Radical Sista:
The name radical makes a statement because as a woman, she is departing from the usual/customary positions of women in the Indian culture by dj'ing. Radical also means favoring fundamental changes in current practices, which also goes along with Radical Sista's views on her music. She breaks away from what is expected of woman and of djs; she went out to the clubs that were mostly male populated, and she dj's in traditional Indian clothing. She is a role model for Asian women in Britain to be different and to do what you want, no matter what society wants you to do.
Monday, June 9, 2008
Final Review: Re-mixing Identities
Key term “Bally Sagoo”: Influential DJ that can be seen as a pioneer and revolutionary in the world of music. He is of Indian descent but was raised in
Final review: Simpson article
Key term “Die Skeptiker”: A German punk band that used their music and lyrics to criticize the politics of the GDR.
Final review: Kluger
Key term “moral predicament”: We see Kluger struggle with many instances in which her actions are a product of what she constitutes as being morally right or wrong, however she is constantly questioning whether what she does is right or wrong because of the influences of others.
(pg. 121) Kluger has a chance to steal some extra food and given the circumstances and the conditions in which she lives, these actions are forgivable and necessary even for survival, so Kluger doesn’t feel bad about technically stealing until her friend Vera points out that, that is essentially what she is doing.
Sunday, June 8, 2008
Final Review: Vinayak
9. What is Savarkar’s problem with English historians?
English historians like to avoid the truth. English historians do not necessarily write what is correct, and oftentimes it is misleading. The English writings of the Indian Revolutionary War are coming from a different perspective than that of Indians, so if English readers were to come across the writings they would be viewing the War from a completely different perspective. Savarkar believes the English historians are persuaded by a bigger means than needing to tell the truth, and that is personal gain. Find this answer on page 206.
English historians like to avoid the truth. English historians do not necessarily write what is correct, and oftentimes it is misleading. The English writings of the Indian Revolutionary War are coming from a different perspective than that of Indians, so if English readers were to come across the writings they would be viewing the War from a completely different perspective. Savarkar believes the English historians are persuaded by a bigger means than needing to tell the truth, and that is personal gain. Find this answer on page 206.
Final Review: Vinayak
7. What does Savarkar argue in his essay entitled, “A woman’s beauty and duty?”
In his essay, "A woman's beauty and duty?" Savarkar argues that the woman is more than just a figure of beauty, but as a figure of duty, meaning that she has a purpose to be educated and promote Indian nationalism. Although a woman may be physically weak, she must be mentally strong and educated. Educated in Indian nationalism; and with this knowledge she must teach it to her children so they too can become strong supporters of Indian nationalism. This information can be found on page 221.
In his essay, "A woman's beauty and duty?" Savarkar argues that the woman is more than just a figure of beauty, but as a figure of duty, meaning that she has a purpose to be educated and promote Indian nationalism. Although a woman may be physically weak, she must be mentally strong and educated. Educated in Indian nationalism; and with this knowledge she must teach it to her children so they too can become strong supporters of Indian nationalism. This information can be found on page 221.
Final Review: Vinayak
10. Which text influences Dr. Parchure in naming boys?
Dr. Parchure's influence in naming boys is rooted from the traditional Indian culture of naming children in general. The page where you can find the answer to this question can be found on 224. It's an interesting custom to name children after they are already born, although it does make sense when you think about it. Waiting to name a child after the child is born and when you can find a name that best suits them sounds like a great idea, but the fact that the child is nameless for the early stages of life I don't think that's good. Although the custom is to name children after they are born, Dr. Parchure's interest was specifically in that of naming boys.
Dr. Parchure's influence in naming boys is rooted from the traditional Indian culture of naming children in general. The page where you can find the answer to this question can be found on 224. It's an interesting custom to name children after they are already born, although it does make sense when you think about it. Waiting to name a child after the child is born and when you can find a name that best suits them sounds like a great idea, but the fact that the child is nameless for the early stages of life I don't think that's good. Although the custom is to name children after they are born, Dr. Parchure's interest was specifically in that of naming boys.
Final Review: Retro-Nationalism
1. _____6. What is Simpson suggesting with the last sentence of the article? How do you understand this?
The author suggests that if we do not take in and assimilate the polices of this brand of retro-nationalism, we invalidate everything they stood for. All of the contemporary German art and music cannot be understood unless we get the basic policies of retro-nationalism.
Final review: Kluger
4. She criticizes judaism for its male dominated funeral rituals on page 30. How does this differ from waht we have read about sophocles' world?
Sophocles' world has no male dominance. In fact, Sophocles' world has a higher expectation for women during funeral rituals. Women are responsible to bring a person into a world, and therefore it is also their duty to "escort people out". A woman should be responsible for birth and burial.
Sophocles' world has no male dominance. In fact, Sophocles' world has a higher expectation for women during funeral rituals. Women are responsible to bring a person into a world, and therefore it is also their duty to "escort people out". A woman should be responsible for birth and burial.
Final review: Kluger
1 ____11. The section on the discussion of claustrophobia is crucial to understanding the book. Why is this socially awkward for her? Where does she see connections between her memories and theirs?
Ranchod Vira, “Letter”: Reading and Discussion Questions.
1. How many times does Ranchod mention “Government” in the letter? What can we conclude about Ranchod’s interpretation of the “Government”? (Which Government is Ranchod writing about?)
Ranchod mentions the word “Government” 3 times in the letter. He is writing about the Raj, or rule, of the British Government. Ranchod is calling his native people of the village of Chaklasi in Western India to stand up against the British Topiwallahs (hat-wearers), a reference to Europeans from as early as the 1780s, as opposed to the Indians, who were referred to as puckery wallahs, “turban-wearers.” By the end of the nineteenth century, however, the term Topiwallahs had referred to anyone working for the government, not just the British. When Indians where recruited by the state, they became “government-men.” This depicts the extent to which civilians and government officials opposed each other through symbolic classifications.
2. According to Ranchod, what started (“commenced”) once the “authority of the Government ceased”?
According to Ranchod, once the British rule ceased, so begun the full moon of the Madgh-Samwat 1956, a reference to the Vikram Samwat era adopted in the Hindu calendar, with the year 1956 corresponding to the year Ranchod wrote his letter, 1898. With this came the beginning of the Satyug (Era of Truth). What this means essentially is that Britain’s fervent anti-religious rule has come to an end with Ranchod’s relgion-supported/inspired uprising. One of the reasons Ranchod’s rebellion was able to persist for so long without government intervention was because it was assumed to be a gathering of peasants simply participating in innocuous religious activity based on the monthly punem festival that was popular locally.
3. If you had to guess, what is the opposite of the Era of Truth (satyug)?
By best guess to the opposite of satyug would be kudharo, an uncivilized way of life (opposite of sudharo), also mentioned by Gandhi. This would probably refer to the British rule in India and its basis on material wealth and power, or artha, one of the four endso f human existence as noted by Gandhi.
4. According to the letter, what are people supposed to do in the Era of Truth?
During Satyug, people are supposed to refrain from lying, or performing wrongful acts or sinning. Ranchod warns that if anyone goes against Satyug, the wheel of Ram (a Hindu deity) will appear from the sky and decapitate the sinner.
5. What are the punishments for violating the principles of the Era of Truth?
The punishment for violating the principles of the Era of Truth as noted by Ranchod is decapitation by Ram, a Hindu deity that would “pass above the ground and cut off the heads” of those who transgress.
6. Is Ranchod’s letter religious or political? (Or, both?) What makes it religious? What makes it political?
Ranchod’s letter is a testament of attaining certain political and religious rights, through political means, on religious grounds. Ranchod’s basis for exiling the British government is his faith in the Hindu religion. The fact that he wrote a letter claiming his actions means he took a more politically appropriate approach to the issue.
7. Is it possible to tell who is Ranchod’s intended audience?
Ranchod’s letter declaring the end of the government was forwarded not just to his fellow villagers, but to government officials too. Of course, as self-proclaimed peasant king, Ranchod made no secret about his intended revolution. He informed his own fellow anti-government Village Headman, Patel Kashibhai, that “If [people] want to inform [their] their Government, [they] may do so.” This implies that people who are supposed to pay taxes to the British government should heed from doing so and even tell the British government that they support Ranchod if they so wish.
10. Does Ranchod’s use of “Truth” have any similarities to Gandhi’s use of the word?
Ranchod and Gandhi both talk about truth. Although they both would like to protect their religious faith and rights from the infringing British rule and would like to achieve certain political goals, their methods differ. Gandhi’s approach is to swaraj is through ahimsa (non-violence) and passive resistance, while Ranchod takes the more European physical revolutionary approach.
11. What kind of information is revealed in the “Source”?
It is made known that Ranchod Vira’s letter had been saved as a political document in the Maharashtra State Archives in Mumbai, a city in the Gujarat, a state in Western India home to the city in which Ranchod lived, Chaklasi (on the east side). This is important because it establishes the large effect Ranchod’s relatively small revolution had. Because Ranchod grew up as a farmer in the village headman’s land in Chaklasi, located in the plains of central Gujarat, Ranchod was a simpleton un-involved in political affair throughout most of his life. He would have remained relatively unknown bhagat (village priest) if it wasn’t for his uprising revolution, initiated when he was already a 50-year-old peasant living with his wife, son and grandson. On January 9, 1898 he declared the end of British Raj and proclaimed himself king of a new form of polity.
12. If you were asked to develop a research project based on this letter, where would you begin? What kinds of questions would you ask? Which literature would you consult?
If I were to develop a research project on this letter, I would ask questions such as:
How big was Ranchod’s revolution? How many people were involved?
How long did his reign as peasant king last?
Who did he influence?
Was there a response to his letter?
Did he have any effect on the geocultural politics of India?
For more information on Ranchod Vira see The Making of a Peasant King in Colonial Western India: The Case of Ranchod Vira by Vinyak Chaturvedi
and lecture notes https://eee.uci.edu/programs/humcore/Student/Spring2008/LectureNotes/LNWk6-2_RanchodVira_S08_printerfriendly.htm
Ranchod mentions the word “Government” 3 times in the letter. He is writing about the Raj, or rule, of the British Government. Ranchod is calling his native people of the village of Chaklasi in Western India to stand up against the British Topiwallahs (hat-wearers), a reference to Europeans from as early as the 1780s, as opposed to the Indians, who were referred to as puckery wallahs, “turban-wearers.” By the end of the nineteenth century, however, the term Topiwallahs had referred to anyone working for the government, not just the British. When Indians where recruited by the state, they became “government-men.” This depicts the extent to which civilians and government officials opposed each other through symbolic classifications.
