tag:blogger.com,1999:blog-677063284818909762024-03-05T09:08:05.528-05:00ENG 4020 Rhetorical Theory and Practice: Equipment for Livingtgrabanhttp://www.blogger.com/profile/16913401531606867135noreply@blogger.comBlogger513125tag:blogger.com,1999:blog-67706328481890976.post-504045617935744142015-04-24T17:00:00.000-04:002015-04-25T22:58:26.475-04:00Finish Strong!Folks, do well and prosper next week! Thanks for your engagement this semester,<br />
<br />
Officially closing down the blog,<br />
-Prof. Grabantgrabanhttp://www.blogger.com/profile/16913401531606867135noreply@blogger.comtag:blogger.com,1999:blog-67706328481890976.post-16529229145842826582015-04-23T23:50:00.000-04:002016-12-18T11:23:54.061-05:00The Notion of AgencyAs this is our last blog, I have been thinking about the critical dilemmas we explored this semester. For me it all comes down to agency, especially with the idea of representation from this last unit. Agency is complicated by every other dilemma (for example: representation, identification, agent, etc). I want to use these concepts to really understand how agency was affected by representation and diaspora in <i>Up the Yangtze. </i>It is time for me to really attempt being a rhetorical theorist.<br />
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<a name='more'></a>How you are represented in the world will affect your level of agency. Unfortunately representation has more to do with how people see and categorize you, than how you see and categorize yourself. This is how agency is relate. You can not possibly garner the agency you want or deserve, if you cannot even be represented in the way that matches 'who you are'. Does this make the fight for representation null? pointless? Judith Butler saw this issue when it came to feminism; how can we fight the system when it produces us (3-4). If we are a product, a symptom, of the system that deems how we are to be represented, then can we ever gain the level of agency that is congruent with how we identify ourselves?<br />
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In <i>Up the Yangtze, </i>we see a people physically and culturally live in diaspora. They are watching their world disappear in a wave of consumerism. There is so much to unpack here. This film is an example and a metaphor for the interplay relationships between: agency, representation, identification, and diaspora. These factors all affect agency. First, we see a people who are physically living in diaspora. Their homes will soon be flooded or forever changed, their rural life gone. This is part of their identification, this is a part of who they are, their lifestyle, and soon it will be gone.<br />
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Metaphorically, this shows the complication and discrepancy between how we identify ourselves and how the 'system' sees us. These people identify worth and therefore agency from the rural, hard-working life they led. However their society identified their home with capitalistic goals. Here is the first discrepancy. Society doesn't value their lifestyle in the way they do. Secondly, society is actually taking a piece of their identification away from them, making them a product of society (as society sees fit). How can these people have the level of agency they want/deserve when they have their identification stripped away from them, and are forced to be misrepresented.<br />
<br />
We see this with 'Cindy'. She can't afford school and must work on a tourist ship. Again this metaphorically shows how Cindy is becoming a product of her society's identifiers and is now representing that as opposed to truly representing herself. She is living in diaspora, losing her identification, representing something other that herself,and therefore losing agency.<br />
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I hope my attempt at being a rhetorician wasn't too painful!<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-7230509901913104102015-04-23T22:12:00.000-04:002016-12-18T11:17:20.195-05:00The Yangtze...and what it stands for I'm beginning to understand that representation is, basically, "...the use of one thing to stand for another through some signifying medium" (<i>Bedford Glossary</i> 438). In the case of <i>Up The Yangtze, </i>the river serves as this signifying medium--medium that is used to represent the social stratus, a factor of the tourism industry and even the economic boost of China.<br />
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<a name='more'></a>The Yangtze river in the film is the represented as a popular source of tourism, as we see clearly in the film. With the scene of people from all over the world exploring and scoping the river, it represents the perspective that the rest of the world has on China and its economy. It represents, the lens that the rest of the world sees China through. This was depicted mainly through the conversation that the passengers aboard the cruise board held about the dam. They shared their individual perspectives, that which shows how their perspective and the reality of China's economy.<br />
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Life aboard those ships/boats also serves to represent the social stratus of the real world. Cindy is a lower class, uneducated, rural girl who competes against other upper class urban children to make life better for herself and her parents. She works on the cruise boat that runs up the Yangtze. The life aboard this boat represents the life and hierarchy of China. The life that goes unnoticed to most of the Chinese society and the rest of the world. The life that the people aboard the tourist cruise boat come to learn of. The Yangtze represents the lives that will benefit from the building of the dam and the lives that will perish. The Yangtze represents the separation of classes and the hierarchical structure of China.<br />
<br />
In addition, the river raised awareness of the actual struggle of rural Chinese who will suffer from the building of the dam. It also shows that though this construction is good move for the economic boost of China, it also represents the battle between the upper and lower class; the difference between those who will benefit and those who won't. The river represents the difference of what the world sees China as and the actual reality of China and its economic and social struggle.<br />
<br />
-KelliUnknownnoreply@blogger.com1tag:blogger.com,1999:blog-67706328481890976.post-39903869096365407992015-04-23T20:01:00.000-04:002016-12-18T11:28:13.477-05:00Deification and Demonification: Burke, Hum, and What the Yangtze Means<div class="separator" style="clear: both; text-align: center;">
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From <a href="http://www.doctornerdlove.com/2013/02/okcupid-creepers-race-fetishism/">Dr. Nerdlove</a></div>
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Gross, right? Whether or not we think this man is a real agent, his profile shows he is operating on a paradigm that he has of Asian women and clearly missing the mark. Who would be flattered to see other women get cut down for not being the right race while being lifted up for something that they can't control? Furthermore, he's acting like all Asian women are like this, thus preventing any dialogue by Asian women from occuring. Burke would say that this is a result of terministic screens: saying that he had gained this viewpoint through a world that had granted it to him. Sue Hum might say that this objectification is created intentionally to cast people in roles. Did the world create this gross guy or did this gross guy create the world?</div>
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<a name='more'></a>In "Between The Eyes: Racialized Gaze As Design," Hum critiques the political cartoon character that she had called the Celestial, a mystical and ambiguously Chinese figure that wore long, flowing robes and imparted ancient wisdom on others who were deserving of it. While not necessarily a positive one, this image is set into people's minds, which makes them think that this is the way that people should be ("Hence, the characteristic of sight imbues socially identified visible corporeal differences with facticity. It confers significance on socially determined corporeal markers to construct bodies of color as a homogeneous group. This racial group, then, becomes a “reliable” avenue for establishing social hierarchy and cultural probity."(195)). In the documentary, the tourists take pictures of them wearing imperial garments and describe China as "more civilized than (they) thought it would be" and the locals as "funny". By accepting this as their image of China, the tourists are forcing this idea onto the locals, who are made to recreate it.</div>
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Burke's ideas of terministic screens also plays a role in racial fetishization. Burke argued in his essay <i>Terministic Screens </i>that
the world made the people: "Here the kind of deflection I have in mind
concerns simply the fact that any nomenclature necessarily directs the
attention into some channels rather than others."(45) What this means is
that the world chooses what people see. In the documentary, a tour bus
stops in a farmers village and shows the tourists how those farmers who
have been relocated, explaining that it's a conscientious choice and how
the farmers are happier here. This would be the creation of a
terministic screen-the tour bus is creating an idea for the tourists to
play on.<br />
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More to the point of our case study, in <i>Up The Yangtze, </i>the face of fetishization is put front and center into the audience's lap. Yu Shui takes a job on a cruise ship and experiences the different ways that the tourists and others treat her based on their paradigms of her. The tourists experience a view of China that is filtered through their own lens and the lens that is provided to them by the touring companies and by the government. These factors combined create a role that people are forced to fill in order to keep others happy, satisfied, and paying. When we choose to view people a certain way, it hurts them by preventing them from speaking out against the issues that are hurting them, thus perpetuating the cycle of pushing ideals even further.</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-67706328481890976.post-33833849646503697662015-04-23T14:00:00.000-04:002015-04-23T14:50:11.672-04:00Flattened Ideas and Misrepresented Concepts<div style="margin-bottom: 0in;">
Last Summer when on a cruise in the
Bahamas, my boyfriend of the time struck up conversation with out
housekeeper. As selfish as it sounds at the time I wish he hadn't.
