Running List of In-Class Assignments

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Running List of In-Class Assignments ~~~~~~~~~Frater, Chasing the Monsoons excerpt, 1/28/19 What does Representation mean? Why is it a significant word for this conversation? Re-presentations: Nothing is real in literature or art, things can only be realistic. We choose what details to include in our representations, and each word in our choices forms an argument. Description is argument. Write: Choose a reoccurring theme or idea from Frater’s text and one or two of the oppositions he created. These oppositions were not necessarily created by Frater as the intentional writer, but by his text. What argument is being posed by these oppositional representations? What does this text imply through its representations of the differences between the East and West about India and Indians? About the relationship between the East and the West? (Or men and women?) Now consider the anomalies. Make your argument evolve to adapt to these anomalous moments. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ Weinberger, “Dream of India,” 2/1/19 Part I Eliot Weinberger’s “Dream of India” features a wide range of supposedly true observations of the geography, culture, flora, and fauna of India. Search through Weinberger’s essay to find strands of common thoughts or images that connect these observations. Once you’ve found a strand, think carefully as you name it. Be specific enough to make your strand meaningful, but general enough to capture other instances of that strand. Identify at least 3 strands, and locate multiple instances of each strand within the essay. Part II Choose what seems to be the most important strand, and identify something anomalous within it. Feel free to redefine or expand the idea behind your strand in order to incorporate an interesting anomaly. Part III Propose a theory that explains the significance of the strand you’ve identified, and try to incorporate your anomaly into that theory. How, in other words, does this strand shed light on the meaning of Weinberger’s essay? (Feel free to use material from the rest of the story to support your theory.) https://ks1729.files.wordpress.com/2014/05/dreams-of-india-1.pdf ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ Phantom India Writing Prompts: Please Choose One 1. “A Westerner twice over”: Malle seems to think of the camera (“A Westerner with a camera—a Westerner twice over”) as a filter or an obstruction— something preventing him from really seeing India. Using your notes and considering the self-awareness of the narration, what argument does Louis Malle make about his relationship to the images he has recorded? Cite details from one or two scenes to back up your assertion. Consider whether or not you think his argument is sound. 2. “Hippies”: Consider all three interviews with the “hippies” (the two interviews with Bernard and Didier and the one interview with the nudist in Goa). What argument is Malle making here? How is he (or isn’t he) implicated in his own argument? How does this argument reflect on the other images contained in his documentary? 3. The Authorities: On being looked at with what he perceives to be suspicion at a political rally, Malle says, “Indeed, often I feel like a cop, as if my film were surveillance, an investigation the purpose of which I’m not sure.” What about Malle’s role in India leads him to feel like this floating source of authority? What are the implications of this statement? 4. “The Impossible Camera”: This episode was titled “The Impossible Camera.” Using the details from at least two scenes as evidence, why do you think Malle chose that title for this episode? 5. https://www.youtube.com/watch?v=XFGO8oL0RLk Scene list, in case you needed help remembering: Intellectuals, women in the field scraping straw, men around fire, father/son monkey dancers, the stares, brick making, women: exploited and… beautiful!, “Catholics”, vultures, folklore, pavement art, dancing Gujerati women, marriage & love, Bernard & Didier, the fishermen and the Seychelles. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ Questions on Edward Said’s Orientalism (2/20) Question #1: In the first episode of Louis Malle's Phantom India, as Malle films the final scene with the fishermen on the beach, he says: "Suddenly, the fishermen in front of me are replaced by others. Once again memory fills the foreground, and I’m incapable of living in the present, of feeling it, of touching it. Even in the Seychelles, reality escaped me, that elusive harmony between men, light and landscape. I had to reinvent it, modify it, project onto it my dreams and memories. I had to destroy it. Westerner, Filmmaker, Time’s tamer, Time’s slave." In this moment, Malle seems aware that he is destroying the "reality" of the East by representing it on film--supplanting it with something Western. Does Malle's awareness of his destruction of the "real" East make his text less Orientalist? How does it compare to other, less self-aware representations of the East? (Think of Frater’s Monsoons or any modern representations of India [Slumdog Millionaire, Best Exotic Marigold Hotel, Darjeeling Express, etc.]