2. According to Ranchod, what started (“commenced”) once the “authority of the Government ceased”?
According to Ranchod, once the British rule ceased, so begun the full moon of the Madgh-Samwat 1956, a reference to the Vikram Samwat era adopted in the Hindu calendar, with the year 1956 corresponding to the year Ranchod wrote his letter, 1898. With this came the beginning of the Satyug (Era of Truth). What this means essentially is that Britain’s fervent anti-religious rule has come to an end with Ranchod’s relgion-supported/inspired uprising. One of the reasons Ranchod’s rebellion was able to persist for so long without government intervention was because it was assumed to be a gathering of peasants simply participating in innocuous religious activity based on the monthly punem festival that was popular locally.
3. If you had to guess, what is the opposite of the Era of Truth (satyug)?
By best guess to the opposite of satyug would be kudharo, an uncivilized way of life (opposite of sudharo), also mentioned by Gandhi. This would probably refer to the British rule in India and its basis on material wealth and power, or artha, one of the four endso f human existence as noted by Gandhi.
4. According to the letter, what are people supposed to do in the Era of Truth?
During Satyug, people are supposed to refrain from lying, or performing wrongful acts or sinning. Ranchod warns that if anyone goes against Satyug, the wheel of Ram (a Hindu deity) will appear from the sky and decapitate the sinner.
5. What are the punishments for violating the principles of the Era of Truth?
The punishment for violating the principles of the Era of Truth as noted by Ranchod is decapitation by Ram, a Hindu deity that would “pass above the ground and cut off the heads” of those who transgress.
6. Is Ranchod’s letter religious or political? (Or, both?) What makes it religious? What makes it political?
Ranchod’s letter is a testament of attaining certain political and religious rights, through political means, on religious grounds. Ranchod’s basis for exiling the British government is his faith in the Hindu religion. The fact that he wrote a letter claiming his actions means he took a more politically appropriate approach to the issue.
7. Is it possible to tell who is Ranchod’s intended audience?
Ranchod’s letter declaring the end of the government was forwarded not just to his fellow villagers, but to government officials too. Of course, as self-proclaimed peasant king, Ranchod made no secret about his intended revolution. He informed his own fellow anti-government Village Headman, Patel Kashibhai, that “If [people] want to inform [their] their Government, [they] may do so.” This implies that people who are supposed to pay taxes to the British government should heed from doing so and even tell the British government that they support Ranchod if they so wish.
10. Does Ranchod’s use of “Truth” have any similarities to Gandhi’s use of the word?
Ranchod and Gandhi both talk about truth. Although they both would like to protect their religious faith and rights from the infringing British rule and would like to achieve certain political goals, their methods differ. Gandhi’s approach is to swaraj is through ahimsa (non-violence) and passive resistance, while Ranchod takes the more European physical revolutionary approach.
11. What kind of information is revealed in the “Source”?
It is made known that Ranchod Vira’s letter had been saved as a political document in the Maharashtra State Archives in Mumbai, a city in the Gujarat, a state in Western India home to the city in which Ranchod lived, Chaklasi (on the east side). This is important because it establishes the large effect Ranchod’s relatively small revolution had. Because Ranchod grew up as a farmer in the village headman’s land in Chaklasi, located in the plains of central Gujarat, Ranchod was a simpleton un-involved in political affair throughout most of his life. He would have remained relatively unknown bhagat (village priest) if it wasn’t for his uprising revolution, initiated when he was already a 50-year-old peasant living with his wife, son and grandson. On January 9, 1898 he declared the end of British Raj and proclaimed himself king of a new form of polity.
12. If you were asked to develop a research project based on this letter, where would you begin? What kinds of questions would you ask? Which literature would you consult?
If I were to develop a research project on this letter, I would ask questions such as:
How big was Ranchod’s revolution? How many people were involved?
How long did his reign as peasant king last?
Who did he influence?
Was there a response to his letter?
Did he have any effect on the geocultural politics of India?
For more information on Ranchod Vira see The Making of a Peasant King in Colonial Western India: The Case of Ranchod Vira by Vinyak Chaturvedi
and lecture notes https://eee.uci.edu/programs/humcore/Student/Spring2008/LectureNotes/LNWk6-2_RanchodVira_S08_printerfriendly.htm
Final Review: Ranchod Vira
7. Is it possible to tell who is Ranchod's intended audience?
It seems Vira's letter is directed to other oppressed Hindus living under British rule. Because he declared himself as a peasant-king, it may be possible that his goal of this letter was to be passed on from village to village. Therefore, his intended audience could be his fellow peasants and simple people of India.
It seems Vira's letter is directed to other oppressed Hindus living under British rule. Because he declared himself as a peasant-king, it may be possible that his goal of this letter was to be passed on from village to village. Therefore, his intended audience could be his fellow peasants and simple people of India.
Final Review: Ranchod Vira
11 1 ONE. How many times does Ranchod mention “Government” in the letter? What can we conclude about Ranchod’s interpretation of the “Government”? (Which Government is Ranchod writing about?)
Vira's goal is essentially breakdown the british government and make a better home rule.
Final Review: Asian Music
12. What are the techniques used to create Asian Massive?
Asian Massive uses the technique of "cutting and pasting" contemporary and traditional music, which is also used to create Bhangra music. The proper placement of speakers with "skillful equalization" also brings out the full depth artistry of the music. The music combines traditional Indian music, Indian folk music, and Indian film music. (page 288, paragraphs 1 and 2)
To start looking for this answer, go to the primary source that houses the answer, the course reader. If the content is confusing or vague, try referring to the lecture notes or wikipedia could be helpful.
Asian Massive uses the technique of "cutting and pasting" contemporary and traditional music, which is also used to create Bhangra music. The proper placement of speakers with "skillful equalization" also brings out the full depth artistry of the music. The music combines traditional Indian music, Indian folk music, and Indian film music. (page 288, paragraphs 1 and 2)
To start looking for this answer, go to the primary source that houses the answer, the course reader. If the content is confusing or vague, try referring to the lecture notes or wikipedia could be helpful.
Final Review: Vinayak
2. Vinayak is another name for which Hindu deity? What is special about this deity?
Vinayak is another name for Ganesh, the elephant-headed god. This auspicious deity is honored as a remover of obstacles. Naming children after Hindu deities was an old tradition. Dr. Parchure gave that name to Chaturvedi because he was ill so often as an infant, by naming him Vinayak he hoped it would remove many obstacles for him. (Page 213, paragraph 3)
The best place to start looking for this is in the Humanities Core Reader, the study questions even list the page number. If that is not an option, say if you don't have access to the reader, then you can either refer to your lecture notes (assuming you go to lecture) or the lectures posted online.
Vinayak is another name for Ganesh, the elephant-headed god. This auspicious deity is honored as a remover of obstacles. Naming children after Hindu deities was an old tradition. Dr. Parchure gave that name to Chaturvedi because he was ill so often as an infant, by naming him Vinayak he hoped it would remove many obstacles for him. (Page 213, paragraph 3)
The best place to start looking for this is in the Humanities Core Reader, the study questions even list the page number. If that is not an option, say if you don't have access to the reader, then you can either refer to your lecture notes (assuming you go to lecture) or the lectures posted online.
final Review: Asian Massive
8. (275) What has been the impact of Bally’s desire to “westernize” his music?
Bally desires to westernize his music and is opposed to the idea that Indian music shouldn’t be tampered with. He conveys his ideas by asking the question “I want to know who makes up the law about how music should sound? Why can’t you have hundreds of different styles? He is completely right because if music was not tampered and shifted with there wouldn’t be multiple styles of music. There should be a style for every listener, and in doing this Asian music will find its way to the western market. There needs to be choices because some people don’t like traditional music and some do. And in westernizing his music he will have the ability to cater to them all.
11. (287-288) Why does Karsh Kale call his music “Asian Massive”?
He calls it Asian massive because he has addd electronic drums and bass recordings to the folk music and continues to intertwine both contemporary and traditional music into one.
12. (288) What are the techniques used to create Asian Massive?
Ceratin techniques used in creating this sound include the proper placement of tracks in the stereo image, which is why the Dj’s artistry is only found within the headphones. The ability of equalization is extremely important because too much volume within same frequency will cancel out sounds. The use of multiple reverbs of different depths creates a sense that certain tracks are nearer and further giving it its massive sound.
Final Review: Asian Massive
7. (274) Discuss the different styles of music Ranjit plays to different audiences?
Ranjit explains how his predominant audience are the young kids in clubcs whether it be a daytime party or the bhangra at night. When he plays to mostly white audiences, he tends to play a lot of remixes because they relate better than the traditional music. He gives examples of when hes used remixes such as the Mambo in London or the Bass Clef. When hes in a mixed club environment, he plays mostly asian and mixes which seems to get a good reaction.
final Review: Retro Nationalism
4. (240) In the second to last paragraph, she distinguishes retronationalism from nostalgia for the East. What is her distinction and what do you think of it?
When the GDR no longer existed, many bands articulated it as the so-called retronationalism. It is not the N/Ostalgie that is associated with products and places. She states that Retronationalism cannot be subsumed into the emotionalized model of nostalgia. The GDR is in fact a critique of contemporary German-German society that cannot be explained by invoking sentiment into politics
Final Review: Retro Nationalism
7. (260) What is she suggesting with the last sentence of the article? How do you understand this?
She states “if we cannot countenance this brand of retro-nationalism, we invalidate the critique of the contemporary German nation it articulates and inflects.” Shes is suggesting that if we don’t make an effort to understand this method of nationalism it takes away from the German nation that articulates it. I feel it is important to understand this brand of retro-nationalsim to fully grasp the critiques of the German nation.
Final Review: Savarkar
13. 3. Who is the intended audience of Savarkar’s book?
Final Review: Savarkar
11. 1. Which historical event (or events) is Savarkar writing about in his book? Why does it matter to Savarkar that the events of 1857 be classified as a war of independence?