She was from the Philippines and the mother of two children that she
hadn't seen in five years. She took the job on the cruise line
because there were no opportunities for her there. While this film
was specifically about Chinese culture; it instantly make me think of
that moment. On the cruise they have this obnoxious display where
each staff member waves a flag of the country they are from. The
ceremony takes about an hour since the nationalities of the staff is
so diverse. No one really watches it. Its uncomfortable. Cringeworthy
even. The pain from it comes from the fact that many of these workers
have similar stories to that of our housekeeper. After speaking to
more and more staff members; we sadly began to realize this was a
norm. While the tourism industry presents itself to be about family;
those who are making the experience meaningful are forced to be away
from theres for years.
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I couldn't help but think of this trip
when watching the film <i>Up the Yangtze.</i>
While on the ship I assumed that all the workers were in the same
condition as the ones I spoke to; but the contrast between Cindy and
Jerry's stories clearly illustrate how this is not always the case.
That it is not as complex as a universal suffrage. The people are
brought together by different scenarios. Their diversity is something
that is not cultural but situational. I thought this was interesting
because it truly illustrates how we can tend to flatten ideas. That
we simplify them and view them in more tangible terms. <i>Up
the Yangtze </i>illustrates the
complexity behind globalization and cultural stigma. That one country
can never truly share an identity. Jerry's options and family's
status provided him with more options. He is confident in his
attractiveness while Cindy is forced to put on make up and alter
herself to be wanted in the work force. This movie opened by eyes up
to how different forces are always at play. It also gave me a
different perception towards how cultures are represented in the
travel industry. The possible complications involved with presented
one culture as a capitalized product. I think this film did a great
job overall at embracing complexity rather than trying to 'overcome'
it. That anytime we present an idea in simpler terms or flattened
understanding; we are losing something. This time of flattening is
what occurs when stereotypes and prejudice ideas are made; however
while these practices are frowned upon the strategies we use to
create them is a staple within how much of us reasoning. I think it
is worth considering how simplifying ideas can change them from how
they are in actuality. If this practice can be universally
destructive when applied and not just when it is used against humans.
Perhaps understanding concepts in similar ways can be equally
detrimental. I think this film does a great job at introducing these
ideas without directly stating this because to do so would be the
very act of it.
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-46107953299149422252015-04-23T13:54:00.003-04:002015-04-26T00:14:29.187-04:00Are You Who They Think You Are?<!--[if gte mso 9]><xml>
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How do you look to other people? Do
you think you are fairly represented for the unique individual that you are? Or
are you thrown carelessly into a mess of misconceptions based on external
characteristics? Surely, no one is exactly as they seem. There will always be a
part of you that is hidden from view, unobstructed by the judgments of others.
But unfortunately, many look at the whole picture without taking time to
appreciate the beautifully intricate details that are woven together that form
who we are. So, is it our fault for not being completely forthcoming about
every aspect of who we are as a person, or are we simply the victims of the
never-ending battle of misrepresentation?<o:p></o:p></div>
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<br />
<div class="MsoNormal" style="text-indent: .5in;">
In Yung Chang’s introspective documentary,
<i>Up The Yangtze,</i> there was no end to
the countless misrepresentations happening throughout the film. From the naïve
generalizations spewed out by the cruise ship tourists to cruel judgments laid
on the poor working class, it was obvious Chang chose to step back and simply
let the culture of ignorance play out on its own. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
One blatantly obvious scene of
misrepresentation was the depiction of the tourists trying own traditional
Chinese robes and adornments for a photo op, wile simultaneously providing
statements such as “The people here are all really funny. They have very fun
personalities”, or “I was very surprised how modern the cities were.” Now, it
was evident that these tourists were set up for disaster from the start; what
do you expect to hear when you have people completely surrounded by an
unavoidable racist scenario? So, do we blame the tourists, or the staff who
gave into the tourist stereotype to provide such a situation? Both indeed are
at fault for only looking at the big picture, in this case wanting to take a
fun picture while on vacation, rather than looking in depth to understand just
how harmful a situation like this could be.
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
In a similar way, Ann George’s
work, <i>Mr. Burke, Meet Helen Keller, </i>provides the considerable example of Helen Keller, a revered feminist
figure in history, who, simply put, was not how she seemed. Despite the
pristine image that has carried on today, during her lifetime, she was a
radical rhetorician, political advocate, and socialist who never shied away
from controversy. Notwithstanding her power as a respected figure in society,
many critics chose to focus on the limitations of her disabilities as a way to
break down her credibility. As one critic noted, Keller “puts what she has been
told on the same epistemological plane as what she has learned through
observation. It’s as if she had no sense of where she stopped and the world of
impersonal information began” (George, 345).
Unfortunately, it is much easier to focus on the lot one has been cast
in life, rather than take the time to see what they have done with it. Just as
Cindy took her dire family situation as a chance to change her living
standards, Keller too overcame the burden of stereotypes and societal
conventions to spark modification of misrepresentation of disabled people.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
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<div class="MsoNormal" style="text-indent: .5in;">
<span style="mso-bidi-font-style: italic;">We can never force people to change their minds about us, but we can
always strive to overcome our certain set of misrepresentation to prove we are
more than what we seem. We have to chance to rise about the stereotypes and
generalizations that weigh us down by showing the beautiful, individual details
of who we are stand high above the misconstrued image people feel comfortable
with.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
-Clare Davis</div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="mso-bidi-font-style: italic;"><br /></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-91580924697632724732015-04-23T13:49:00.002-04:002015-04-23T13:49:28.824-04:00Representation will always be Misrepresentation <div class="MsoNormal">
The task of trying to represent another person in any form
and any medium will always fail. </div>
<a name='more'></a>Even representation of oneself can go horribly
wrong. There is no way to set oneself apart from the knowledge and experience
that a person has gain throughout their life. It is not possible, and we gain
more of both everyday through our interactions with the world. The problem with
trying to represent anyone other than yourself is actually in the wording. The
problem is that everyone is an other. No two people are the same and no two
people have the same perception of the world. These two differences lead to two
major problems with representation, generalization and alienation. We
understand who we are by understanding who we are not and why, which alienates
everyone. Generalization causes misrepresentation because even if something is
true about the vast majority there is no way that it is true for all. There are
always going to be outliers even when thinking about social cultural norms. It
is not possible to encompass everyone, so instead of always trying to identify
with a group that will then be misrepresented and offend; we need to realize
that even among similarities there are also differences. Every person has a different
perception, so which one is accurate? Are any of them accurate? Maybe for that
one person at that one time it was accurate but in a global scale probably not.