—or of popular representations of any other “so-called third-world nations,” for that matter)? Question #2: In our reading for Monday, Said writes that “One aspect of the electronic, postmodern world is that there has been a reinforcement of the stereotypes by which the Orient is viewed. Television, the films, and all the media's resources have forced information into more and more standardized molds. So far as the Orient is concerned, standardization and cultural stereotyping have intensified the hold of the nineteenth-century... demonology of 'the mysterious east.'” Describe the some of the representations of the East that you have seen in films or on popular TV shows. In your opinion, do these representations intensify the hold of the “demonology of the mysterious east”? How so, or how not? What “internal consistencies” can you identify? Question #3: In our excerpts from Chasing the Monsoons, Frater paints a depressing picture of England while offering plenty of praise for India. He works to show the difference between the two nations, and it seems he does so in order to show his love for India. Is Frater's text still Orientalist? Or is it something else, since it takes the values of Orientalism (i.e., Europe on top) and reverses them? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ On Heat & Dust up to p. 36: Many of the characters we've met by page 36 have strong feelings about the other people in their lives. These feelings often come down to desire or repulsion. Concentrate on one character, and ask yourself how he or she determines who to desire and who to loathe. Who, that is, is that character's us, and who is their them? How does that character relate to them? Describe the mechanics of one of the us/them relationships we've encountered so far in the book, and quote from the book to support your claim. I will be looking for specific claims backed by appropriate quoted evidence. http://www.rodriguezalvarez.com/novelas/pdfs/Jhabvala,%20Ruth%20''Heat%20and%20Dust'' -Xx-En-Sp.pdf ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ On Heat & Dust up to p. 78: In today’s reading (pp. 36-78) we saw the tension between Douglas and Olivia start to increase. Please write about their first major disagreement, which was on the practice of suttee. What is each of their positions on this question? How would Trin Minh-Ha weigh in on this question? What in "Not You/Like You" lead you to believe this? Provide quotes and be specific. Finally, do you agree with Minh-Ha? Do you personally think that either Douglas or Olivia is taking an ethically superior position? Why? Are your reasons for feeling the way that you do identical to Douglas/Olivia’s reasons? If not, how do you think their reasons differ from your own? Again, please strive for clarity in your writing. http://www.rodriguezalvarez.com/novelas/pdfs/Jhabvala,%20Ruth%20''Heat%20and%20Dust'' -Xx-En-Sp.pdf ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ On Heat & Dust up to p. 155: Again and again throughout her novel, Jhabvala creates parallels between characters. The most obvious is between Miss Rivers and Olivia, however other parallels also exist. Some possibilities include: Inder Lal & the Nawab; the Begum and Inder Lal’s mother; Ritu and Sandy; Sandy or Ritu and Olivia; Chid and Harry (or perhaps Douglas?); Dr. Saunders & Dr. Gopal. These matches are not perfect, of course, and often in their imperfections interesting observations can be made. Please choose and analyze any parallel relationship in the novel. How are these two characters similar? How are they different? What is implied by their difference? Select passages from the book to support your analysis. http://www.rodriguezalvarez.com/novelas/pdfs/Jhabvala,%20Ruth%20''Heat%20and%20Dust'' -Xx-En-Sp.pdf ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ Bird or Landscape: On Heat & Dust up to 182: p. 92, 93: Bird (“Of course… was a snake”) or Landscape (“She could see…to Khatm): Write a short analysis (that is, make the implicit explicit) for one of these passages. Include evidence to support your analysis. http://www.rodriguezalvarez.com/novelas/pdfs/Jhabvala,%20Ruth%20''Heat%20and%20Dust'' -Xx-En-Sp.pdf ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ What happens in Bremgarten?: On Journey to the East, 29-32) Identify strands (internal consistencies) and name their connecting logic. Identify binaries in this passage as well, even if they’re only implied. Select one strand and one binary and, in paragraph format (i.e. not just bullets), discuss how that strand or binary sheds light on the Journey to the East (the thing, not necessarily the novella). https://trandinhhoanh.files.wordpress.com/2009/01/thejourneytotheeasthermannhesse.pdf ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ Nihilism or Idealism: Choose one question on JTTE, Ch. 4 Question 1: Analysis of nihilism, ego, and psychologists, with Said or Minh Ha in mind. Upon committing to seek out Leo, our narrator muses that “It is possible that the practitioners and psychologists who attribute all human action to egoistic desires are right.” Re-read this entire paragraph (p. 61-62) and consider whether or not you believe those psychiatrists could be correct, and that maybe there are no altruistic actions? Basing your response on logic, on Said or Minh Ha (who wrote respectively that the Orient was a European creation and that the Other is a byproduct of the creation of Self), and on personal experience. Question 2: Rhetorical Analysis of Leo, with Said or