Final Review: Retro Nationalism
2. The GDR ceased to exist in 1990. Why? What were some of the consequences for its citizens? What does Simpson mean by N/Ostalgie? [hint:Ost=East]
The GDR was subsumed into the Federal Republic of Germany. For the citizens who’s opinions ranged from mildly unsatisfied to somewhat contentious were able to invest their identities into the state. Simpson implies that’s GDR has not lost its cutting edge when referring to its N/Ostalgie
Final Review: Retro Nationalism
6. Why is “FDJ punk” an insult?
The band Skeptiker lost its street credibility after it became known as an FDJ band. Fans that adorned their Die Skeptiker jackets were subject to insult by “FDJ-Punks”. Rainer Borner was first to approach the band and suggest state support. He later expressed regret for his intervention with the band. The fans criticized Skeptiker for selling out to FDJ.
Saturday, June 7, 2008
Final Review: Ranchod Vira
4. According to the letter, what are people supposed to do in the Era of Truth?
5. What are the punishments for violating the principles of the Era of Truth?
Doing so, the wheel of Ram will 'pass above the ground and cut off the heads" of the wrongdoer.Final Review: Still Alive
7. (30) She criticizes Judaism for its male-dominated funeral rituals on p.30. How does this differ from what we have read about Sophocles’ world?
Kluger criticizses Jewish customs and culture by calling the tradition of Kaddish is 'ridiculous.' The Kaddish is only performed by men, who say prayers to the dead. She also shows a criticism through her friend, who ask: "who is keeping you from saying any prayer you please?" Her grandfather jokes about how having no sons, the (male) dog is the only one who can say a kaddish for him when he is gone. By restricting the right to observe the dead, the Jewish tradition of kaddish differs from the world in Sophocles. As shown in Antigone, it is every person's job to respect the dead.
Kluger criticizses Jewish customs and culture by calling the tradition of Kaddish is 'ridiculous.' The Kaddish is only performed by men, who say prayers to the dead. She also shows a criticism through her friend, who ask: "who is keeping you from saying any prayer you please?" Her grandfather jokes about how having no sons, the (male) dog is the only one who can say a kaddish for him when he is gone. By restricting the right to observe the dead, the Jewish tradition of kaddish differs from the world in Sophocles. As shown in Antigone, it is every person's job to respect the dead.
Final Review: Still Alive
17. (92-93) The section on the discussion of claustrophobia is crucial to understanding the book. Why is this socially awkward for her? Where does she see connections between her memories and theirs?
For Kluger, her memories are not connected to anyones besides the Germans she feels have destroyed much of what they have. When she visited friends in Germany, the subject of their talk ends up on claustrophobia. While the company talks about their confrontation with the subject, like childhood air-raids and elevator problems, Kluger keeps silent about her confrontation with claustrophobia at Auschwitz. For Kluger, she realizes that had she said anything, the rest of the company would have been "bothered, troubled, sympathetic, and thoroughly uncomfortable." They would have resented her for being a spoilsport. The reason why she feels socially awkward is because her situation is more severe then the rest of the people around her, and because of the gravity of it, they would end the conversation about the subject because their situations are in no way close to hers: an elevator is no way comparable to what Kluger felt in Auschwitz. There is no connection between what she went through to these people. The only people who would understand are the Germans who she says has a common language and culture as her because they both went through it, although from different sides.
For Kluger, her memories are not connected to anyones besides the Germans she feels have destroyed much of what they have. When she visited friends in Germany, the subject of their talk ends up on claustrophobia. While the company talks about their confrontation with the subject, like childhood air-raids and elevator problems, Kluger keeps silent about her confrontation with claustrophobia at Auschwitz. For Kluger, she realizes that had she said anything, the rest of the company would have been "bothered, troubled, sympathetic, and thoroughly uncomfortable." They would have resented her for being a spoilsport. The reason why she feels socially awkward is because her situation is more severe then the rest of the people around her, and because of the gravity of it, they would end the conversation about the subject because their situations are in no way close to hers: an elevator is no way comparable to what Kluger felt in Auschwitz. There is no connection between what she went through to these people. The only people who would understand are the Germans who she says has a common language and culture as her because they both went through it, although from different sides.
Final Review: Asian Music
8. (275) What has been the impact of Bally’s desire to “westernize” his music?
Bally's new music style can only be described through his own words: "it's new, it's exciting, it's refreshing and people are sick of hearing the same old crap over and over again. " He believes that his use of both traditional music and Western music is the way to "open Asian styles out into the Western market and out to the world masses - because some people don't like traditional music, some people do like traditional music, and vice versa. " Bally created a new style, and by doing so, you have "hundreds of styles for every kind of listener," The impact he has is having parents tell him that their "sons and daughters are listening to some Asian music, because before they didn't." Bally reasons that "like most of the Western youth, Asian kids brought up here also wanted the punch, racy basslines, the great drum beat and the powerful female vocals coming across."
Bally's new music style can only be described through his own words: "it's new, it's exciting, it's refreshing and people are sick of hearing the same old crap over and over again. " He believes that his use of both traditional music and Western music is the way to "open Asian styles out into the Western market and out to the world masses - because some people don't like traditional music, some people do like traditional music, and vice versa. " Bally created a new style, and by doing so, you have "hundreds of styles for every kind of listener," The impact he has is having parents tell him that their "sons and daughters are listening to some Asian music, because before they didn't." Bally reasons that "like most of the Western youth, Asian kids brought up here also wanted the punch, racy basslines, the great drum beat and the powerful female vocals coming across."
Final Review: Retro-Nationalism...
4. (240) In the second to last paragraph, she distinguishes retronationalism from nostalgia for the East. What is her distinction and what do you think of it?
Simpson distinguishes retro-nationalism from nostalgia by defining retro-nationalism as articulating a critique of contemporary German-German society that cannot be explained away by invoking sentiment and/or retrograde politics, where as nostalgia is the uncritical longing for the past. She distinguishes the two by saying that retro-nationalism cannot be subsumed into the emotionalized model of nostalgia.
Simpson distinguishes retro-nationalism from nostalgia by defining retro-nationalism as articulating a critique of contemporary German-German society that cannot be explained away by invoking sentiment and/or retrograde politics, where as nostalgia is the uncritical longing for the past. She distinguishes the two by saying that retro-nationalism cannot be subsumed into the emotionalized model of nostalgia.
Final Review: Vinayak and Me
6. (218) What was Savarkar’s political platform when he was released from prison?
When released from prison, Savarkar joined the All-India Hindu Mahasabha group, and served as President from 1937, the year he was released from prison, til 1944. The platform that helped him come in power is his belief: 'Hinduized Politics and Militarize Hindudom.' While in prison, Savarkar wrote extensively on issues against British authorities. He is known as a nationalist, anti-Muslim, and also through his patriotic actions in India and Britain for Indian independence from colonial rule.
When released from prison, Savarkar joined the All-India Hindu Mahasabha group, and served as President from 1937, the year he was released from prison, til 1944. The platform that helped him come in power is his belief: 'Hinduized Politics and Militarize Hindudom.' While in prison, Savarkar wrote extensively on issues against British authorities. He is known as a nationalist, anti-Muslim, and also through his patriotic actions in India and Britain for Indian independence from colonial rule.
Final Review: Vinyak and Me
5. (218) Why was Savarkar arrested? How long did he spend in prison?
Savarkar was arrested in London on March 13, 1910, and was released in 1937, having spend 27 years in prison. He was arrested on five separate charges that included 'delivering seditious speeches,' 'procuring and distributing arms,' and 'waging war against the King Emperor of India.' He was 'extradited to India, and convicted of seditious activities" which caused him to be initially sentenced to fifty years in prison in Port Blair, located in the Andaman Islands. He was later transferred to Ratnagin because of his health and finally released in 1937.
Savarkar was arrested in London on March 13, 1910, and was released in 1937, having spend 27 years in prison. He was arrested on five separate charges that included 'delivering seditious speeches,' 'procuring and distributing arms,' and 'waging war against the King Emperor of India.' He was 'extradited to India, and convicted of seditious activities" which caused him to be initially sentenced to fifty years in prison in Port Blair, located in the Andaman Islands. He was later transferred to Ratnagin because of his health and finally released in 1937.
Final Review: Savarkar
9. (206) What is Savarkar’s problem with English historians?
Savarkar's problem with English historians is that "their prejudiced eye could not or would not see the root principle of the Revolution." Savarkar writes that these historians have many misleading and unjust ideas about the Revolutionary War in India in 1857. This is because English historians have always ignored truth - "it is against their interests to admit the truth." Savarkar argues that the English spread rumors about the war, which caused an Indian writer to spread the idea, who Savarkar claims to be inspired by "English history and English money." And because of this, people started believing this, and soon, "like a procession of blind men, a company of inconsiderate fools arose, and rebellion broke out." Savarkar believes that if one had read the work of English historian closely and think about the matter, they would too see how ridiculous the work of these historians are.
Savarkar's problem with English historians is that "their prejudiced eye could not or would not see the root principle of the Revolution." Savarkar writes that these historians have many misleading and unjust ideas about the Revolutionary War in India in 1857. This is because English historians have always ignored truth - "it is against their interests to admit the truth." Savarkar argues that the English spread rumors about the war, which caused an Indian writer to spread the idea, who Savarkar claims to be inspired by "English history and English money." And because of this, people started believing this, and soon, "like a procession of blind men, a company of inconsiderate fools arose, and rebellion broke out." Savarkar believes that if one had read the work of English historian closely and think about the matter, they would too see how ridiculous the work of these historians are.
Friday, June 6, 2008
Final Review: Savakar
2. (196) Why has Savarkar written this book?
Savakar’s response is to the British colonialism and the Indian War of Independence in 1857. It was his belief that this war “crossed the limits of current politics and can be regulated to the realms of history” and therefore he comprised his book in order to acknowledge Indian history and its greatness. In order to understand current aspects of life one must remember their past and one way to do this is through nationalism. Ultimately he writes this in order “to express such a patriotic and yet faithful, a more detailed and yet coherent, history of 1987” that has come from someone that has much pride and dedication towards India. In order to further express his dedication towards nationalism he originally wrote it in Indian vernacular. Indeed Savakar believed in the idea of knowing one’s roots, or where one came from and in order to do this one must be dedicated to India by fulling rejecting other cultures, such as Brtitians and Muslims.
Final Review: Vinayak and Me
10. (224) Which text influences Dr. Parchure in naming boys?