Even the most earnest attempts at objectivity are always going to have the faintest
tinge of subjectivity. In the documentary people of Western Culture were
interviewed and in class we discussed whether we were being represented in the
documentary and my personal answer is no. I understand that these interviews
were supposed to reveal some truth about our culture’s mindset and attitude
toward other cultures but do I identify on a person level with the
interviewees, no. I understand that there make be other people like him, I can
see how it is possible for him to have those opinions and say what he said. Do
I always agree? No, but I also know who I am and where I am in relation
everything. I wouldn’t get offended because I understand that there is always
an angle and there is always something that someone else wants me to see. Even the
lens of a documentary is subjective, there is a goal, and endpoint, and a spin.
There always is. Just like there are two sides to every story, sometimes they
match up but more often they do not. <o:p></o:p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-5183415247355339622015-04-23T13:46:00.000-04:002016-12-18T11:18:25.147-05:00The Chicken Or the Egg?The paradox I thought of the most while reading "Terministic Screens" is the chicken-egg question. Is our reality constructed by our symbols and language? Burke claims "much that we take as observations of "reality" may be but the spinning out of possibilities implicit in our particular choice of terms" (Burke, 46). So, what does that mean about representation? As Butler points out, "representation is the normative function of a language which is said either to reveal or to distort what is assumed to be true about the category of women" (Butler, 2). For some reason, our society is obsessed with labels. It's as if you don't know who you are unless you are labeled, categorized, or represented by some sort of symbol. This blurs the line between what is real and what is represented. While Burke claims that man is attached to a verbal realism, Butler insists that "instead of self limiting linguistic gesture that grants alterity or difference to women, phallogocentricism offers a name to eclipse the feminine" (Butler, 16).Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-10958675006043011742015-04-23T13:19:00.005-04:002016-12-18T11:19:58.653-05:00How do you present yourself?We represent others based on looks and abilities--how they present themselves to others. You are representative of a type of person. For example, if I am a white female, 21 years old attending a University, I am representative of this dynamic, reflecting back on "my" group of people and their characteristics, so you can imagine that most people already have assumptions of such different groups based on other people they have met or seen.<br />
<br />
<a name='more'></a>Cindy was a Chinese teenager, working hard to become westernized and teach people about her culture. Through her work on the cruise ship, her bosses epitomize her as someone who is working hard to achieve her goals of being westernized. But do we really know this is the case? Cindy never says directly what she wants to do, this is just an assumption we have because most of the Chinese people on the ship seem to be doing the same thing. Cindy so desperately wanted to leave the cruise ship and attended school, but she couldn't. She was poor and without money. This compared with Jerry who lacked motivation to do much and was choosy with what he wanted to do. Jerry had the ability to attend school fine but didn't take the opportunity. In this way, both of these characters were "othered" based on their social class.<br />
<br />
This differentiation between Cindy and Jerry is in fact a misrepresentation of who they are. In Chinese society, Cindy and the rest of the poor families are seen as people who are unmotivated, hence the social class. This compared with the middle class families, such as Jerry's, where they are portrayed as hard working individuals, making their way to the top. This, however, is not the case.<br />
This is where misrepresentation comes into play. Societies all over the world are misrepresented because of a few selective individuals. Just because Cindy is poor does not necessarily make her unmotivated. Butler says, "subjects are formed, defined, and reproduced in accordance with the requirements of political structures," (Butler 3).<br />
<br />
We also see a form of misrepresentation in Helen Keller. Keller is often portrayed, today, as a woman who survived the Holocaust deaf and blind. No one really gets into the details so most people are unaware of how she got through it. People with disabilities are often seen as not intelligent or coherent, and unable to function like a "normal" human being. Keller was the opposite of this. Keller was renowned for her many famous and intelligent works of her time. She broke ground and theories that no one else had ever known about. Keller was intelligent beyond her age. Despite her being deaf and blind, she was able to survive well beyond her years and invent her own form of communication, and very effectively I might add. Keller was misrepresented. If anything, her deafness and blindness made her more intelligent than we could have ever dreamed of.<br />
<br />
This idea of misrepresentation goes far beyond these two subjects. There are millions of other examples world wide that we may not even know of. It is hard to see that how someone presents themselves can be reflected on their entire community, when this is not the case at all. We need to see people for who they are as a person, rather than a group.<br />
<br />
-Haley Bryant-Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-67706328481890976.post-81133103777594244222015-04-23T13:12:00.000-04:002016-12-18T11:21:10.848-05:00Erasure, Representation, and Class in Up the Yangtze<div style="font-family: Helvetica; font-size: 12px;">
“Up The Yangtze” offers stark documentation of tough times and new hurdles for families in ‘modernizing’ China during the construction of the famed Three Gorges Dam. Focusing on those displaced by the mega-hydroelectric dam that will eventually destroy their homes, farms, and arguably, culture, the film follows the lives of the relocated and their children, putting a face to the displaced Chinese locals that have long inhabited the riverside, as well as the economic futures of their children.<br />
</div>
<a name='more'></a>Their children of course, sent by their families to work on a luxury cruise ship and serve predominantly white but certainly western tourists, offer not only a look at the changes in identity and work ethic between the previous generation and their progeny, but an intragenerational look at the differences between practices and mores of different classes of Chinese youth. Juxtaposition after juxtaposition, we see the erasure of cultural practices through language and naming, enduring differences between classes, and a dilemma of representation.<br />
<div style="font-family: Helvetica; font-size: 12px; min-height: 14px;">
<br /></div>
<div style="font-family: Helvetica; font-size: 12px;">
While watching the film and discussing it in class, I initially had the desire to separate my interpretation of it from its “Authorship,” letting the film reveal its inner-workings itself <i>instead</i> of trying to deconstruct Yung Chang’s intentions through biographical investigation, exposing some kind of privilege that would undermine his work in the process. He narrates the film — I wanted that to be my conception of him as he functioned in the film — Chang as some kind of omnipresent impressionist in the background, appearing every once in a while to offer insight and narration. Trying to watch the film in such a way however, is difficult to do without making generalizations about Chang’s background. In trying to situate him in the divide between native Eastern and Western tourists so clearly stratifiable in the film, I can’t help but notice that he ‘speaks English like a North American.’</div>
<div style="font-family: Helvetica; font-size: 12px; min-height: 14px;">