Minh Ha in mind. On pages 65-77, our narrator finally sees Leo, whose absence from the narrator’s life led him to abandon the Journey to the East and eventually to despair. You might say that our narrator has idealized Leo. What can we learn about the narrator’s idea of the East from his description of Leo? Look for strands, binaries, and Said’s “internal consistencies.” Does Said’s understanding of the Orient or Minh Ha’s understanding of the search for an identity offer any insight into the narrator’s vexing problem in this chapter? Have you ever idealized anyone? What problems were caused by that idealization? https://trandinhhoanh.files.wordpress.com/2009/01/thejourneytotheeasthermannhesse.pdf ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~ [according to my notes, that's it—but if anyone rememebers anything else or has anything else in their notes, please let me know! -js] Author Said, Edward W Title Orientalism / Edward W. Said Imprint New York : Vintage Books, c1994 NOTICE: This material may be protected by Copyright Law (Title 17, U.S. Code) ORIENTALISM Vintage Books Edition, October 1979 Copyright © 1978 by Edward W. Said Afterword copyright © 1994 by Edward W. Said All rights reserved under International and Pan-American Copyright Conventions. Published in the United States of America by Random House, Inc., New York, and in Canada by Random House of Canada Limited, Toronto Originally published by Pantheon Books, A Division of Random House, Inc., in November 1978. Library of Congress Cataloging in Publication Data Said, Edward W. Orientalism. Includes bibliographical references and index. 1. Asia—Foreign opinion, Occidental. 2. Near East-Foreign opinion, Occidental. 3. Asia-Study and teaching. 4. Near East--Study and teaching. 5. Imperialism. 6. East and West. I. Title. DS12.524 1979 950'.07'2 79-10497 ISBN 0-394-74067-X Manufactured in the United States of America 3579C864 Cover: Jean-Léon Gérôme, The Snake Charmer (detail), courtesy of the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. - Edward W. Said Since this copyright page cannot accommodate all the permissions acknowledgments, they are to be found on the following two pages. DS 12. 524 1994 Vintage Books A Division of Random House New York Introduction On a visit to Beirut during the terrible civil war of 1975-1976 a French journalist wrote regretfully of the gutted downtown area that "it had once seemed to belong to ... the Orient of Chateau briand and Nerval.” He was right about the place, of course, especially so far as a European was concerned. The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, re markable experiences. Now it was disappearing; in a sense it had happened, its time was over. Perhaps it seemed irrelevant that Orientals themselves had something at stake in the process, that even in the time of Chateaubriand and Nerval Orientals had lived there, and that now it was they who were suffering; the main thing for the European visitor was a European representation of the Orient and its contemporary fate, both of which had a privileged communal significance for the journalist and his French readers. Americans will not feel quite the same about the Orient, which for them is much more likely to be associated very differently with the Far East (China and Japan, mainly). Unlike the Americans, the French and the British–less so the Germans, Russians, Spanish, Portuguese, Italians, and Swiss have had a long tradition of what I shall be calling Orientalism, a way of coming to terms with the Orient that is based on the Orient's special place in European Western experience. The Orient is not only adjacent to Europe; it is also the place of Europe's greatest and richest and oldest colonies, the source of its civilizations and languages, its cultural contestant, and one of its deepest and most recurring_imagesof_the(Other. Y In addition, the Orient has helped to define Europe (or the West) ! ORIENTALISM Introduction A LUNG as its contrasting image, idea, personality, experience. Yet none of 7 this Orient is merely imaginative. The Orient is an integral part of European material civilization and culture. Orientalism expresses and represents that part culturally and even ideologically as a mode of discourse with supporting institutions, vocabulary, scholarship, imagery, doctrines, even colonial bureaucracies and colonial styles. In contrast, the American understanding of the Orient will seem considerably less dense, although our recent Japanese, Korean, and Indochinese adventures ought now to be creating a more sober, more realistic “Oriental” awareness. Moreover, the vastly expanded American political and economic role in the Near East (the Middle East) makes great claims on our understanding of that Orient. It will be clear to the reader (and will become clearer still throughout the many pages that follow) that by Orientalism I mean several things, all of them, in my opinion, interdependent. (The most readily accepted designation for Orientalism is an academic one, and indeed the label still serves in a number of academic institutions. Anyone who teaches, writes about, or researches the Orient—and this applies whether the person is an anthropologist, sociologist, historian, or philologist-either in its specific or its gen eral aspects, is an Orientalist, and what he or she does is Orien talism. Compared with