His desire in naming boys was outlined in the text written by Savakar— Hindutva where he explains the ideology of “what is a name?” and “how they are given”. Here Savakar focuses on issues of the etymology of Hindu and Hindustan “in order to promote a genealogy of names connecting Hindus and Hindustan with India and Indians. The representation of a name is very important indeed as discussed in class that a name has” two states of consciousness then alow[s] an easy flow of thoughts fro one to the other of see, till at last it seems impossible to separate them” (224). Here Savakar critiques that a name is a representation of the self, in that a person should be named according to the personality of a person because the name itself is a description of a person. In contrast, the name given to someone is also a reflection of the and what the person should represent. For instance, Dr. Parchure’s obsession with naming children is done in order to help promote nationalism. For the name Vinayak, many people thought it was a representation of the god Ganesh—“who was auspicious deity celebrated as the remover of obstacles” (213). This should be a reflection of the man Vinayak however was a name that was supposed to promote nationalism, and the celebration of Savakar Vinayak.
Final Review: Vinayak and Me
7. (221) What does Savarkar argue in his essay entitled, “A woman’s beauty and duty?”
In order to help promote Hindu nationalism, Savakar took a very traditional point of views towards women’s roles by emphasizing the amount of weakness a woman possessed in comparison to a man. In terms of masculinity, men were expected to be physically strong as indicated in Dr. Parchure’s experience as a wrestler and promotion of violence as seen in his physical abuse towards his wife. The main concern for women, however, was to fulfill the primary duty of keeping the home, having children, and promotion of nationalism. In order to do so women were encouraged to be educated, in the sense that they would learn how to be rained in areas that allowed them to teach their children how to promote a nation. If a woman were to be educated in order to help self empower herself in terms of being educated for understanding more about the world around her, subjects that went against nationalism. This was seen as morally wrong. In addition, women were taught to help promote traditional roles, as said in lecture (I think) would include spinning for fabric.
Exam Study Questions
These are SQ's to focus on (but does not mean not to look to other ones also, or that this covers all material on exam--lecture materials, blog/classroom discussions all still possible):
Savarkar, Indian War of Independence: 1, 2, 3, 9, 10, 11 & DQ 1, 2, 7
Ranchod Vira, letter: 1, 4, 7, 11, 12
"Vinyak and Me": 2, 4, 5, 6, 7, 10 & DQ 2, 3, 6
Ruth Kluger, Still Alive: 2, 4, 5, 7, 11, 13, 17, 20, 23, 25 & DQ 1, 2, 3
Simpson, "Retro-nationalism...": 2, 3, 4, 6, 7 & DQ 2, 3
Asian Music: 7, 8, 11, 12 & DQ 1, 4, 5, 7, 8
Savarkar, Indian War of Independence: 1, 2, 3, 9, 10, 11 & DQ 1, 2, 7
Ranchod Vira, letter: 1, 4, 7, 11, 12
"Vinyak and Me": 2, 4, 5, 6, 7, 10 & DQ 2, 3, 6
Ruth Kluger, Still Alive: 2, 4, 5, 7, 11, 13, 17, 20, 23, 25 & DQ 1, 2, 3
Simpson, "Retro-nationalism...": 2, 3, 4, 6, 7 & DQ 2, 3
Asian Music: 7, 8, 11, 12 & DQ 1, 4, 5, 7, 8
Thursday, June 5, 2008
Exam Instructions
Part I: Short Answer (50%)
Please choose 6 of the following 8 short answer questions and answer them in 3-5 sentences. Make sure to define, identify, and contextualize the question in terms of the texts from the course. Be sure to use examples from relevant texts in order to offer evidence for your answer and to more fully develop and articulate your ideas.
Part II: Passage Analysis (25%)
Identify and analyze the following passage. Be sure to situate the passage within the text from which it comes and to define and elaborate on the terms and concepts it introduces. Consider its literary and rhetorical aspects, in addition to what it claims or describes. Finally, make sure to relate your interpretation of the passage to the overall themes and purposes of the text. A good answer will give a clear and detailed reading of the passage as a unit, as part of a larger work, and as part of the course.
Part III: Essay (25%)
In a well developed, insightful essay, please answer one of the following two essay questions. You should offer an introductory paragraph with a thesis claim (which answers all parts of the question). Then offer supporting paragraphs, each with evidence from texts, support, and explanation. Make sure to be as detailed and descriptive as you can when you offer your analysis and interpretation. Be sure to elaborate on differences and similarities in the texts you choose to discuss.
Please choose 6 of the following 8 short answer questions and answer them in 3-5 sentences. Make sure to define, identify, and contextualize the question in terms of the texts from the course. Be sure to use examples from relevant texts in order to offer evidence for your answer and to more fully develop and articulate your ideas.
Part II: Passage Analysis (25%)
Identify and analyze the following passage. Be sure to situate the passage within the text from which it comes and to define and elaborate on the terms and concepts it introduces. Consider its literary and rhetorical aspects, in addition to what it claims or describes. Finally, make sure to relate your interpretation of the passage to the overall themes and purposes of the text. A good answer will give a clear and detailed reading of the passage as a unit, as part of a larger work, and as part of the course.
Part III: Essay (25%)
In a well developed, insightful essay, please answer one of the following two essay questions. You should offer an introductory paragraph with a thesis claim (which answers all parts of the question). Then offer supporting paragraphs, each with evidence from texts, support, and explanation. Make sure to be as detailed and descriptive as you can when you offer your analysis and interpretation. Be sure to elaborate on differences and similarities in the texts you choose to discuss.
Tuesday, June 3, 2008
Asian Music Response
In response to the readings on Asian artists such as Bally Sagoo and Radical Sista, I found it interesting that these people used music as a form of resistance, political action, and public expression by fusing modern sound with their traditional Indian roots. Their music is a direct response to the UK’s Assimilation and Dispersal Policies and Immigration Acts that fuel racist views against Asian immigrants. As Professor Chaturvedi said, these artists wanted to create a place where Asians could come together. And for me, I interpreted this as a celebration of their culture, their origins, and the need for accepting diversity. And similar to other immigrant groups throughout history, Asians and Afro-Caribbeans needed organizations in which to express their views through. For Bally Sagoo, Radical Sista, and the Asian Dub Foundation their political and personal views are expressed through their music. Overall, the lyrics and music of these artists call for social change in society and they are influentially successful by winning playtime on radio stations and during daytime discos. The existence of these political views reminds the British government there will always be dissenters and an ever-present need for transformation.
Study Questions to Help Review for the Final
Gandhi
What is swaraj? Is there only one definition of swaraj?
In the list of study questions provided, this pair of questions is accompanied by the page numbers 29-29, which are part of the chapter entitled "What is Swaraj?". A passage on page 29, written/spoken from the Editor's (Gandhi's) point of view, reads:
"There is need for patience. My views will develop of themselves in the course of this discourse. It is difficult for me to understand the true nature of Swaraj as it seems to you to be easy. I shall, therefore, for the time being, content myself with endeavouring to show that what you call Swaraj is not truly Swaraj."
From what the Editor says, you can tell that there is no single definition of swaraj. The chapter, instead of answering the question directly, gives a debate in which the Editor critiques typical assumptions of what swaraj is. The reader wants to drive away the English immediately; Gandhi does not agree that this is the most effective solution, especially if the Indian people intend to maintain the English institutions or "ways" for themselves, which is where Gandhi believes the real problem lies.
One way to start finding out what swaraj means is by taking apart its etymology.
Swa = "self" (Gandhi translates it into "home.")
Raj = "rule"
Go to the lecture notes posted on the Hum Core main website to see how Professor Chaturvedi "mixes and matches" with the etymology of swaraj: https://eee.uci.edu/programs/humcore/Student/Spring2008/LectureNotes/LNWk4-1_GandhiLecture1_S08.htm
Savarkar
What is Savarkar’s problem with Indian historians?
Simpson
Why is “FDJ punk” an insult?
Go to page 256 of the Humanities Core Course reader to help answer this question.
What is swaraj? Is there only one definition of swaraj?
In the list of study questions provided, this pair of questions is accompanied by the page numbers 29-29, which are part of the chapter entitled "What is Swaraj?". A passage on page 29, written/spoken from the Editor's (Gandhi's) point of view, reads:
"There is need for patience. My views will develop of themselves in the course of this discourse. It is difficult for me to understand the true nature of Swaraj as it seems to you to be easy. I shall, therefore, for the time being, content myself with endeavouring to show that what you call Swaraj is not truly Swaraj."
From what the Editor says, you can tell that there is no single definition of swaraj. The chapter, instead of answering the question directly, gives a debate in which the Editor critiques typical assumptions of what swaraj is. The reader wants to drive away the English immediately; Gandhi does not agree that this is the most effective solution, especially if the Indian people intend to maintain the English institutions or "ways" for themselves, which is where Gandhi believes the real problem lies.
One way to start finding out what swaraj means is by taking apart its etymology.
Swa = "self" (Gandhi translates it into "home.")
Raj = "rule"
Go to the lecture notes posted on the Hum Core main website to see how Professor Chaturvedi "mixes and matches" with the etymology of swaraj: https://eee.uci.edu/programs/humcore/Student/Spring2008/LectureNotes/LNWk4-1_GandhiLecture1_S08.htm
Savarkar
What is Savarkar’s problem with Indian historians?
Simpson
Why is “FDJ punk” an insult?
Go to page 256 of the Humanities Core Course reader to help answer this question.
passage analysis sample
The performance of this song in the western media unleashed a debilitating debate within the SED and FDJ. As a result, the band was boycotted in the GDR media. In an attempt to break the silence, Pankow wrote an exculpatory letter to Erich Honecker (without response), and insisted that they were misquoted in the interview with Radio Bremen. But it was not the fine points of the dialog (regarding official GDR permissions, for example) that disturbed certain functionaries so mucht that the performance of that song was discussed at the meeting of the Central Committee in December 1988. The old men apparently knew who they were, even while the band foregrounded the polyvalence of its text." (245)
Why pankow thought letter would help?
Which “text”/song?
What was the performance that was so objectionable/threatening (in contrast to dialog)?
What the song says?
1. Relate to similar ideas from whole text: localizing the passage. Situating or Identifying the passage. Narrative moment.
2. bringing passage in relation to other themes in the text as a whole.
3. pulling out specific details to analyze:
4. relating to different passages.
5. relating to themes of making/doing/thinking more generally.
Why pankow thought letter would help?
Which “text”/song?
What was the performance that was so objectionable/threatening (in contrast to dialog)?
What the song says?
1. Relate to similar ideas from whole text: localizing the passage. Situating or Identifying the passage. Narrative moment.
2. bringing passage in relation to other themes in the text as a whole.
3. pulling out specific details to analyze:
4. relating to different passages.
5. relating to themes of making/doing/thinking more generally.
