Thesis: Kawabata uses the motif of windows and mirrors in relation to Shimamura infatuation with Yoko and Komako to highlight the fantasy derived from the Japanese patriarchal society that oppresses women into rigid gender roles to entertain the men who perpetuate it. Shimamura’s constant observation of Yoko through reflective surfaces highlights how young girls’ naivete is exploited to fit the male-dominated view of the oppressive society they live in. While Shimamura is on a train “into the snow country” (3), the train arrives “at a signal stop” (3) when “a girl … opened the window in front of Shimamura” (3). The word “girl” signifies that the human being opening the window is a young female, at this instance she is opening a window which serves as a separation between the inside of the …show more content…
He does not have to be present in the reality of Yoko’s situation with the ill “man with her” (6), in his mind, Shimamura can “cut the girl off from the man with her” (6) and pass “his judgment” (6). Kawabata stresses Shimamura’s privilege to emphasize how men in this Japanese society are allowed to dictate the role women play in the patriarchal world they live in. Shimamura is unaware that “it was improper to stare at the girl so long” (11) and Yoko is still unaware of Shimamura observing her as “her attention was concentrated on the sick man” (11), but even if she saw Shimamura “she would probably have not seen her reflection” (11). Yoko is not present to the fact that she is perpetuating her objectivity in this society, not only does she faithfully serve a man, she is unaware of her being fantasized and altered by Shimamura. He is “taken by the unreal, otherworldly power of his mirror” (11), Shimamura owns
Reader Response of Chapter 2 of A Different Mirror: A History of Multicultural America by Ronald Takaki In the book, A Different Mirror: A History of Multicultural America, Ronald Takaki gives an anecdote about how the lives of both the Indians and the Irish were dramatically destroyed and how they were even almost extinct because of the violent and corrupted acts of the English. Moreover, the English expansion led to the “making of an English-American identity based on race” (Takaki 26). Furthermore, the Irish were the first people to be considered as savages. The English felt as if the Irish did not have any respectful manners or obedience to God.
The fourteenth chapter of Ronald Takaki's A Different Mirror briefly covers American dilemmas during the Second World War. Following the attack on Pearl Harbor, Hawaiian military governor General Delos Emmons declared: "We must distinguish between loyalty and disloyalty among our people"(Takaki 342). At first, this assured faithful Japanese citizens and aliens of Hawaii that the government would not produce mass concentration camps due to their ethnicity. President Roosevelt eventually settled for the internment of 1,444 Japanese after his original demand for 20,000 following Emmons' argument claiming that "such a removal of Japanese would severely disrupt both the economy and the defense of Hawaii" (Takaki 342). Meanwhile, on the west
The shoe horn sonata by John Misto is a highly evocative play which explores the up-to-then largely forgotten history of female prisoners of the Japanese during WW2, by looking at the stories of two characters, Bridie and Sheila. Misto has effectively incorporated a wide range of language techniques both visual and auditory, which create powerful images in the responders’ mind to achieve distinctively visual ideas.
‘I was a girl again. I was five years old again and fishing for trout with my father.’” (94-95) Julie Otsuka uses sensory imagery of the woman’s childhood in Japan to evoke the mood of longing because it allows the reader to understand the woman's emotions and her struggle with her confinement in the internment camp. Through the woman’s recollection of her childhood, she can think of happier times instead of her current situation which has been very hard on her mental health. Through the comfort and
“Legend holds that seesaws became popular with girls because on the upswing they were able to catch a glimpse of the world beyond their cloistered walls” (Brennert 17). In Alan Brennert’s novel, Honolulu, a young “picture bride” of the early 1900 's named Jin makes a deal to leave her native Korea for Hawaii in the hope to find a better life for herself. Jin’s dreams shatter as she is compelled to marry Mr. Noh, an abusive alcoholic that torments her throughout the story. The young girl soon finds out that her past life is out of reach and that she must find it in herself to rise up against the abuse and inequality to save herself. Over the course of the novel, Jin faces countless female right’s issues such as abuse, the wage gap, traditional
Ronald Takaki a renowned pioneer in the field of ethnic studies has over the years authored numerous books on diversity in American society. As a grandson of Japanese immigrants who became the first black studies professor at UCLA, Takaki for many years has continually tried to bridge cultures and ethnic groups in the United States. In his book “A different mirror: A history of multicultural America”, Takaki addresses the idea of multiculturalism in our society, and also talks about how for many years we have been told to acknowledge the notions that the core principles of our nation uprooted only from one group rather than a contribution from other various cultures as well. The ‘master narrative’ posed by Takaki describes the growing
This is suggested by Helen Simpson who stated that Carter centralises ‘latent content of fairy-tale’ is that women are objects of male desire hence patriarchal discourse establishes male supremacy to which Carter does this to challenge contemporary perspectives on the place of women by revealing the oppression that society inflicted. The Marquis is an overt example of male ownership of female bodies. Similarly, where Atwood exposes the harsh realities of oppressive patriarchy through the female body, Carter utilises the construct of the Marquis in the eponymous story ‘The Bloody Chamber’ as a grotesque embodiment of patriarchal control. In her essay ‘Visual Pleasure and Narrative Cinema’ Laura Mulvey coined the feminist term ‘male gaze.’ She argues that men are the audience and women are to embody the male perspective of women as objects of satisfaction.
