Asian American 152 Final Paper

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Below I have attached the final paper guidelines. This class has been extremely difficult for me and I need to receive an A on this paper. This paper does need to include sources from the course material, however it is easy to access all of the material necessary for the paper.

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AAS 152: Asian American Literary and Popular Culture: Race, Fantasy, Futures Guidelines for Final Paper/Project Fall 18 Professor Leslie Bow Due Week 15 in section (20%) You have two options for written work due at the end of the semester: 1. Paper based on below topics (or a topic of your choice in consultation with your section leader). The guidelines are identical to those provided for the midterm paper. OR 2. Creative project with short, evaluative, self-reflective written statement. Please make note of your section leader’s office hours for optional paper conferences. The Writing Center on the 6th fl of HC White is also available for draft or brainstorming consultations by appointment online or with limited drop-in hours: (608) 263-1992 or https://writing.wisc.edu/Individual/MakeAnAppointment.html The requirements for each are described below: 1. Final Paper Topics Guidelines: The final paper focuses on your own close analysis of a course text based on issues and contexts developed out of lectures, readings, and discussion reflected in the prompts below. Your paper should be 5-6 pages (1250-1500) words, labeled with your name, titled, typed, double-spaced, page numbered, one inch margins, 12-pt font, and [stapled or in a word file]. See your section leader for preferred method of delivery. develop a specific argument with a clear thesis statement in the introduction. include analysis in close readings of text, passages, images, or graphics (i.e. refer to specific passages in the text that support your argument). engage any of the readings for this course from and including Week 9. The use of secondary sources is optional unless otherwise noted. If you include graphics in your paper, please note that these do not count towards the word-length requirement. See the documents, “Shared goals for literary paper-writing” and “citation examples” uploaded to Canvas for expectations on literary critical writing, citing page numbers internally, and bibliographic citations (modified MLA style). If your paper engages only the reading on the course syllabus, no bibliography is required unless otherwise noted below. Choose one topic. These are merely areas of inquiry and do not specify a thesis. They should function as a starting point for your own reflections rather than a restriction of them. You are free to tailor any topic to your area of interest or develop your own topic in consultation with your section leader. You will not be graded on how closely you adhere to the prompts, but on how well you fulfill the premises of an argument that you initiate. It is not necessary to rehearse material from section or lecture in your paper, but you are welcome to reference it. Choose the prompt that inspires your ideas and your interpretation and develop your thesis based on these. Your paper should be free of grammatical, spelling, and proofing errors to the best of your ability. 2 a. Making the Case: Asian Fetishism through the Commodity Throughout the course, we have talked about the ways in which things become Asianized as part of the pleasure of their U.S. consumption. Following the model provided by our reading, this topic invites you to explore that relationship more closely by analyzing a specific commodity or practice that has particular significance for Asians in the U.S.. Authors Sujata Moorti, Lisa Helke, Sunaina Maira, Douglas McGray, Euny Hong and Koichi Iwabuchi explore the circulation of products and practices in the context of cultural appropriation or the “soft power” of nations. Moorti, Helke, and Maira take up the fetishization of Asian culture directly through the pashmina, Thai recipes, and mehndi respectively. McGray, Hong, and Iwabuchi engage the politics of national resonance within globalization arguing for or against the notion of “mukokuseki,” the “statelessness” of commodities as part of their appeal. In the first half of your paper, choose two of the above authors to frame an argument about the ways in which Asia becomes fetishized within American culture. Mirroring their engagement, in the second half of your paper, focus on one commodity or practice of your choice that provides an example of fetishization or appropriation. In keeping with our course themes, analyze the symbolic meaning underlying the object or activity. Your argument might anticipate common counter-arguments to this political frame: that consumption reflects cultural appreciation, homage, or adaptation. Your paper should make clear that how your chosen object or practice is a conduit of deeper racial and cultural meaning. Note: A bibliography of sources is required for this topic. b. Techno-Orientalism, Asian Futurity In “Techno-Orientalism” (1995), David Morley and Kevin Robins identify a specific form of “yellow peril” representation focused on 1980s fears surrounding Japan’s economic ascendency in the realm of technology, what they identify as the “Japan problem.” Write a paper in which you expand and extend Morley and Robins’ argument about the association between Japan and technology to a broader frame in which Asia “is held up as the future” (149) in popular media, visual culture, sci fi, or speculative fiction. Where else do we see the lingering effects of what they call “techno-orientalism” surfacing in contemporary U.S. culture? Focusing on one or two examples of your own choosing, discuss the ways in which these examples link Asian “Otherness” to technology. The first half of your paper should distill the argument made in “Techno-Orientalism”; the second half of your paper should describe, analyze, and unveil the stakes underlying your example(s). Does your example reflect the traits depicted by Morley and Robins, for example, the image of a culture “that is cold, impersonal and machinelike,” one in which “barbarians have now become robots” (172)? How is Asia implicated within a vision of the future