Re-mixing Identities
The first question asked of both Bally Sagoo and Radical Sista was their "origins" or background in relation to music. They each discussed what kind of music they grew up with, and how they both rooted themselves in and diverged from the styles they were so accustomed to. I find it interesting how, in Sagoo's life, there was already a presence or blending of both Western and Asian music, due to the differing interests of his father and mother. His father was in a pop band in the early sixties that resembled the Beatles and performed popular film tunes. He therefore embodied Western music for Sagoo in Sagoo's early life. On the other hand, Sagoo's mother was a priest in a temple who played religious music which was heavily Indian-based. Both styles influenced Sagoo early on in his life, so it was no surprise when he took this blend and carried it on into more modern styles, fusing them more closely into each other. Radical Sista, on the other hand, was not into Asian music at all. Initially she preferred Punk and Disco, until her interests shifted towards Hip-Hop and Breakdance. It is interesting how historical and cultural changes (such as the shifting role of young Asian women from housewives to college students) moved both Sagoo and Radical Sista towards the "re-mixing" of their musical styles as well as their own personal identities.
ADF
I found it interesting that the ADF wrote a song entitled "Free Satpal Ram". The whole incident behind Satpal Ram struck me as violent, and that it all began because of Bhangra music that was playing. ADF wrote the song because they were angry with Britain, and felt that Satpal Ram received a miscarriage of justice. Although diversity is still accepted more in our present day, it is still obviously present. ADF poses the idea that music goes beyond writing. Like Gandhi, ADF wants to engage in a debate or conversation, however their medium is different. Writing can sometimes be seen as two dimensional, a person reading thoughts on a page - sometimes even through words, ideas cannot be expressed fully, since you are not able to see or read the emotion on the person's face like when you are talking to them in person. However music, ADF's music for example is meant to have "no separation" between the music and the issues the music presents. If the issue has angry feelings behind it, the music will come out sounding angry or brash. ADF, like the GDR music movement in Berlin, seeks to provide a counter to what is mainstream at the time. This way, a new form of thought will progress and people will start to think more than just two-dimensionally. By growing awareness through music, artists such as ADF can spark change or "bring awareness to the general population" (Dr Das,. Aniruddha Das).
Re-Mixing Identities
Like Sharilyn, I’m going to be focusing on the gender inequality seen in the British Asian music scene in the 1980s. I thought it was very interesting that Ranjit served as a pioneer for female DJs in the 1980s, even though she herself was still very young. She brought up the fact that she was hassled by the hundreds of men in the hall and that because she was one of the few females, they assumed that she ran “away from home” or that she was a “loose woman” (271). I admire Kaur for challenging the status quo and continuing to go to clubs and spin music, even though it was clear many of the attendees felt it was not her place and assumed that she was simply accompanying a boyfriend who DJed. I was also somewhat surprised by her mother and grandmother’s response to her career choice because I expected them, being from the old world, to object vehemently. However, to my surprise, her mother even assisted her in bookings and her grandmother did not object. I believe that part of Ranjit’s ability to help progress gender roles was because of her maternal figures (her mother and grandmother) and the fact that they helped, rather than hindered, her efforts.
Monday, June 2, 2008
Radical Sista
I thought it was really interesting that Ranjin Kaur’s DJ name is Radical Sista. In a way, she was appointing herself to be a “radical” change, not solely with music, but also with a humanistic and cultural change. For example, she points out that “there were more Asian women at college and they were going to the daytime gigs” (270). With the influx of more women at college, there were changing ideals on the stereotypes of women. Although it was hard, as she references one time when she was probably one out of four women at an event with 700 men, she is that “radical” change, slowly progressing the way women are viewed in contemporary society. With music as a medium for participation , women are able to actively engage in changing the past’s norms for women. Also, she mentions that “on the family front it was kind of like, ‘we’ve lost her now, we’ve lost her to the world of music… no one is going to marry her’” (272). I thought this was funny, but also accurate in the way it depicts a lot of the old stereotypes. If something doesn’t sit well with parents or is just out of the ordinary, it’s difficult to imagine that domesticated lifestyle and standards for that different individual. Being “lost to music” was comical because it’s as if they make it seem like she lost her sanity to it. However, I think that Radical Sista’s family perhaps overlooked the fact that her music highlights her parents’ past in Punjab; her music glorifies the cultural history and makes it relevant and engaging to a wider audience.
Re-Mixing Identities
Bally Sagoo said that people do not really listen to the lyrics of the dance music. I found this statement of his very interesting because I could relate to it a lot. I listen to Farsi music and Hindi music but in neither do I understand the lyrics. With Farsi music, I understand a couple of the words here and there but I do not fully understand the lyrics. Same goes with Hindi music. Personally, when I listen to these kind of songs I listen for the beats and rhythms. Even when I listen to American music, I rarely listen to the lyrics. Every once in a while I actually look up the lyrics and read them. Going back to the article, towards the end Ranjit says that she listens to the lyrics of songs and she banned some songs because of the political message it was giving out. I found this point interesting because it contradicts what she previously had said about lyrics not having and importance. Ranjit clarified her statement and she said that as a DJ you must listen to the lyrics in order to know what you are playing. I agree with her statement. Being a DJ, you have to know your audience. If you are playing a song that has racial remarks to a specific group, and that group happens to also be your audience, you will be in trouble! I believe that Ranjit is being very wise when she says that "There's that kind of level of harassment." So I think to some up their argument, to Ranjit and Bally, lyrics and the message that a song delivers does have an importance to a limited extent. Regardless of whether its dance music, or any type of other music, the lyrics do have an important meaning.
Revision Guidelines
1)--What interpretive question(s) are you answering? Without having a clear interpretive question in mind, your essay will not have a coherent focus. Are you certain that your main question is interpretive and not factual or evaluative?
2)--Each topic sentence should be a mini-thesis, or your argument for that entire paragraph. Topic sentences and concluding sentences should not use quotes because those are places where you should focus on your argument, making clear to the reader what your position is. Introductions and Conclusions generally do not benefit from quotations either.
3)--Each quote should have at least 2-3 sentences of analysis.
4) --Before you use a quote in a paragraph, ask yourself: what am I arguing about this quote? Does it help to advance my thesis either by setting up a claim that I will complicate or that I will disagree with? Have an idea of what you are arguing about the quote before you use it, and make sure that your analysis explains how this quote provides proof for your larger thesis statement.
5) Check your own essay against the Grading Rubric. Use it as a checklist. Does your paper go beyond the obvious? Scrutinize your paper against all of the categories for the rubric.
note of thanks: revision guidelines taken from Christine Connell.
2)--Each topic sentence should be a mini-thesis, or your argument for that entire paragraph. Topic sentences and concluding sentences should not use quotes because those are places where you should focus on your argument, making clear to the reader what your position is. Introductions and Conclusions generally do not benefit from quotations either.
3)--Each quote should have at least 2-3 sentences of analysis.
4) --Before you use a quote in a paragraph, ask yourself: what am I arguing about this quote? Does it help to advance my thesis either by setting up a claim that I will complicate or that I will disagree with? Have an idea of what you are arguing about the quote before you use it, and make sure that your analysis explains how this quote provides proof for your larger thesis statement.
5) Check your own essay against the Grading Rubric. Use it as a checklist. Does your paper go beyond the obvious? Scrutinize your paper against all of the categories for the rubric.
note of thanks: revision guidelines taken from Christine Connell.
Sunday, June 1, 2008
Re Mixing Identites article
I think that it is really cool to look at this type of music and to have a small glimpse of how it has progressed from its beginning. I like the part in the interview where someone mentioned how every place has to have its stages. It is so true. In history you can look around at different societies and each has stages of development and they don't have to be identical, but they all follow a certain mold. Another point, Bally is great because he understands that for his music to reach the popularity he desires he must be promoted by the Western market. I feel like maybe the fact that other musicians have not realized this has hindered their success. It is important to understand that the Western music stations may be playing meaningless and talentless pop music for entertainment, but that these stations are still legit. even though they play that music. It is upsetting to see musicians who are great say "I don't want to be a sell out" and so they don't attempt to become popular or share their talent. I also wanted to comment on the racism issue. I think that it is another main reason why the Asians were stifled and I am still seeing the same thing today, but in another way. Those who listen to specific types of music, be it rock or hip hop or whatever, are extremely closed minded to other styles. Yeah, that isn't EXACTLY racism but it is a bias and an attitude that reflects racism in that certain musical styles have certain specific racial followings and, for example, a white girl listening to hard core rap or whatever will be judged much more harshly than a black guy listening to it.... because its "his music." I believe that it is important to have the musicians like Bally R. and Radical Sista out there who just want to spread the music to whoever will listen because the general population feels like they have a claim on music that comes from their own race.
Re-Mixing Identities
Out of all the articles I have read, this seems to be one of the more interesting ones. I really enjoyed how Bally talks about sturggling to break this "Asian identity". I also enjoyed how on page 286 she states, "And now at least the kids are paying some attention to their roots and their culture and their music, listening to the originals, as well as to what we're doing now." This makes me realize the importance of music, and how much of an impact it can make on a younger audience. Ranjit even states, "Yes and they take more interest as well. It's about identities at the end of the day,' cos now, when we listen to Alaap it's like, "Yes it's good, it's nice, it's from back home." On a personal level, I completely agreee with how the music can take you back to your roots. I have a Filipino heritage, and when the Black Eyed Peas singer APL produced a song in our native language of Tagalog, it produced in me a feeling of pride and longing for my country and my identity. I find it interesting too that Ranjit had the same problem with her job and her family's approval of being a DJ. Ranjit states that her family thought, "We've lost her, we've her to the world of music." This can be relatable to many people in college today. Parents expect their children to be the future doctors and lawyers of the world, and if their children want to pursue art or dance, it seems like something to be looked down upon intead of uplifted for being gifted in the arts.
Re-Mixing identities article
After reading the article I found it particularly in the message that Bhangra brings which according to Bally was a “flavor of ‘east and west’ in a heavy way” (270). I think that this is another example of the American melting pot, but specified the component of music. Similarly other cultures have tried to cope with the identification of their culture in a mixed society. Take for instance the word “Chicano”, or another word for Mexican American. To many this word might just be another word, but to the Mexican American community it has a special meaning that they created which is the marriage between American culture and Mexican American. This in relation to the article signifies how some cultures try to bring out their own cultural identity in cultural melting pot—the United States. Not only this but I thought it was interesting that even though in America, the land of opportunity and free thinking that there are some people that still are not able to accept cultural diversity. In an example, in the article one of Bally and Ranjit’s main goals were to make the charts in a western society, however there were limited opportunities to do this because radio stations refused to play their music. Even within the households, their parents “were trying to shelter [them] from too much westernization” (275). Even though America may be the land of the free and the home of the brave there are still barriers that are not willing to accept this integration of cultural ideas because it is seen as “different”. I believe the Beatles say [no bias of course!] “come together right now, over me”.