<br /></div>
<div style="font-family: Helvetica; font-size: 12px;">
This is complicated because it seems patronizing to assume that because he speaks the language of the Empire as it is spoken by those who “claim” it, he must be from a certain region. From a Post-colonial standpoint, the propagation of American English is a symptom of perpetuated hegemony, and this at least in theory makes me wary of continuing my initial mode of reading the film. If I choose not to research the Author’s background, I am allowing generalizations embedded in my own cultural context, shielding myself with a terministic screen that doesn’t offer insights into the more specific social implications of the film, particularly regarding the way a Canadian of Chinese descent would allow (if possible) the native subjects of his film, overcome by hardship and the effects of globalization/ imperial Western tourism to represent themselves</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-67706328481890976.post-56418656861472118222015-04-23T13:07:00.002-04:002015-04-23T13:11:01.800-04:00Up the Yangtze<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">I liked when we were discussing Up the Yangtze in class the other day and we arrived at the concept of privilege. We spoke earlier in the year about understanding the world around us through metaphors, in terms of other things we can relate or identify with. I believe that privilege functions as a barrier to identification or understanding between different groups created by class. </span></span><br />
<a name='more'></a><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"> The dominant or privileged class establishes the norm or standard upon which all else is compared, their own database of metaphors/comparisons to draw from. If they don't have to worry about a certain issue, they are blind and un-empathetic to it because it is not something they are familiar or accustomed to dealing with. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">For example when Cindy's coworkers we talking about her on the boat they were saying she should just work harder to fit in and earn more money to send to her parents. Her coworkers don't have to send money back home to support their families, they were raised differently and accustomed to a different lifestyle. They can't relate to the struggles Cindy has to face, the worry about her families home being flooded, the fact they may starve without her help, why she can't buy nice clothes like the rest of them, etc. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">These barriers to communication and identification are a direct result of the class system set up by the concept of privilege.</span></span>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-67706328481890976.post-26085884184090196192015-04-23T13:03:00.002-04:002015-04-23T13:03:22.068-04:00Unbiased Representation? After reading George's article on Helen Keller and Burke, and after watching the film <u>Up The Yangtze</u>, I realized that there will always be a bias when something, or someone, is being represented. It is inevitable. It cannot be helped. So then what representations should we believe? Which should we discard or investigate further? <a name='more'></a> The representation of Helen Keller as a saintly woman who is able to get past unimaginable disabilities is one that is great for textbooks and great for motivation to overcome anything that life throws at you. This representation discourages us from looking into the political, radical side of Keller. It causes us to think of Keller as one-dimensional and only in the terms of her disabilities. It is a biased representation of this complex woman.<div>
There are two different representations shown in the film. Each one of them is biased towards one group. One represents the good that will come out of the Three Gorges Dam. It shows the progress that the country will make due to the dam and shows the actions being taken to help the relocatees which will be effected by the dam. In this biased representation, the relocatees are getting a better deal out of this dam. They are going to have air conditioning in their new homes, all provided by the government. The tour guide showing the tourists the relocatee houses in the movie says, "They all are happy!" But this representation is juxtaposed by another. The other represents the Three Gorges Dam as the doom for many Chinese people. It shows all of the towns that will be flooded, all marked by signs signifying the meter level. In this representation, these "unclassified citizens" will have to find a new home by themselves. In this representation, there are no relocatee homes. There is only darkness ahead. </div>
<div>
Which representation are we to believe? Which are we to think is exaggerated? Should we even pick a representation or question both? I have to question both because both are biased, and if it is inevitable to biased when representing someone or something, why try to represent anything at all? From this unit on representation, I have come to one conclusion: nothing and no one can be truly represented. Such a great realization, I know. But I believe this realization has to be made in order to tackle any representation in the future. If one is naive about biases in representation, no honest conclusions can be made. The truth about biases must be realized.</div>
<div>
<br /></div>
<div>
-Valerie Gardner </div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-67706328481890976.post-69702771883161507272015-04-23T13:01:00.004-04:002015-04-23T13:01:23.308-04:00Representation and Up The Yangtze I have to admit, at first I was a bit skeptical about Yung Chang's documentary <i>Up The Yangtze </i>only because I had no idea how on earth he could make this subject matter interesting to any spectator. However, after work on Monday night I came home and watched it in its entirety and was completely blown away not only by the Three Gorges Dam that is portrayed in the beginning, but with the story of Cindy and Jerry.<br />The main idea I got from watching this documentary that ties perfectly with what we discussed in class is the idea of representation. The way in which Yung Chang represents each of the protagonists in the film is different and that is so the viewers can get a better idea of what it's like for people working on this cruise ship on two completely different spectrums. On the one hand, Cindy is a young girl who unfortunately had to leave her home to have to work on the cruise ship in order to make money for her family. For Jerry on the other hand he willingly goes on the cruise ship simply for more money in his pocket.<br />
This is one aspect of the film which I enjoyed the most. Depicting these two completely different lifestyles is in fact important, not only to the storyline of the film itself, but for us as the viewer to get a better insight into the main point the director is trying to come across. Having this job is a necessity to everyone in this country, regardless of the reason their working there in the first place.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-60576527342672474482015-04-23T13:00:00.006-04:002015-04-23T13:00:39.538-04:00Up the Yangtze <div class="MsoNormal">
I’m continuously fascinated by the texts that we are
assigned to read for each unit. It’s interesting for me to see how these texts
can be related to our unit in ways that don’t seem obvious on the surface. It
shows me how much rhetorical theory is used around us. It’s in everything;
every film, book, speech and piece of art is saturated in rhetoric. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<a name='more'></a><br />
<div class="MsoNormal">
This film in particular was a great documentary that showed
how all of our terms from this unit, such as diaspora, gynocriticism, hegemony
etc can be exemplified. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When we read Butler we learned that show argued for the
misrepresentation of women in her work Gender Troubles. She writes about the
issue stemming from the gender structure emerging out of a binary opposition.