This helps the reader visualize a sarcastic and frustrated cashier ringing up an impatient customer. Sammy refers to the customers as “sheep” in paragraph five because of their conformity and slow mosey throughout the store also making the three girls stick out more. In paragraph 2, Sammy refers to one of the girls as a “queen” using a direct metaphor as if she truly was a Queen. This reinforces Sammy’s observant mind and way he breaks down each girl. Whether his opinion was positive or negative, deducing women by their looks and staring at their chests, “this clean bare plane of the top of her chest down from the shoulder bones like a dented sheet of metal tilted in the light,”(3), does nothing but further supplement the idea that these three girls are being watched just because of their choice in attire.
Nguyen Tu Anh Topic: The duality in The Structure of Iki Among the ideals of Japanese aesthetics, iki is perhaps one of the most thoroughly analyzed, both as an abstract concept and a concrete expression, thanks to the influential work The Structure of Iki by Kuki Shuzo (1888 – 1941). Unlike other aesthetic ideals, which were usually reserved for the aristocrats, the warriors and the wealthy, iki originated among the urbane commoners of Edo, especially around the pleasure quarter in the eighteenth century. It is from this background, from the special relationship between the geisha and her patron that iki derives its unique characteristic – its duality. As this essay attempts to demonstrate, duality is the constant theme throughout Kuki’s analysis of iki, both in the content and the process of building the structure of this distinctive aesthetic concept.
As a young girl she doesn’t know that America fear Japanese people. As the story goes on and Jeanne gets older, and her view of the world takes a different perspective. She makes discoveries about herself during and after her time at Manzanar. The work is a way for Wakatsuki to come to terms with herself, and
I believe that the damaged dolls exemplifies the way women feel imperfect due to all the criticism they encounter. Understanding the real meaning of the stereotypes surrounding an "acceptable" way of dressing, the smoke and water on the burned dolls, and Barbie’s ‘‘MOD’ern cousin,’’ (Cisneros) contributes to a better analytical interpretation. Beyond poverty, these dolls represent the effects of the stereotypes that society has implemented to women. At first, the Barbie dolls in better conditions with fancy clothes enacts the way society thinks that women are materialistic and egocentric. This relates to the moment the girls call Ken a ‘‘stupid-looking doll,’’ (Cisneros) they prioritize clothes and they would rather have new clothes for
Another major character in the book, Sally, marries a man. Sally may think that she has escaped from her dad’s cruel treatment but has not realized that being dependent on another person will only end her up in the cycle of abuse again. For many women on Mango Street, looking out of the window is seen as the last hope of freedom, and her husband even bans her from doing so. “ She likes looking at the walls, at how neatly their corners meet, the linoleum roses on the floor, the ceiling smooth as wedding cake. (102)”.
Introduction In Ronald Takaki’s book, A Different Mirror: A History of Multicultural America, Takaki argues that despite the first slave codes emerged in the 1660’s, de facto slavery had already existed and provides evidence to support this claim. While he provides a range of data, these facts can be categorized in three groups: racial, economic, and historical. These groups served as precursors to what eventually led to slavery codes to be enacted and the beginning of one of the darkest chapters in American History. Racial
She presented a situation in which the viewer was implicated in the potentially aggressive act of unveiling the female body. She herself was the medium of the piece of the audience became the artist. While giving the audience power she lost her power of will and become vulnerable. Throughout this piece Ono addresses gender directly by objectifying herself. She becomes the sexual object for those to see.
Known as the "Polka dot Queen ", Kusama started using polka dots and nets as motifs and created fantastic paintings in watercolors, pastels and oils as early as about ten years old. In 1957, she left Japan to the States and she exhibited large paintings, soft sculptures, and environmental sculptures using mirrors and electric lights in Seattle and New York. Yayoi Kusama is also good at using mirror and water to express her idea of Infinite propagation. From the time of her New York resident period to the present, mirrors have become one of the integral materials that she has used repeatedly.(p114, We love Yayoi Kusama) One of her early example is the Infinity Mirror Room(1965)这一个作品介绍不够Though