Final Exam Terms
The Final Exam is composed of three sections:
Savarkar
Gandhi/counterargument--Indian War of Independence--translation from Marathi--publication details (vs. Hind Swaraj)--swaraj/swardharma--Empire--Muslim/Hindu Unity--Savarkar's shifting position on Hindu Unity--imprisonment--Savarkar's pathos--mutiny vs. rebellion--accidental/temporary causes--real causes--counterpublic--Abhinav Bharat Society (Young India Society)
Ranchod Vira letter
circulation--intellectual labor of peasants--"Government"--Era of Truth--historicist's labor
"Vinyak and Me"
Ganesh--Upenda Parchure--Dr. Parchure--masculinity--wrestling--"Hinduize Politics, Militarize Hinduism--Godse--"Woman's Beauty and Duty"--Hindutva: "Who is a Hindu?"--India Nationalism--naming
Ruth Kluger, Still Alive
Vienna, Austria--Anschluss--autobiography--child's view (secret of death/sex)--"without pathos"--Nuremberg Laws--Snow White analogy--Nazi propaganda--Adorno: "To write poetry after Auschwitz is barbaric"--role of mother--memory--schorschi and transport--father--monuments/museum culture--Therisienstadt--Auschwitz--Good Deed--redemption--double world--moral predicament (ambivalence)--art/catharsis/sublimation--resistance--liberation, problems with--truth--uprootedness/refugees/DPs--humanity/crimes against humanity--sentimentality--masculinity/gender--Holocaust "named"--courage/cowardice--humor
Simpson, "Retro-Nationalism"
compliance/defiance--Stasi--GDR--IM--FDJ--retro-nationalsim--Ostalgie--Amiga--Pankow--Feeling B--Die Skeptiker--taboo--the wall--problem of expression: why would it be worth it to forego personal expression?
Housee & Dar, "Re-Mixing Identities"; Rockwell, "The Asian Roots of Asian Massive"; Brady, "Quick Guide to Asian Fusion"
remixing--Radical Sista (Ranjit)--Bally Sagoo--traditional film music--Bhangra--"westernize"--Karsh Kale (Asian Massive)--Asian Underground--ADF education--Free Satpal Ram--racism--fascism--Asian/Black community--Hip Hop
- Short Answer (50%). Choose 6 of 8.
- Passage Analysis (25%). Given one passage.
- Essay (25%). Choose 1 of 2.
Savarkar
Gandhi/counterargument--Indian War of Independence--translation from Marathi--publication details (vs. Hind Swaraj)--swaraj/swardharma--Empire--Muslim/Hindu Unity--Savarkar's shifting position on Hindu Unity--imprisonment--Savarkar's pathos--mutiny vs. rebellion--accidental/temporary causes--real causes--counterpublic--Abhinav Bharat Society (Young India Society)
Ranchod Vira letter
circulation--intellectual labor of peasants--"Government"--Era of Truth--historicist's labor
"Vinyak and Me"
Ganesh--Upenda Parchure--Dr. Parchure--masculinity--wrestling--"Hinduize Politics, Militarize Hinduism--Godse--"Woman's Beauty and Duty"--Hindutva: "Who is a Hindu?"--India Nationalism--naming
Ruth Kluger, Still Alive
Vienna, Austria--Anschluss--autobiography--child's view (secret of death/sex)--"without pathos"--Nuremberg Laws--Snow White analogy--Nazi propaganda--Adorno: "To write poetry after Auschwitz is barbaric"--role of mother--memory--schorschi and transport--father--monuments/museum culture--Therisienstadt--Auschwitz--Good Deed--redemption--double world--moral predicament (ambivalence)--art/catharsis/sublimation--resistance--liberation, problems with--truth--uprootedness/refugees/DPs--humanity/crimes against humanity--sentimentality--masculinity/gender--Holocaust "named"--courage/cowardice--humor
Simpson, "Retro-Nationalism"
compliance/defiance--Stasi--GDR--IM--FDJ--retro-nationalsim--Ostalgie--Amiga--Pankow--Feeling B--Die Skeptiker--taboo--the wall--problem of expression: why would it be worth it to forego personal expression?
Housee & Dar, "Re-Mixing Identities"; Rockwell, "The Asian Roots of Asian Massive"; Brady, "Quick Guide to Asian Fusion"
remixing--Radical Sista (Ranjit)--Bally Sagoo--traditional film music--Bhangra--"westernize"--Karsh Kale (Asian Massive)--Asian Underground--ADF education--Free Satpal Ram--racism--fascism--Asian/Black community--Hip Hop
Saturday, May 31, 2008
Pankow Langeweile
A little way into the Simpson article, I stumbled upon this song and decided to give it a listen on youtube. The song overall is very slow compared to the punk music I had and I started getting bored of the Boredom song; I kept waiting for the song to really "kick in," but it never came. Even wannabe punk bands were faster than that (no offense). And since the song was about boredom, it reminded me of that Green Day song called "Longview." It was very mellow for a punk song, maybe they're considered more folk punk? Or maybe it just happen to be one of their slower songs, a lot of punk bands probably have one slower song. I did see a candy corn figure materialize and start dancing in the video... strange Guild Wars. I clicked on another song by Pankow and found a completely different song. The political implications were still there, but the music was electronic. I searched around a bit and couldn't find anything to indicate whether or not it was a different band, or they had simply changed their sound.
Radical Sista and Bally Sagoo
This is by far one of the best articles I have read up to date in Humanities Core Course. What I really enjoyed about it was how you could feel like you were in the room with these artists. it is very interesting to hear of two, somewhat modern, artists talk about their process as musicians. I felt that bally did a better interview because of the amount of background that was provided with every response. What Bally seems to be talking about is culture clash. A mixing or collision of western and eastern cultural influences. It was funny when bally talks about how his african-american freinds were really surprised when he started using asian or indian influences in his music.
Radical Sista's account of her first Bhangra concert struck interest in me because she talks of how she snuck out. The fact that so many boys were hitting on her shows how uncommon it was for a girl to go to a concert. I guess back then parents were way more strict on their children. I thought my parents were strict but not letting children go to concerts is pretty radical. As i am writing this, i'm listening to some bally sagoo. You can really see the indian influences in his music because of the indian vocals. Also, i noticed a modern beat and bass in the background. It was a pretty good song called "Aap Ki Nazron Ne Samjha".
Radical Sista's account of her first Bhangra concert struck interest in me because she talks of how she snuck out. The fact that so many boys were hitting on her shows how uncommon it was for a girl to go to a concert. I guess back then parents were way more strict on their children. I thought my parents were strict but not letting children go to concerts is pretty radical. As i am writing this, i'm listening to some bally sagoo. You can really see the indian influences in his music because of the indian vocals. Also, i noticed a modern beat and bass in the background. It was a pretty good song called "Aap Ki Nazron Ne Samjha".
Simpson Response
The issue raised in Simpson's article appears not to be of retronationalism but seems to be more of an issue about censorship and the government's right or ability to do so. Music has always been a form of expression whether one produces it or listens to it. It leads to an understanding and expression of your innermost thoughts and feelings. I am glad to hear that the SED had trouble controlling the rock music concern at the time. When Simpson notes the attempt at imposing the ballroom dancing as opposed to the twist, i find this humorous. I went to a private shcool and it really bothered me when they tried to stop us from "freaking." This was what it was called back then or "dirty dancing." It is still called this today. The style of dancing seriously only reflects the society that we are living in. Honestly, it cannot be helped that our society uses women as sex objects and focuses way too much on sex as an vector to sell things. In this conclusion, I just have to express that censorship can only be an attempt to halt creativity and expressionism.
Friday, May 30, 2008
Week Ten: Assignments
Extra Office Hours this week (and to return Working Drafts to those who want, also a good time to meet with me if you are feeling behind on Research Paper, or want to talk about your ideas, or analysis, or research; also if you want to talk about grades, missing assignments, or exam):
Tuesday June 3
Reading: "Re-Mixing Identities: 'Off' the Turntable" Humanities Course Reader, (268-286).
Writing: Blog Post on the week's readings; Peer Review due
**Group research project presentations in class (see peer review handout)
Thursday June 5
Reading: "The Asian Roots of Asian Massive" & "A Quick Guide to Asian Fusion, Part I, and lyrics to "Black and White," Free Satpal Ram," and "Operation Eagle Lie" in Humanities Course Reader, (287-298)
Writing: Evaluations in class
***all make up blog posts (see email about doing exam review posts instead) due by midnight Friday Week 10 (June 6)
Friday June 6: Research Papers due in HIB 185 by 4:00 pm (no later--office closes! & be sure to include all copies of drafts, proper MLA format, etc). See you at the Final: Thursday June 12, 10:30-12:30.
- Monday June 2, 1:30-4:00 at the Cyber-A Cafe
- Tuesday June 3, 11:00-12:00 in HIB 190 (and available 9:30-11:00 also)
- Thursday June 5, 11:00-12:00 in HIB 190 (and available after class also)
Tuesday June 3
Reading: "Re-Mixing Identities: 'Off' the Turntable" Humanities Course Reader, (268-286).
Writing: Blog Post on the week's readings; Peer Review due
**Group research project presentations in class (see peer review handout)
Thursday June 5
Reading: "The Asian Roots of Asian Massive" & "A Quick Guide to Asian Fusion, Part I, and lyrics to "Black and White," Free Satpal Ram," and "Operation Eagle Lie" in Humanities Course Reader, (287-298)
Writing: Evaluations in class
***all make up blog posts (see email about doing exam review posts instead) due by midnight Friday Week 10 (June 6)
Friday June 6: Research Papers due in HIB 185 by 4:00 pm (no later--office closes! & be sure to include all copies of drafts, proper MLA format, etc). See you at the Final: Thursday June 12, 10:30-12:30.