She continues to say that what really needs to be examined is the
representation of a subject. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You see examples of this scattered throughout the film. As
we discussed in class there are tons of juxtapositions. Through images and text
based interaction. One of the main juxtapositions in the film is the one
created through the depictions of Cindy and her male counter part who is also
take residence on the ship. Cindy is easily defined by what she is not that he
is. She is in a lower class family, she is a female, she is younger, she in
uneducated etc. However, if you take a closer look you are more apt to realize
that her situation is not black and white. Nor is China’s. The film depicts
tourism as a good thing for China. It’s helping the economy and providing jobs,
however the film is also juxtaposing this with Cindy’s storyline. She is far
from her family, often sad and lonely and having to work hard at a young age to
support her siblings and parents. This makes it hard for the viewer to
understand how the two situations are being represented. It is possible that
this is because we are continuing to attempt to define situations through
binary oppositions. For example, the notion that the dam depicted in Yamgtze is
good and helping all of the families in China is too straightforward and black
and white. The situation needs to be fully realized and understood. It is
multifaceted. <o:p></o:p></div>
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We read about the same types of issues when we discussed
Keller. She was misrepresented in her society because she was being defined by
what she was not. However, her situation was expansive and her representation
was what was actually holding her back. <o:p></o:p></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-67706328481890976.post-710214899210880462015-04-23T12:27:00.004-04:002015-04-26T00:05:46.860-04:00The Terministic Screen "Women" and the Problem with RepresentationThough I've compared Burke's overarching philosophies to Butler's, his terministic screens seem to parallel with her theories more than his others. Butler is concerned with the <i>construction of gender. </i>She asserts that feminist theory <i>assumes</i> this category of identification of "women," a terministic screen that "either reveals or distorts what is said to be true about the category of women" (Butler, 2). Here we will observe how Burke's problem with representation - his idea that our symbol systems create our reality, construct the subject, and fundamentally direct the attention to something specific rather than the whole - how his ideas present a direct parallel to what Butler is saying about women in a gendered world, and what kind of problems this presents for representation.<br />
<br />
<a name='more'></a>"Feminist critique ought also to understand how the category of women is produced and restrained by the very structures of power through which emancipation is sought" (Butler, 4). Clearly, Burke would agree as he asserts "observations are but implications of the particular terminology in terms of which the observations are made" (Burke, 46). Here, we see both Burke and Butler struggle to work through the complicated process of what our terminology has done to our perception of reality - and how our reality has shaped how we have come up with this terminology. Butler wonders if the presumed universality of the gender "women" is undermined by the representative discourse in which it functions! Here we see what she's getting at - what exactly <i>denotes</i> a women? Does the term women flatten the female experience, and how can the term fully encompass all that is "women?" Is women even a category that should assume universality? Female is only female because it is not male, because it is the sex that wasn't thought of until it was, having to bring about a new set of linguistics to represent it after it wasn't. And herein lies the problem - can ANY term fully represent what it is denoting? Of course we all understand that the sign does not equal the signifier, but the nature of language as a symbol system is just that - it is a SYMBOL system - something that stands for another. When I use the word "bed" of course the word bed cannot simply mean a twin sized bed, but a waterbed, canpopy bed, king sized, queen sized, flat-bed, anything! However, when we move into the world of animate objects, the subject of representation becomes blurred, because we as humans feel a desire to be represented by something. We yearn to be a part that is represented as a whole, while at the same time we yearn to maintain our individuality. Here forms a new binary - a binary between existing and symbol, between all encompassing existence and a communication of that existence; some elements are bound to be lost in translation, no matter the gender, no matter the situation. As Burke would say, "He (Man) clings to a kind of naive verbal realism that refuses to let him realize the full extent of the role played by symbolicity in his notions of realty" (Burke, 48).<br />
<br />
And yet, the binary between masculine and feminine is perpetuated in this representative system that tends to let details fall through the cracks. Butler emphasizes that in a phallogocentric system such as the one we live in, it tends to let the details of alterity fall through the cracks, signifying a difference, rather than an essence. Butler closes out her argument with, "Instead of self limiting linguistic gesture that grants alterity or difference to women, phallogocentricism offers a name to eclipse the feminine and takes its place" (Butler, 16). She argues that this system, this system is inescapable. The hegemony we have built has been built around a communication system that is inescapably flawed, inescapably 2-D, especially in regards to women.<br />
<br />
So where do we go from here? Is representation a problem we cannot simply solve? Both Heilbrun and Butler seem to be headed towards a direction that suggests a new symbol system, a new representative system, but on what grounds can we develop this system but on the phallogocentric system we already have? It is clear that this new system will have to be an evolutionary process; one that uses its symbols in a non-gendered way through an <b>evolution of time,</b> creating new discourses for women and how they are represented.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-71524917365050933562015-04-23T12:27:00.003-04:002015-04-23T12:27:18.598-04:00Chang and Ong's Audiences<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
As Chang is of Chinese heritage but a Canadian citizen,
relevant intertextuality can be considered. Chang mentions his Grandfather,
thus establishing his family history as one text. The less historical and more
recent China shown in the film is another text, which is juxtaposed with the
former; old vs. new China. Within the film, a metaphor is used to explain China’s
socialist intentions but capitalist realities, this is another dichotomous juxtaposition.
Consider also the varying audiences; representation of one’s personal culture
within the film might also be a text. The film has been translated into many
languages, and a few nationalities are shown and discussed on the boat. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As an audience, we were invoked (Ong) to play the role of
tourist, as exemplified by the tourists on the boat. But we are also another
audience, one that is specifically addressed when Chang includes voice overs.
At the same time, Chang might be invoking us to not be exactly like the
tourists, to have a greater awareness of the complexity of the identities of
those involved.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<a name='more'></a><br />
<div class="MsoNormal">
On the boat, there is another juxtaposition: poor vs. rich,
haves vs. have nots. The wealthy have a hegemony over the boat, it is their
whims that are appeased. The boat’s environment and service personal must meet
the needs of the tourists. Everything is tailored to their needs. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
One thing I did not get from the film was what would happen
to this touring boat after the implementation of the dam. Would the boat have
more or less access to waterfront? Would it continue to tour or be prevented?