Oriental studies or area studies, it is true that the term Orientalism is less preferred by specialists today, both because it is too vague and general and because it conpotesthe high-handed executive attitude of nineteenth-century and early twentieth-century European colonialism. Nevertheless books are written and congresses held with the Orient” as their main focus, with the Orientalist in his new or old guise as their main authority. The point is that even if it does not survive as it once did, Orien talism lives on academically through its doctrines and theses about the Orient and the Oriental. Related to this academic tradition, whose fortunes, transmigra tions, specializations, and transmissions are in part the subject of - this study, is a more general meaning for Orientalism. Orientalism is a style of thought based upon an ontological and epistemological distinction made between “the Orient" and (most of the time) “the Occident.", Thus a very large mass of writers, among whom are poets, novelists, philosophers, political theorists, economists, and im perial administrators, have accepted the basic distinction between East and West as the starting point for elaborate theories, epics, novels, social descriptions, and political accounts concerning the Orient, its people, customs, “mind,” destiny, and so on. This Orien talism can accommodate Aeschylus, say, and Victor Hugo, Dante and Karl Marx. A little later in this introduction I shall deal with the methodological problems one encounters in so broadly con strued a “field" as this. The interchange between the academic and the more or less imaginative meanings of Orientalism is a constant one, and since the late eighteenth century there has been a considerable, quite disciplined—perhaps even regulated-traffic between the two. Here I come to the third meaning of Orientalism, which is something more historically and materially defined than either of the other * two. Taking the late eighteenth century as a very roughly defined starting point Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient---dealing with it by making statements about it, authorizing views of it, describing :: it, by teaching it, settling it, ruling over it: in short, Orientalism as a Western style for dominating, restructuring, and having au- ! thority over the Orient. I have found it useful here to employ Michel Foucault's notion of a discourse, as described by him in ; The Archaeology of Knowledge and in Discipline and Punish, to identify Orientalism. My contention is that without examining Orientalism as a discourse one cannot possibly understand the enormously systematic discipline by which European culture was able to manage—and even produce—the Orient politically, socio logically, militarily, ideologically, scientifically, and imaginatively during the post-Enlightenment period. Moreover, so authoritative a position did Orientalism have that I believe no one writing, think ing, or acting on the Orient could do so without taking account of the limitations on thought and action imposed by Orientalism. In brief, because of Orientalism the Orient was not (and is not) a free subject of thought or action. This is not to say that Orientalism unilaterally determines what can be said about the Orient, but that it is the ...
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Running head: RUNNING LIST OF IN-CLASS ASSIGNMENTS

Running List of In-Class Assignments
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RUNNING LIST OF IN-CLASS ASSIGNMENTS

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Running List of In-Class Assignments
Frater, Chasing the Monsoons Excerpt, 1/28/19
The most reoccurring theme from Frater’s text is courage and heroism. After the writer
had a conversation with Aloysius while waiting to be seen by the doctor, he got intrigued and
chose to chase the monsoon. This is courageous for he was travelling to a place that he had never
been to, a village in the southern part of India called Cherrapunji which was thought to be the
wettest place in the world. While in India, the writer wanted to head to Cochin a place where the
monsoon hit with great bombardment of rain and wind. He was brave because he wanted and
chose to go even though nobody would take him there and against the advice of Mr. Joseph. At
Cochin the monsoon wind destroyed buildings and possessions, being very scary to the people,
but still he was very brave and wanted to witness it with his own two eyes.
One of the oppositions created from the text against bravery was after the writer was
diagnosed with Arnold Chiari, he underwent a phase where his self esteem was close to absent
and he was embarrassed of his condition. Depression then came about; he could no longer button
his shirts or tie his shoe laces as easily as he did in the past when he was of good health. He felt
shame when the world and his neighbors learnt of his condition and began drinking a lot as a
temporary distraction from facing his condition. The text implies ...

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Anonymous
Tutor went the extra mile to help me with this essay. Citations were a bit shaky but I appreciated how well he handled APA styles and how ok he was to change them even though I didnt specify. Got a B+ which is believable and acceptable.

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