Thursday, May 29, 2008
Simpson and German Philosophy
It's interesting to relate the GDR's suppression of rock music to Germany's philosophic history. From Nietzsche to Hegel to Kant, Germany has been known to be a breeding ground for philosophers, and the country of radical thinkers has resulted in either problems or solutions for the German nation. The second passage on page 238 talks about the GDR's "utopian goal of realizing socialism on German soil." Simpson explains that this goal was to be morally superior to the West, hard as it would be to overcome its history of fascism and its lack of material wealth; "the knowledge . . . of ideological dominance was to compensate for the material sacrifices, the lack of consumer goods, and the inability to travel without contstraint." It can be deduced from Simpson's claim that the GDR saw its fascist legacy as not only a horrible mistake in German history, but something the GDR can learn from to become not only as moral as they used to be, but moreso than other Western countries at the time. The banning of rock music would be explained by the German persuit of Bewufsteinbildung, or the cultivation of consciousness. Rock music was seen as as not only a detriment to the persuit of balance in life; "[Erich Honecker] . . . warned against a music that would inspire 'excesses' in its listeners." Here we see another allusion to a certain philosopher's thinking, except this one was Greek and lived about 2000 years ago.
Passage for Analysis
"The performance of this song in the western media unleashed a debilitating debate within the SED and FDJ. As a result, the band was boycotted in the GDR media. In an attempt to break the silence, Pankow wrote an exculpatory letter to Erich Honecker (without response), and insisted that they were misquoted in the interview with Radio Bremen. But it was not the fine points of the dialog (regarding official GDR permissions, for example) that disturbed certain functionaries so mucht that the performance of that song was discussed at the meeting of the Central Committee in December 1988. The old men apparently knew who they were, even while the band foregrounded the polyvalence of its text." (245)
Simpson
In the article by Simpson, she focuses on the retronationalism that begins after the fall of the Berlin Wall and after the GDR dissolves. Punk music began to form and rock groups would look back at the GDR in n/ostalgia. Punk music was seen as an expression and the musical aspect was not so much an art form as the punk culture was. People who attend these concerts (either on underground or by permission of the government) would dress and dance a certain way. I found this interesting because that is a reflection of the punk/rock music scene of today. Most people who listen to the punk music of today know little about some of the early instances in East Germany. Punk music originated, according to Simpson, as a sort of "fantasy" or sense of belonging in a socialist society. While today, "punks" can still be seen moshing at concerts or jumping up and down, most of the music of today does not have the exact same meaning as that of the GDR punks. The punk culture still lives on, with other types of punk/rock music developing, and the idea of anarchy is still present in the minds of punk youth today.
Simpson Response
As everyone else has commented, the article was long and confusing. I feel like more explanation in lecture and discussion is needed. Nevertheless, I prominently remember Simpson's ideas of retro-nationalism where people longed for the GDR after it dissolved with the fall of the Berlin Wall. It seems like after dissent from punk and other such forms of resistance, there is a need for retro-ideals. The only reason I remember this is because it relates somewhat to my research topic and where I dealt with a form of retro-domesticity in the "Third Wave" feminism of today's women. After years of rejecting domestic roles and wanting other opportunities and identities outside this sphere, women are now yearning to regain these domestic skills. So possibly, this brings to light the question of whether this is a pattern in culture - for an amount of time people accept social views when there is stability in the government but then shift to countering these views when when there's instability only to return to them again and reclaim it as a "new culture". No wonder some people argue that today's culture can be an amalgamation of passing fads that seem to rise and fall with the resurgence of yearning for a counter-public or an underground scene.
Simpson Article
I found this article pretty tough to read because of the mix of political identities ex.Capitalist west and Germa-German nationalism. It was too much to keep track of along with all the different groups like the FDJ and GDR. I thought it was interesting how something that is organized for a good cause, like the FDJ sponsored concerts for peace, can still be turned into something that deals with status. In this case it had to do with professional and amateur bands. I also found it notable that there was only one type of record lable (Amiga). It reminded me of when art was filtered and the government controled which kind of art or artists could be displayed, it was the same in this case with it being the only way artists could have their records distributed. This article clearly stated how music can be part of the political spectrum, which in the present day isn't seen as much with hip hop artists rapping mostly about fame, fortune, and girls and other genres speaking mainly of romance or heartbreak.
Wednesday, May 28, 2008
Opposing Insincerity
Sharing the same frustration with the previous posters, I thought it was hard to focus, since it seemed like every other sentence forced countless replays of glances from the book, and to the laptop’s Google search engine, just to define terms. However, I managed to find Simpson’s thesis: “GDR rock and punk rock’s critical relationship to German history reconstruct a positive identity based on a citizenship that was erased after unification. The emergence of a national identity only after the erasure of nation goes beyond a conventional, emotional N/Ostalgie” (240) interesting and relevant to the “art/action” theme. In discussion, we talked about the “N/Ostalgie” as being the longing for Germany, but a totally false emotion. An insincere sentiment can’t produce something that is genuine. To oppose this insincerity, the rock and punk rock musicians, with the motive of countering empty apathy, were able to change the views of the German public. Their lyrics either addressed important issues or at least went against the state, by stating their dissatisfaction with the current situation. By not simply going along with that fake unity, the musicians were able to draw up a “counter-public” by simply resisting that conformity. Also, there can also be an ironic connection between the content and the context of the article. To elaborate, the former consists of the author’s confusingly overwhelming terms and the latter consists of a time where the country’s “terms” or conditions and rules became too overwhelming for the German public. Although an extended comparison, I think that when ether government or author try too hard to incorporate sometimes superfluous details and terms, the outcome is often confusion and dissatisfaction.
Tuesday, May 27, 2008
Simpson article
Concerning the article, i will mostly talk about the three things that occurred after the fall of the Wall. Those three things are found on page 250.
The first one says that there was a dissolution of bands, whose members were just getting on with their lives. This is very interesting to me because it makes those band members, that have made such a great influence on the German public, seem like just regular people. They are just normal German human beings getting on with their life. People put musicians and artists on such a high pedestal, that it is so hard to even imagine them leading a normal, conventional life.
The second was the "retreat into a local scene.." We find that even though the wall did fall, people still had their pride and heart in trying to go against this new founded Germany. This is related to the people today who are still involved with organizations like the KKK. They carry around their confederate flags, hoping that one day America will go back to a divided and racist country. The third was the "Erasure of 'origin'.." It says that there was this transnational fame of bands that were not contigent to those of the GDR past, present, or future. This is interesting because after all the censorship and rules, one would not believe this to happen. The Erasure of origin and identity became commerical success, which is ironic in itself because that is what the rock and punk bands were trying to keep, their identity of what they considered their German country.
The first one says that there was a dissolution of bands, whose members were just getting on with their lives. This is very interesting to me because it makes those band members, that have made such a great influence on the German public, seem like just regular people. They are just normal German human beings getting on with their life. People put musicians and artists on such a high pedestal, that it is so hard to even imagine them leading a normal, conventional life.
The second was the "retreat into a local scene.." We find that even though the wall did fall, people still had their pride and heart in trying to go against this new founded Germany. This is related to the people today who are still involved with organizations like the KKK. They carry around their confederate flags, hoping that one day America will go back to a divided and racist country. The third was the "Erasure of 'origin'.." It says that there was this transnational fame of bands that were not contigent to those of the GDR past, present, or future. This is interesting because after all the censorship and rules, one would not believe this to happen. The Erasure of origin and identity became commerical success, which is ironic in itself because that is what the rock and punk bands were trying to keep, their identity of what they considered their German country.
Simpson Article
In an agreement with Rachel, I do believe that music is very powerful to the point where it can move mountains and in this case has the ability to represent a national identity. While reading this section, I was particularly captivated by the phrase that describes censorship by “attempts to impose ballroom-like dance… to keep the young people from doing the twist failed” (239). I believe that this idea of censorship is not only ridiculous, but is an attempt to stop a society from culturally evolving, which it will inevitably do despite an outer force. This particular demonstration reminds me of an example of music censorship in the United States during the 1950s, dealing with race. I once watched a documentary on Little Richard, a rock and roll artist of the 50s. In this documentary it showed (if I am correct) whites on a particular radio station trying to sing Little Richards songs on the radio instead of him singing his own songs because they were prejudice against African Americans. In any case, when it comes to important issues such as social change I believe that if the views of an issue are strong enough censorship has no effect because there are many other ways to put a point across. Music, nonetheless, is a very powerful too because people can be easily persuaded by emotion along with the logic that the lyrics may bring.
Simpson Article Blog
I’m going to be responding to the passage on p. 246 that reads “The visible signs of punk in the East […] fantasy of anarchy voiced in music.” I thought it was very interesting to note that “GDR punk was criminalized for stating social facts, such as the existence of the Wall, the Stasi or Neo-fascism.” This fact seems to suggest the presence of a domineering government bent on censorship of the actual things that occur in German society. Also, the fact that it was taboo for German citizens to mention the existence of the “wall” that separated East Germany and West Germany when it was so clearly present just shows an attempt to “cover up” a national division and a need to portray perfection. I thought it would be important to mention the participation of punk rock in protests that preceded the fall of Berlin wall. It is evident that music has a certain power to unite and move people. Finally, I thought it was pretty remarkable that the bands, on top of rebelling against the state with the act of performing music, also were “named names in utterly unambiguous references to the institutions of state socialism.” To me, that is an act of silent rebellion.
Monday, May 26, 2008
GDR Rock Music
This article in the reader was particularly long and confusing. The only thing that I got out of it was a faint idea of how rock and punk rock music moved through the restrictions of the GDR and came out representing some sort of German nationalism. I really liked one particular quote though, "But when it came to sound waves, the border was permeable." I liked it because it is so true about music in general. Music transcends boundaries that are otherwise impermeable. Music is powerful. I guess I could take out of this confusion why it was confusing. I feel like every time I have to look up every other word in a sentence, the flow is broken up and I get involved in definition rather than the original meaning. That is what Simpson did. There were too many words that needed defining or had a few definitions and needed interpretation. Thats what made it so hard to read
Friday, May 23, 2008
Annotated Bibliography
My research paper will focus on the music that inspired the hippie movement and the civil rights movement. One event that truly captures the mood and thinking of this generation through its musical performances and magical setting was Woodstock. I will use the documentary Woodstock as a primary source and as the basis for my research into the peaceful nature of this movement. There are many aspects of the 70's contained in the three hour documentary such as political protest against the Vietnam war, civil rights protests, and inspiring music. The music fascinates me most, and it is shocking to see how the music truly captures the 400,000 person audience. The messages behind many of the songs played at Woodstock are peaceful, and the message is clearly conveyed to the audience. I'd like to research what exactly happened at this festival and what exactly is contained in the music that allows it to inspire a generation to successfully create a roadmap for change.