This was likely included, but I was not aware the boat’s fate relative to the
dam. With the fate of the boat known, metaphors could be established, agendas
discerned. Without this knowledge, the film seems more informative than
persuasive, but not without any agenda.<o:p></o:p></div>
</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-67706328481890976.post-7957676193127807002015-04-23T12:01:00.000-04:002015-04-23T12:01:03.561-04:00The (Mis)Representation of ChinaThe film Up the Yangtze attempts to show representation for the culture and country of China. In an attempt to show how tourism, development and upgrades are benefiting the country as a whole and the people within it, the film also contradicts itself when it shows how these developments can also negatively affect the people of China.<br />
<br />
<a name='more'></a>The film focuses on the developments the country has taken to improve their economy. For example the cruise boat featured in the film shows how tourism has made a major positive improvement for China, however it also focuses on the fact that struggling families living in the rural areas near the river are significantly misrepresented as "the people of China." The film follows Cindy and her family and watching the film you learn that Cindy and her family's home has been nearly washed away due to changes in the water level of the river. So on one hand the river is a symbol of opportunity for those who work on the cruise ship or benefit from the money that tourism can bring in, but on the other hand, families like Cindy's who are also the people of China are completely forgotten and have to navigate through their struggles alone.<br />
<br />
So how does Up the Yangtze achieve and also ignore representation? The director puts great effort in to show how there are two contrasting sides to citizens of their country, however there are multiple perspectives that we did not see. While I do understand that a film can only cover so much, I think it is also important for a viewer to know that the situation with China, the river and the Three Gorges Dam is not black and white. I feel as if the film only focused on the radically different roles for dramatic effect leaving out "the middle man" and leaving many perspectives mis or even completely unrepresented. <br />
<br />
It is clear that there is a lot of room for the idea of representation to grow and while it may seem far off now, I am hopeful that one day there won't be a culture, group, or any type of person that feels that they are under or misrepresented in the world.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-25604386806794932082015-04-23T11:54:00.000-04:002015-04-23T11:54:08.196-04:00Our Greatest Therapy <div class="MsoNormal">
It is the dawning of the Millennial’s and the old heads
couldn’t be more terrified. </div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<a name='more'></a><br /><br />
<div class="MsoNormal">
In this new age there have been so many
progressions to society and thus, changes in the way we receive text. Our
social constructions shape our reality. We are the agents and it is important to understand our motivation to create and the inadvertent biases within the text created.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Looking back over the course, I find Metapictures to be extremely
valuable in understanding our society, questioning behavior, and understanding
who holds authority. First to understand Metapictures according to Mitchell: In
his essay he explains that it is "a picture about a picture." This
can seem confusing, but with further explanation it is understood "that
pictures might be capable of reflections on themselves…of providing a
second-order discourse" (38). I think that ‘second-order discourse’ could
allude to the ability to transcend a current situation and previous experiences
with the like, and focus mainly on the text (image, video, audio, words). <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Landow, who is mostly interested in understanding <i style="mso-bidi-font-style: normal;">hypertext</i>, (which I believe can be
directly associated with Metapictures) states that one fundamental
characteristic of hypertext is how it is composed of bodies of linked texts
that have no primary axis of organization. In short, a text essentially has no
center. Therefore, he believes that for one to truly understand a certain text
we must look at everything that which it surrounds; which to me <i style="mso-bidi-font-style: normal;">is</i> second-order discourse; to
totally evade previous knowledge’s and so-called truths, but to experience the
text as is.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I understand this can be extremely difficult. Hume has discussed
that we use sight to create an image. She proved that a stereotype for a race that is not
easily removed. She proved this through the usage of old racial cartoons. She
proved that as the viewer, we understand the general message being displayed
because of our inadvertent application to suggested identities that have been
instilled toward our understanding to specific events, people, or ideas over time.
The display of explicit and exaggerated identities was immediately understood
due to our inevitable participation in social construction. <o:p></o:p></div>
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<!--StartFragment-->
<span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">Which brings me back to my argument on the
importance of Metapictures. Not only do they provide a unique reflection of
ourselves, and how that prompts us to function in society through its
constraints; but the practice in <i>recognizing</i>
<i>our</i> <i>biases</i>. Self-reflexive art may be our greatest therapy. </span><!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-86587192064834851682015-04-23T11:10:00.002-04:002015-04-23T11:11:06.940-04:00Up The Yangtze and Imperfect RepresentationFrom a purely architectural standpoint, the Three Gorges Dam is an impressive feat of human engineering. The dam spans almost 8,000 feet in length and has a height of about 600 feet. In terms of capacity, the Three Gorges Dam is the largest hydroelectric power station in the world. If the above facts were all you knew about the Three Gorges Dam, you might be inclined to agree with the Chinese Government that the Dam is a triumph. However, if you watched the documentary <i>Up The</i> <i>Yangtze</i>, you might reconsider. The human cost of the Three Gorges Dam is startling: almost 1.3 million people were forced to relocate as construction of the dam led to rising water levels.<br />
<br />
<a name='more'></a>In terms of representation, <i>Up The Yangtze</i> couldn't be more straightforward. While the Three Gorges Dam was a project designed to better the Chinese economy and reduce carbon emissions, a critical issue in China, the resulting rising floodlines literally erased 'the little guy'. Much of the documentary follows Cindy Yu Shui, a young girl from a family of poor subsistence farmers who must acclimate to working on a river cruise for westerners. Strikingly, Cindy's home, located on the banks of the Yangtze, is literally swallowed up by the rising water line.<br />
The overarching narrative, one that is often repeated by displaced villagers and government officials, is that the Three Gorges Dam is good for China as a whole, but not good for the relatively few individuals who must move and adapt. This speaks to what I think is one of the larger issues with representation: that even within one larger perspective-for example that of Chinese Nationalism-there are many 'smaller' voices, like Cindy Yu Shui and her family, which must be taken into account to give the larger perspective meaning.<br />
<br />
The problem that arises, then, is how can any <i>fair representation</i> be achieved? In the documentary <i>Up The Yangtze</i>, the filmmaker does his best to include different, contrasting perspectives to represent the Chinese citizens. However, there are still perspectives out there that weren't covered. Does this render the film obsolete? Is it only the loudest, or most morally correct viewpoints that deserve representation? Should it be a democracy, where only the most popular aspect is shown?<br />
<br />
Obviously, all of these ideas are imperfect and leave a lot of room for improvement. Representation itself will always be imperfect, because there is no 'perfect subject' to represent. For writers, filmmakers, and any other creator of text, this idea of imperfect representation should always be included and acknowledged.<br />
<br />
- Caitlin LangUnknownnoreply@blogger.com2tag:blogger.com,1999:blog-67706328481890976.post-63009131471453444522015-04-23T10:59:00.000-04:002015-04-23T10:59:16.246-04:00The Yangtze JuxThe juxtaposition in <i>Up the Yangtze</i> is very evident in many places in the film as discussed on Tuesday. People, places, lifestyles, images; everything is juxtaposed at one point or another. But this juxtaposition is done for one reason: perspective. <br />
<br />
When we want to look at a movie in a certain way, we have a preferable way to look at it. For instance, some people may want to look at the film through the young girl's eyes. This would show that they are sympathetic to her situation and want to share in her struggle.<br />
<br />
Other people may want to see the film from the 19 year old boy's perspective. He is much more easy to identify with for us. He comes from a family that is well off. He can go to a school to get an education like we do currently. His choice to work is his own, which I have done before.<br />
<br />
Perspective is everything. It affects our stance on different pieces of history or media. If we all had the same perspective, there would be nothing to unpack about anything. We need these perspectives to articulate different situations for different people. Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-67706328481890976.post-65657688105002121702015-04-23T10:56:00.007-04:002015-04-23T10:56:42.104-04:00The Representation Factor<div class="MsoNormal">
Analogies were always one of my strong suits in elementary
school, so here’s one for you. Helen’s language barrier is to Cindy’s past and
lower class status. They are factors of disadvantage that held them back in
ways others could not fathom. It is true that these two eventually prove wrong those
who judged and pitied them at first, but there were countless struggles before
Keller was able to recreate her technique for language and before Cindy became
accustomed to working in a place where she knew no one and was forced to
accept, even glorify, a new culture.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
</div>
<a name='more'></a><br />
<div class="MsoNormal">
A large part of what they face is also a result of misrepresentation.
“Representation serves as the operative term within a political process that
seeks to extend visibility and legitimacy to women as political subjects; on
the other hand, representation is the normative function of a language which is
said either to reveal or to distort what is assumed to be true about the category
of women” (Butler, 2). Cindy is epitomized as a hardworking Chinese teenager
who wants to teach Westerners about her culture and become westernized herself.
