and valued, catered to by the men and given only the best treatment and offerings. The play M. Butterfly by David Henry Hwang includes inaccurate representations of the Asian and Western cultures, mostly those concerning the stereotypical Asian woman and the Westerners with whom they interact in order to depict the often-warped relationship of the East and the West. In particular, Hwang describes the relationship of two characters, Song Liling – a Chinese actor pretending to be a woman – and Rene Gallimard – a French diplomat imprisoned for treason – to reveal the false perceptions the East and the West have of each other. Hwang elucidates the interaction between the East and the West through his degradation of masculine tendencies, ironic use of stereotypes, and implication of “rape mentality.”…
Jeanne is now reaching the developmental stage of her youth where she is learning the harsh truths of the world and formulating her own views and opinions of the world surrounding her. It is not until she encounters her differences in the form of subtle racism that she realizes that being Japanese is not something she can solely push away. She must accept her identity because that is what the society at the time forces her to do: “…I would be seen as someone foreign, or as someone other than American,” (158). She will always be an outsider looking in: unable to truly be one with the culture she so strongly identifies with. She may not even be acknowledged: “…I would…perhaps not be seen at all” (158). She cannot be seen at all representing how alone and invisible she feels in an environment beyond reproach at the time. It is interesting to see how desperate Jeanne is to join the environment that reproaches her for existing. Her acceptance of her Japanese ancestry is a very important transformation that will lead to a more complete fulfillment and understanding of her own…
(Warning: This novel contains some explicit language. If this is an issue for you or your child, please contact the English Department Chair at karthur@bcps.org to discuss. An alternate assignment can be created.)…
Carter’s protagonist is described as being ‘strong-minded’ which is radical in itself, as the classic gender role for a girl her age is the exact opposite – her innocence is a given, but it does not affect the way she thinks about things or how aware she is of her surroundings. This is also evident in her ‘[laying] a carving knife’ in her basket, as it conveys her mind set is one that knows of the dangers of the woods and the stories she has been told and still she ‘insists’ on going anyway with her own protection. This is a radical change to the gender role because it shows a woman thinking for herself and putting herself in a position of danger by choice, because she knows how to protect herself without a man having to do it for her, as is so frequently the case in the usual gender construction. When this is contrasted with Perrault’s Little Red Riding Hood, it is clear that the protagonist does not follow the conventions of fairy tales; Perrault’s protagonist ‘did not know that it was dangerous to stay and talk to a wolf’ which is an example of typical gender construction again, as she is naïve and does not understand danger.…
She is a naïve virgin who excitedly marries a shallow rich and emotionless Marquis. She comes from a family who is not quite poor but with limited financial resources you need to get married to survive; she is aware that marquis is well endowed and insists that although she cannot resist him but does not love him; the marriage is simply how it ought to be. But, choosing to be swept away by glamour and wealth she continues to ignore the dangers. She always mentions how every time she looks at him he looks as though he is hiding behind a mask and it isn’t until the opera where she realizes one expression, lust; he sees her only as a sexual object. At the time this makes her excited due to her naivety, this is made clear when she says she recalls, "for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away." (11 Carter) Not aware that targeted her for her innocence and how easy it would be to corrupt her young mind. Showering her with symbols of bad luck (the opal ring) and doom (Ruby Chocker) unaware that him and his staff are always maintaining a gaze upon her; waiting for her to make mistakes so he could punish her. As time goes on, the more time she spends more time with her husband the excitement fades into loneliness and feelings of oppression; always performing for her husband and being molded by all…
"Even with all the mental anguish and struggle, an elemental instinct bound us to this soil. Here we were born; here we wanted to live. We had tasted of its freedom and learned of its brave hopes for democracy. It was too late, much too late for us to turn back.” Monica Sone’s Nisei Daughter is a compelling story of the life of a Japanese American growing up and discovering who she is in the World War II era United States. “Nisei”, meaning, “second generation”, is a Japanese term used to specify the children born to Japanese people in a new country (who are called Issei). Monica Sone was born an American Citizen, but her parents –as well as other Issei– were not deemed to be American citizens until post World War II. This essentially important difference between Issei and Nisei seemingly forced an ultimatum to Nisei people; to be Japanese or to be American. Nisei were often criticized by their families for their absent role of Japanese customary behavior, and were criticized by Americans because they weren’t able to assimilate into American lifestyle. Nisei Daughter is a story about a Japanese American girl constructing her own self-identity in an environment where there is much confusion amongst Nesei people who are torn between two cultures.…
“I have heard the stories that go round, 'bout how I lost my sight; few, are brave enough to ask. You, Little One, are braver than those who claim to be brave.” Charity did not respond; she was busy studying his face. She could tell that he must have been a handsome man at one time; now, not so much. His skin had the appearance and texture of the underside of a dried boar hide- his face, trenched with deep, fissures that reminded her of the lines on the map she saw hanging by the door on her way out of the Mercantile.…
Isabelle-Marie’s name means beautiful which is ironic since she is described as an ugly character in the novella. Not only does she have an ugly appearance but also contains this destructive force due to the build up of Louise’s neglect and jealousy of Patrice’s beauty. Dark imagery is used to portray Isabelle-Marie’s ugliness:“[b]ut her eyes were black and mean, and skin was like a tanned hide” (Blais 48). “Black” is a color imagery used to describe Isabelle-Marie’s ugly appearance and her ominous nature. Black eyes are often attributed to dark religious figures such as Lucifer; it evokes evil and darkness in Isabelle-Marie. On the other hand, Louise mistreating Isabelle-Marie and ordering her to do the fieldwork forms an image of a fairy tale, where Isabelle-Marie creates an allusion to Cinderella. The reader invariably feels compassion for Isabelle-Marie due to her mother’s harsh and unfair treatment. It is ironic that Isabelle-Marie embodies Cinderella, a beautiful Disney princess even though she is described as this ugly character not only on the outside but also on the inside. Isabelle-Marie’s immoral actions of disfiguring her brother’s beautiful face and her temptation to kill her own daughter portray her inner ugliness. For instance, “…when she thought about what this child would become later on, an ugly duckling whom everyone would avoid, she was almost tempted to kill her” (91). Both Louise and Michael reject Isabelle-Marie due to her ugly features. Therefore, she does not want Anne to face the same future as her, which tempts Isabelle-Marie to put an end to her daughter’s life. Instead of changing this cyclical nature of superficiality, Isabelle-Marie is raising her daughter similar to Louise by abusing and mistreating Anne due to her ugly appearance. One would expect Isabelle-Marie to raise her daughter in an environment filled with love and affection, a life that she never got to experience. However, Louise plays an influential role in Isabelle-Marie’s life, which causes her to continue this chain of dysfunctionality where physical beauty is treated with more importance than love.…