Thursday, May 22, 2008
Kluger
It is interesting to note the restrictions placed on Jewish children in Vienna at the time of the Nazi reign. Kluger describes the times when she went shopping for bread, and the impolite manner with which clerks met her. There would be signs on the door saying, "Don't say hello, don't say good day/Heil Hitler is the German way, (p. 25)" in reference to Jews. The restrictions and disdain facing Jewish children in Nazi Germany could be compared to the same type of racism against blacks in America as well as exhibited in Toni Morrison's "The Bluest Eye". Similar to Pecola, Kluger was trying to find her own identity, living in a society were her native culture was antagonized. Kluger notes, "Suddenly I had become a disadvantaged child who couldn't do the things that the children in our circle usually learned to do, like swim in the municipal pool, acquire a bike, go with girlfriends to children's movies, or skate." Although the challenges facing African Americans in United States existed for several hundreds of years, those faced by Jews in Nazi Germany were on a much smaller scale timewise, but far more severe in intensity. Even though there were no extermination camps for blacks in America, racial tensions had consistently existed for years upon years. For Kluger, this type of quick racial aggression against the Jewish people was new to her. She says that since she was the youngest in her family, by the time she was old enough to learn the things that most kids do at that age like swim, skate, or bike, restrictions on Jews became so severe that she couldn't even do just that. "Anyone who was just a few years older experienced a different Vienna than I, who at age seven wasn't permitted to sit on a park bench and instead could take comfort, if I so chose, in the thought that I belonged to the Chosen People, (p. 25)" writes Kluger. This was what kept the Jewish people together when all hope seemed to be lost. Their motivation did not come from the thought that they were each individual persons being punished, but rather that they were together one group of people connected by their Jewish faith, suppressed and persecuted by the overwhelming power of the Nazis. This same type of bond can be seen today in black communities living in Central and South America, especially in Brazil, where slaves were allowed to carry on their traditions throughout hundreds of years of bondage. In America, however, slaves were generally prohibited from retaining and practicing whatever African culture they had kept with them. Instead, African slaves in the US adapted to create their own new bond amongst each through a dialect known as Gullah.
Week Nine: Assignments
Tuesday May 27
Reading: finish Still Alive.
Writing: 2 sections of draft: 1) you might have turned in--the integration of secondary Joseph-like source--see previous blog assignments for instructions; 2) pick one detail from primary source and develop your analysis of this detail in a full paragraph or two, including secondary source material when necessary. (bring 1 hard copy)
Thursday May 29
Reading: Patricia Simpson, "“Retro-Nationalism? Rock Music in the Former German Democratic Republic (GDR)" (in HCC Reader, pp. 238-267)
Writing: Reading Response Blog to Simpson article; Working Draft (bring 3 copies)--see tips below
Instructions for Working Draft
fully develop reading and analysis of primary source (of details of primary source). this is the largest part of the paper make sure to identify and treat your primary source as belonging to a specific genre (as so has (or breaks) certain conventions, expectations of audience, characteristics) consider your method--not only as an academic discipline but as a type of analysis (narrative, rhetorical, causal, etc... see prompt...) If you don't know where to start, pick a detail from the primary source that is most interesting to you--analyze. If you feel like you don't have an argument, find a provocative argument in a secondary source material and counter away...
Reading: finish Still Alive.
Writing: 2 sections of draft: 1) you might have turned in--the integration of secondary Joseph-like source--see previous blog assignments for instructions; 2) pick one detail from primary source and develop your analysis of this detail in a full paragraph or two, including secondary source material when necessary. (bring 1 hard copy)
Thursday May 29
Reading: Patricia Simpson, "“Retro-Nationalism? Rock Music in the Former German Democratic Republic (GDR)" (in HCC Reader, pp. 238-267)
Writing: Reading Response Blog to Simpson article; Working Draft (bring 3 copies)--see tips below
Instructions for Working Draft
- begin with primary source--present detail that illustrates interpretive question you are engaging with
- establish assumed or standard interpretation of primary source (using secondary source material). paraphrase claims of other arguments, and counterargue to present your own insightful, original interpretation of primary source (i.e. your thesis).
- from here, either mentally or on draft (or maybe you did it already on prospectus) sketch out the steps of your argument. Each step should develop the central interpretation/thesis/argument.
- start to write the full body paragraphs, which will flesh out the steps of the argument you envision.
- get as far as you can for today. we'll do a thing similar to the AB--you will review in groups before turning in the draft that will "really" be read by your peers. I will read and comment on this draft only--so it is important you have as full a draft today and also thursday as possible.
Tips & Troubleshootings...
Tuesday, May 20, 2008
Thesis Ideas Prewrite Draft
picture: Beatrice , a cat, moving so fast she is omitted except for her paw. Instructions for Integrating Secondary Material via Counterargument, or, "lie by omission"
note: though the steps are spelled out in 6 steps, I would recommend trying to do it in the form of a paragraph or two--perhaps a potential introduction, or a solid body paragraph to your paper??
1. Quote detail (passage/lyric/graphic/scene/etc...) of primary source
2. Recopy passage from secondary, scholarly material that offers an interpretation of this detail (note: does not have to be direct interpretation, but could be simply a frame for thinking about the detail, concept, or passage).
3. Paraphrase secondary material claim: “X claims that ….”
4. challenge assumptions of claim: pick evidence (words) from original passage that are subject to double meaning, i.e. that you interpret differently from secondary source:
word----common meaning----expert def.----associations----your redef.
5. if you spell out these steps in your prose (i.e. your argument), you will have done analysis. again, like the idea here that argument is developed by omission and inclusion (and we can see this also in Kluger's own work, in terms of what she does and does not include), you will have to artfully decide what you need to include/exclue and spell out or not spell out.
6. since analysis is the act of "taking apart," you will now need to put together, to interpret--this means to fully develop your reading of the primary source detail by reconsidering the whole passage (or detail of primary material). you can do this by identifying a question--a large, puzzling, ambiguous, interpretive, unanswerable question--that is raised by looking at the detail in this way. perhaps there are now other parts of this detail (passage/lyric/art/scene/etc...) that become important and that you need to "read," or interpret.
... and so on... as you continue to work on your paper, continue to develop this method of approaching both primary and secondary material. keep in mind that the main assignment is to analyze your primary source, to be critical of secondary sources that engage in a similar discussion of the primary source and its genre, and from these things to develop your own, original interpretation (and thus interpretive argument) of the primary source.
Kluger and Death
When reading the first few pages of this book, my first impression of Kluger is that she is not afraid of death and the idea of dying. I was surprised and impressed at her thoughts as a young girl because she was curious to know about things that girls at that age are usually afraid of knowing.
One of the things that caught my attention was her vews on religion. On page 30, she says "the dead set us certain tasks, dont they? They want to be remembered and revered, they want to be resurrected and buried at the same time. I want to say kaddish becuase I live with the dead. If I can't do that, forget about religion. Poetry is more helpful." This passage shows the defiant nature that she has. She has strong opinions about certain issues and likes to do what she believes is right. To her, it is important to honor the dead regardless of your gender because they deserve that respect. This reminded me of Antigone, as she also defied the law in burying her brother in order to honor his death. She says that she lives with the dead because they are forever in her memory. She thinks about her father at random times in her daily life, so to pray for him and give him respect is something that she feels is necessary. She then says that if she can't pray for who the dead, then poetry is more helpful. In poetry, she is able to honor them by writing about their life and how she feels about them. There are no restrictions in poetry.
One of the things that caught my attention was her vews on religion. On page 30, she says "the dead set us certain tasks, dont they? They want to be remembered and revered, they want to be resurrected and buried at the same time. I want to say kaddish becuase I live with the dead. If I can't do that, forget about religion. Poetry is more helpful." This passage shows the defiant nature that she has. She has strong opinions about certain issues and likes to do what she believes is right. To her, it is important to honor the dead regardless of your gender because they deserve that respect. This reminded me of Antigone, as she also defied the law in burying her brother in order to honor his death. She says that she lives with the dead because they are forever in her memory. She thinks about her father at random times in her daily life, so to pray for him and give him respect is something that she feels is necessary. She then says that if she can't pray for who the dead, then poetry is more helpful. In poetry, she is able to honor them by writing about their life and how she feels about them. There are no restrictions in poetry.
Kluger on Cowardice
I would have to say that this book is one of the most interesting Holocaust memoirs that I have ever come across. It seems to me that Kluger, instead of focusing only on her victimization, decided to learn from it. It is obvious that she has become very opinionated, but I truly value her discretion. My favorite part about her persona expressed through this narrative is her ability to see reality and act accordingly. She understands human nature on an extensive level and knows how to manipulate it or act so that the results are desirable. This understanding is a huge part of her statements about courage and cowardice on page 156. It is frustrating when people attempt to place themselves, theoretically, in a morally problematic situation and presume that they would act perfectly. Not only do I admire her "Tom Sawyer" with the wooden cross character's admittance of his true character, but I look up to Kluger's understanding that cowardice is not necessarily bad; its judgment is subject to the situation. The following is what I picked out of the passage as the most interesting parts:
COURAGE
normal behavior = self-preservation, foresight -> conscientious objector
COWARDICE
active participation in EVIL.
I think that it is a good question to ask ourselves, what can we expect of ourselves? For the sake of self or family preservation, would we participate in the evil that caused the Holocaust, of would we die for a higher cause? be courageous? Where is the line?
But I do believe that we can never truly answer those questions unless we are placed in that moral predicament and hopefully we will never have to make that decision...
But as I write this I realize that on a different plane, we are at that place where we must make a decision. To participate in the chosen American ignorance or to learn about what is going on in our world and even if it is only education we participate in, to do at least that.
COURAGE
normal behavior = self-preservation, foresight -> conscientious objector
COWARDICE
active participation in EVIL.
I think that it is a good question to ask ourselves, what can we expect of ourselves? For the sake of self or family preservation, would we participate in the evil that caused the Holocaust, of would we die for a higher cause? be courageous? Where is the line?
But I do believe that we can never truly answer those questions unless we are placed in that moral predicament and hopefully we will never have to make that decision...
But as I write this I realize that on a different plane, we are at that place where we must make a decision. To participate in the chosen American ignorance or to learn about what is going on in our world and even if it is only education we participate in, to do at least that.
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