At least, her bosses seem to want that for her and make her appear that way
too, what with the training and direction she receives. There is one part in
particular that bothered me during the film and it was where we see Cindy
crying as she does the dishes. I wasn’t sure if she was feeling just one
emotion or if her breakdown was a result of the compilation of frustration, loneliness,
confusion, and fatigue, but I would guess the latter. Being forced out of her
home, away from her family, and sent to work for a large cruise ship company
would not be my ideal childhood.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Keller, on the other hand, was represented as a deaf and
blind woman who was unable to communicate effectively and therefore needed
assistance around the clock. You and I and the boy next door all know that this
is not true, that Keller was able to surmount unsurmountable obstacles and
become a quite literate person. This just goes to show how misrepresentation happens
and reflects the interpretations of the world that become our identities.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think that this is something that Cindy really struggled
with in the beginning. Her culture and way of life seemed to be left behind and
she was forced to take up a new identity and represent new ideals. Butler noted
that subjects are “formed, defined, and reproduced in accordance with the requirements
of” (Butler, 3) political structures. As a result, it can be difficult for citizens
of a country, especially one like China, to identify with a certain
representation if they feel threatened by the political system or government
officials. This also demonstrates how society in China might be moving too fast
for the people’s comfort, besides honestly moving too fast for the landscape
and people to keep up. The narrator of <i>Up
the Yangtze</i> says that “tourists come to see “old China” before it
disappears, but I [he] fear[s] it is already gone” (Yung Chang, <i>Up the Yangtze</i>).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Butler also observes how there is a problem with the term “women”
denoting a common identity. All women are different, just as all men are
different, and no two snowflakes are the same, but she mentions that the term
as become one that evokes anxiety. “If one ‘is’ a woman, that is surely not all
one is; the term fails to be exhaustive” (Butler, 4). This, however, begins to
really sneak into the realm on sexism.<o:p></o:p></div>
<br />
<div class="MsoNormal">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-59564384240419747012015-04-23T10:53:00.002-04:002015-04-23T10:53:16.560-04:00Is Representation Doomed from the Start? <div class="MsoNormal">
Perhaps all representation is doomed to fail. It is a troubling idea, but seems possible, and even inevitable. Perhaps the hegemonic underpinnings of representations in their most basic form, language, prevent us from ever truly achieving objectivity in representation. That seems to be the aim of representation, after all. Accurate representation is objective truth. But perhaps this is unachievable. If this is all true, how are we to function in such a world?</div>
<div class="MsoNormal">
</div>
<a name='more'></a><br /><br />
<div class="MsoNormal">
Heibrun’s main concern was a
lack of a female canon in literature. There was not past, no history of true
female readers to set an example for future woman writers. Gilbert and Gubar
call this anxiety of authorship. While male writers experience and anxiety of
invention, a desire to be more inventive and more successful than those who
came before them, women have no foundation to build upon. There were no women
writers who came before them. Their primary anxiety involved authorship in its
most basic form. It was an anxiety of creating something and publishing
something that was an extension—a representation—of themselves and women.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times;">Butler then raises a
related, but very troubling, concern. Is it possible that women are
unrepresentable? And that a canon that truly and accurately represents female
writers is impossible? If, as Butler assets, our entire notion of feminism is
powered by our understanding of <i style="mso-bidi-font-style: normal;">women</i>
as a unified, generalized, misrepresented group, the foundation of the ideology
is flawed. Feminism seeks to recognize and support women as a whole. But in
doing so, feminists ignore all other intricacies of the female individual.
These individuals are united into the category of women solely because they are
women. Race, ethnicity, socioeconomic class, and so on are all ignored. We thus
acknowledge them as nothing but their gender. This presents a problem. Isn’t
this the very generalizing and lumping together of females that feminists seek
to transcend. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times;">Butler asserts that </span><span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">the “presumed universality and
unity of the subject of feminism is effectively undermined by the constraints
of the representational discourse in which it functions” (Butler 6). We strive
to represent women accurately but the representational discourse surrounding
women fails from the start. The problem lies in language. When the very
language that we use in our everyday lives is laden with misrepresentation, how
can we ever hope to achieve accurate representation?<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Professor
Graban suggested that this is perhaps and issue of privilege, of hegemony. This
makes perfect sense. There is no doubt that it is the privileged individuals of
the world who create and propagated knowledge, culture, understanding, and
rules. They determine how things are to be represented from the very beginning.
They create and mold language. Take, for instance, our culture. Our language,
our understanding of ideas and of words is heavily influenced by the abled,
white, male hand. The problem does not lie in the misuse of representations,
but rather the fault in representations from their very inceptions. Language is
representation and words are symbols. When a word carries hegemonic history, as
all words do, the biases of the hegemonic powers are implicit to the definition
and understanding of the world. We may not notice or realize this, but it is
undoubtedly true. <o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">This all
suggests something quite troubling for representation. When hegemonic
misrepresentations are implicit to our representations, unbeknownst to us, is
it ever possible to accurately represent anything? It is clear that this is a
problem in the case of the female, as Butler argues. But, let us take a step
back and look at the whole picture. If our language fails at objectivity, to it’s
very core, and language is our primary means of representation, our
representations must fail us as well. Does this mean that we cannot ever truly
represent anything ever? Are all people, all cultures, all of the world unrepresentable?
<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">While we
didn’t read Butler’s book in it’s entirety, Professor Graban hints that a
solution might exist in reexamining how we understand—how we represent—representation.