and what is the nature of that vision? Note: A bibliography of sources is required for this topic. c. The Arrival: Fairy-tale Realism? At its inception, Asian American literature was narrowly read through an ethnographic lens and valued primarily for its contributions to the literature of social realism. In contrast, we have been 3 focusing on what it means to depict racial-ethnic experiences in the context of fantasy. What does a text like The Arrival gain or lose in its portrayal of immigrant’s migration to an imaginary place of refuge? As in Time Magazine’s “morphies” grid of invented interracial subjects, Part Asian/100% Hapa could be said to celebrate the notion of diversity embodied by multiracial figures. Both visual texts implicitly address the spectre of immigration, but forestall anxieties surrounding it through the image of healthy, attractive diversity. On the surface level, The Arrival might likewise be said to reflect American cultural values celebrating immigration in its portrayal of a imaginary Pacific Rim nation as a site of acceptance, inclusion, or respite. Conversely, the text might also be read as a much darker commentary on migration, adjustment, and modern alienation. Write a paper in which you explore the ways in which The Arrival can be interpreted as providing both a critique and a celebration of immigration and the processes of acculturation to a new environment. What does its fantasy displacement add to its realist message about migration? To what extent does the turn to fantasy deflect or universalize social conflict, evacuating its political content or real world referents? d. Metaphoric Oppression Can animal allegories, fake ethnics, or imagined landscapes enhance our understanding of social hierarchy in the “real” world? Is fantasy political? Monstress does not invoke race or ethnicity overtly even as it depicts a “race” war as its central plot. Even as it portrays a matriarchal society, its feminist politics are likewise somewhat veiled. One could say that it renders political oppression metaphoric, disembodied, or fantastically embodied. Should we see this as an evasion of politics? Or does it help us think through themes of social status, privilege, and “Otherness” more complexly and imaginatively because they are portrayed at a step removed? Invoking specific instances and images in the text as evidence, write a paper in which you evaluate the ways in which Liu’s portrayal of an imagined dystopia asks us to reflect on history, women’s empowerment, species hierarchy, or racial politics. What can fantasy do that the social realism of our other readings can’t? 2. Creative Project with evaluative, self-reflective written statement This assignment gives you the opportunity to produce an original, creative piece that engages a topic inspired by the reading, lectures, or class discussions of the course. Asian American art practices often directly (or indirectly) engage issues of social justice and race-based politics. In lieu of a traditional final paper, this prompt gives you the option to explore these connections in a format of your choice. Forms include but are not limited to: poetry; performance (choreography, music, comedy, slam poetry); script or monologue; creative video; 2-D art, 3-D art; comics; photographic essay; short story or personal narrative. Guidelines: There is no length requirement associated with the creative component of your final project (excluding the below) and there is no prompt specifying its content. However, the nature of your intervention and its connection to our course should be clear. Your piece might engage themes of activism, whitewashing, yellowface, kawaii, multi-racialism, the Asian fetish and yellow fever, racial microaggressions, Asian American masculinity, Asian American satire, globalization, stereotyping, dystopia, immigration. Or it may well take “Asian American Literary and Popular Culture: Race, Fantasy, Futures” into a new direction. 4 The creative option must be paired with a written statement of 2-3 pages (500-750 words) labeled with your name, typed, double-spaced, page numbered, one inch margins, 12-pt font, and [stapled or in a word file]. The statement should frame your creative project, reflect upon its origins and investments, and analyze its connection to the course or course reading. See your section leader for preferred means of delivering your final project. If you would like to share your project in lecture or section, alert me or your section leader by Monday, 12/3, Week 14.
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How Marjorie Liu’s ‘Monstress’ resonate with the Underlying Factual Reality of
Racism and Feminism through Active Fiction
Monstress, which was released in 2015, paints a clear picture of the status of the society,
more so the status quo concerning the Asian community. The interesting irony in this piece is the
fact that Liu uses fantasy and fiction, aspects that were traditionally deemed to deviate people’s
attention from the harsh complexities of this life, to effectively portray the complexities of the
same. In essence, the story is a subtle algorithm of women, their status of being, the oppression
of the same, and the influence of racism (McMillan). The author carefully utilizes victories of
women to carefully highlight the plight of women, in a manner that aims to shed light on the
nature and overall solutions to the problems facing women. Indeed, the story is a metaphorical
portrayal of the struggles (expressed through war and self-discovery) women face in a racially
marginalizing society.
How Matriarchy in the Story Represents Marginalization and Oppression of Women
Again, the use of irony in the story is particularly interesting. Irony is the very core of the
comic book series. Liu finds a unique way of using the defeat to represent victory, hate to
represent the need for love, lack of compassion to reiterate the need for compassion and so on.
Perhaps, the greatest use of irony is the setting of the series. The comic book series is set
in a matriarchal land that is similar to the early 20th Century Asia. This ...


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Excellent! Definitely coming back for more study materials.

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