Perhaps we are relying on representation too heavily. Perhaps representation shouldn't and can't be expected to reveal objective truth. We expect it to be bale
to paint a clear and vivid picture of the truth. Perhaps this is wrong. With
all of it’s faults, we can never rely on representation to function objectively
in this way. We must, instead, take with it it’s biases. Recognize the
hegemonic, privileged underpinnings and work around them. It is merely a matter
of acknowledging inevitable terministic screens. <o:p></o:p></span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-67706328481890976.post-38886157288487382892015-04-23T10:46:00.003-04:002015-04-25T23:57:23.275-04:00Is representation ever truly possible?Yung Chang's <i>Up the Yangtze </i>documents the changing dynamic of communities that are to be affected by the renovation of the Three Gorges Dam. He depicts the issue through the lives of Cindy and Jerry who work on a Western styled cruise ship that travels up the Yangtze to the dam. This documentary presents some issues with representation. It makes me question who is being represented in the film, who is being represented by China, and the choices Chang makes in representing this issue as a whole.<br />
<br />
<br />
<a name='more'></a>Chang uses a series of strategic juxtapositions throughout the film to heighten the sense of conflict and explore different sides. He definitely juxtaposes the Chinese workers on the cruise ship with the Westerners on the ship. To me the depiction of the Westerners seemed a bit narrow because they were all ignorant and "plump" and said things like the Chinese were "funny" and they were surprised by how developed the country was. At the same time the Chinese workers' education about the Westerners was also narrow and stereotypical. They were instructed to not be too humble and to avoid all serious conversation with Westerners and to never call them fat. I think what Chang is trying to help us to understand here is that different cultures have hard times understanding each other and it's easier to make blanket assumptions about another group rather than to be open minded and not categorize them.<br />
<br />
I think Chang points to the difficulty of portraying other cultures. Chang even admits that it is hard for him to imagine or capture the old China his grandfather described to him as a boy. It is basically impossible to define a common view of a culture without causing a lot of erasure. I think Chang made very strategic decisions in choosing to view the issue of the Yangtze through a more privileged boy, Jerry and also through a very poor young girl, Cindy. However, we have to question if this is an encapsulating view of the effects the dam will have on all Chinese citizens. In Favro's "The Street Triumphant," he uses the image of a skyscraper to illustrate privileged views. Someone who sees the city from the roof of their penthouse does not have the same view of the city as someone who walks through its streets. Similarly, Chang being born in Canada doesn't give him the perspective of China that has grandfather would have had.<br />
<br />
If representation is ever truly possible, it is accomplished through people representing themselves and creating their own narratives. In Cooper's "Voice From the South" this point is made evident in her demand for more African-American women to create a reflective narrative that is honest and impactful. However, in Chang's film we can clearly see some issues with the people speaking for themselves. Many of these lower class citizens seemed disenfranchised and expressed a sense of hopelessness about the dam issue. Some of the people he interviewed expressed that these matters should be left to the upper government and that they couldn't speak much on the issue. Others understood the bleakness of the situation and believed the dam project would benefit China but hurt many individuals. Maybe it is hard for us as Westerners to understand the futility of the situation and the emphasis on the wellbeing of the nation over the wellbeing of individuals.<br />
<br />
So, is it ever truly possible to represent a group of people? You can get somewhat close but it is impossible to speak for an entire group. In defining gynocriticism in class, we noticed this dilemma. Women's literature very well represents women but mostly white and middle class women. It largely fails to represent women of other social classes and races. Even when one does represent themselves through literature, they are aware of their audience and produce bias by considering who will read their work and what the reader will think of them. Maybe it will never be truly possible to represent an entire group of people but Chang's "Up the Yangtze" is a starting point in understanding how the dam is displacing families and how the cruise plays a role in passively enjoying it.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-73344713616650365382015-04-23T10:45:00.006-04:002015-04-23T10:45:44.382-04:00Up the Yangtze, Through the ScreenWhat is made so clear about <i>Up the Yangtze</i> is the clear class distinction there is in China and what the Western perception is of China. For a technologically advanced and green project with the hydroelectric dam, China has its fair number of people who are poverty-stricken. In the film, there is a true representation of the poverty-stricken.<br />
<br />
<a name='more'></a>Because the film explores the life of Cindy and her family, the audience gets a clear picture of just how difficult it is to live in the lower classes and why "escaping" is virtually impossible. Born from a father who can't read and mother that does not have a higher education, Cindy pursues what they do not have. As stated in class, the cruise manager took Cindy under his wing as a "charity" case. I am left to assume that had this movie not been made then Cindy would not have gotten the job the cruise; which is interesting considering that the other workers on the cruise have cell-phones and clearly come from a higher class than Cindy. Are we left to assume that this hiring of Cindy was a stunt to show that even the lower classes can obtain a job (let alone one amongst the higher classes)?<br />
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Aside from theories about the film's motives and background, the identification of the Chinese lower-class is conflicted in the film. The cruise workers come from different backgrounds, but are all made into "Westernized robots" to make the cruise guests feel welcome. I disagree with this tactic. I feel that the cruise workers adopted these Western ideals, given from the manager, to make themselves feel comfortable with the cruise guests unintentionally. The cruise guests came into China, to see Chinese culture, and to the towns along the river one last time. Why must the cruise workers "adapt" to the foreign guests when they want to see their culture.<br />
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<i>Up the Yangtze </i>made me think critically about class and people in general. You never truly know what someone is going through. There is a sense of irony throughout the juxtapositions in the film. Cindy and her family taking a picture in front of the dam that will remove their home was eye-opening. Did it truly matter what the dam was about to do?Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-67706328481890976.post-79587790401750826562015-04-23T10:44:00.002-04:002015-04-23T10:44:15.470-04:00Helen Keller and Up The Yangtze<div class="MsoNormal">
From looking at the film <i>Up The Yangtze</i>, I realized that I
could not have been able to be in that situation and survive happily. It seemed
like it was a very sad situation to be a part of. For instance, being forced to
move out of my house because of a flood is fine. However, not knowing where I'm
going to go next is another problem because if there is a flood happening my
family and I would still need a place to stay that is safe. Putting myself in
that situation there is no way I could have done that and not raised holy hell or
argue for someone to find my family a safe place since we were being kicked
out. This all goes back to how these
people were raised. It's not as if they were raised in America and then had to
live an extremely rough life style from here on out. There was no adaptation;
she was born into that life style therefore she does not know what it feels
like to be treated a better way versus a wrong way. This is honestly the only
way to be treated for her . </div>
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<div class="MsoNormal">
I feel as if I can connect more to the 19 year old boy because
he is at least trying to make a living out of something. Granted he comes from
a prosperous and wealthy family he is
still trying to make something out of himself as opposed to just living off his
family. I am more so that type of person because even though I know that my
family will give me want I want I still feel the need to become independent and
at least try to get my own. Realizing this is a nineteen year old boy I wonder if I was in his position being a girl
would it be looked as "wrong". I know in many parts of the world it
is still looked at as an irregular thing to have women act independent as if
they don't need the man. It is almost as if women must do what is expected of them
and nothing else; going over and beyond and achieving goals that women aren't supposed to is not even congratulated.
I don't mean to come off as a feminist but just imagine or even think about <i>Up The Yangtze</i> for a good example. Coincidentally the girl is the one who is
kicked out of a home along with her family and the boy is making a living while he has a prosperous family who is
willing to give him money. I honestly feel as if the girl was to switch places
with the boy she wouldn't be as successful as him in singing or porting. Not
because she is incapable of doing these two thing but because not many people
would be in favor of her doing so. </div>
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<div class="MsoNormal">
This also ties in with Helen Keller as we talked about her last
week. Many people just knew right off the back that she wasn't able to live
life the same for two reasons. One of them being because she lost her sight and
hearing and the other reason is because she is a woman. Most men already feel
as if women are weak because we are not physically stronger than men ,which
may be true; however I feel as if Helen Keller proved everyone wrong. Although
she did have to be taught different ways to communicate with others, once she
learned how to do so she progressed and lived her life to the best of her
ability. She did not dwell on the fact that she was different from others, she
moved forward as she should, nothing was going to change. All in all this
proved to me that women most certainly are
stronger than men in all ways. I am awaiting the day that men and women
are put on the same spectrum in all aspects of life. </div>
Unknownnoreply@blogger.com0