Category: English Online Portfolio
December 8th Post “Imaginary Geography”
More than just a humorous representation of the uncle:
page 65 “You know last time Bishan is all cemetery?”
page 70 “When he sit down to do his homework, ten minutes he must go toilet.”
How does Ang use these features of form and style to make both satirical criticisms and more sincere observations of Singapore?
- Ann Ang writes this report in the form of a pastiche with a mix of parody. The imitation of an academic writing style shows the absurdity in trying to see the broader’s scope of the Singaporean mentality. By using big words and complex analytical paragraphs for the sake of it, Ann Ang is satirising the intent to understand Singapore’s layered social identities through a voyeuristic view. She is also creating a meta-parody of the people, including herself, that is trying to observe the country through academia.
- Use of irony such as the branding of Bishan as a cemetery gives way to the paradoxical development of Singapore, and speaks to the lapse in progression of self-definition that is the result of such rapid development. The recounting of the uncle’s grandson’s life and transformation recorded in section D was observed to be “sentimentally dramatised”, which made sense at first glance. However, the parodical nature of this report reveals that it may not be the case. In truth, the escalating pressure to “toe the line” is very much real and emotionally damaging. It is the aftermath of an ongoing involutionary change in countries like Singapore, Korea, Japan and China. This is a form of social change that has never been seen before and are bound to reflect on the change in identity of a Singaporean.
- Hyperhistories‘s writing and message appears more approachable and solid. Observations regarding the nuclear family and the Singaporean education system proposes problems with more real life basis in comparison to the concept of microclimates/neighbourhoods.
- The uncle’s hope to show Ah boy many things is reflective of the traditional fatherly role that the pioneer generation should hold. As the boy is occupied with school work and Ah Gong feels that “I don’t know how to say, maybe the thing also not there anymore”, we see a very troubling representation of Singaporean history. First we see the paradoxical nature of the nation’s development. The pioneer generation set up the country for immense economical prosperity and social stability, but the same society’s competitiveness casts incomprehensible pressure on the coming generations. The old guard is feeling an inability to communicate, leading to the outdating and fading of old Singaporean values.
Contextual considerations of “Everyone uses English”
What contextual (social/cultural/political etc) considerations* does the section you have examined engage with and how?
In “Everyone uses English”, Ann Ang engages with the socio-political and cultural contexts of Singapore through a conversation between an elderly teacher and his younger counterpart. The conversation takes the form of a monologue, in which the elder teacher seemed to have gone onto an unrelenting rant about the British conquest of Singapore, or Southeast Asia, through enforcing English speaking. An in depth discussion is also made regarding the complicated attitudes towards “proper” English speaking that remains controversial in modern Singapore.
The elderly teacher delivers his monologue through superfluous English to provoke thought regarding the power dynamic between British and Singaporean culture. This theme is immediately apparent in “You make it seem right that were colonised in 1819″, an accusation of the younger teacher who have less insistence on speaking proper English. Proper use of a foreign language is being counterintuitively established as a symbol of national pride. This may seem contradictory, but considering Singapore’s history and the context of the Macaulay Minute, makes astonishing sense. The sentence”…serve the Empire’s grand purpose of bring the light of science to us benighted ‘locals’ ” revealed how The British saw Singaporeans, or Southeast Asians on a broader scale, to be inferior and in need of social reform through English. The elder, who likely came from an age in which Singapore was still considered to be below Britain, had a conflicting mentality and attitude towards speaking English. He saw this language as the enemy but also the tool to defeat the enemy. This is evident in the gradual transition from “The English language…….became the cold instrument of numbers and accounts in the mouths…..” to “We must take back the English language for our own”, and finally “we shall outwit them at their own game!” This is significant of Singapore’s grudge in how it was perceived despite arguable moving past the United Kingdom in economic and social development. However, the younger teacher was perceived by the elder to be benevolent in their attitudes towards the “invader”. We are unaware of their actual behaviours as the first person narrating limits us from observing actions without being emotionally distorted by the speaker. This suggested benevolence, in contrast to the passionate anguish of the elder, makes us readers unsure of where to direct our sympathies. More importantly, it raises a question regarding whether Singapore should still hold a grudge towards the scars left by Imperial Britain and trying to surpass it. Singlish is described as a symbol of inferiority in certain parts of the text, but the ambivalence of sympathy questions whether it is time for Singapore to move past that legacy and become “national” now. Both “The bell is ringing” and “The English language is going to hell” can be interpreted as death of the old language. Ending on “Go”, however, leaves the story open to interpretation, and creates a sense of rebirth and progress for Singapore as a nation.
Wild Geese New Historical Theory
What do you think is Ogai Mori’s perspective of Japan and its relationship with the West at this time, and what aspects of the story have given you these ideas?
From the opening of the novel, Ogai’s point of view has been consistently first person, yet he remains omniscient as detailed accounts of all mental and physical activities were given when it is impossible for him to obtain the relevant information. The usually objective omniscient retelling is framed by a very personal narrative tone, in which Ogai asserts his judgement of moral behaviour and imported culture.
Ogai was born during a period in which Japan as a nation is rapidly developing to rid themselves of the unfair treaties from the Western nations. He frequently gave descriptions of Japanese architecture fused within a university, which is an accurate reflection of the landscape of Japan during its educational reform. In the opening of chapter 4, he describes the university students as beasts within cages, the latter being the university dormitories, then compared them to animals in a zoo. The first person who deceived Otama and dealt the first flow to her spirit was a policeman–a western occupation, who left his western shoes at the doorsteps. Suezo picked linnets over canaries, when the latter is showy and the former is encaged for its beauty. This is Ogai choosing between the hierarchical traditional Japanese culture and outspoken democratic western influence.
As readers, we interpret a sense of female empowerment through Otama’s journey in resisting her role as an obedient mistress. However, this might well be the product of our time, as the symbolism of the snake was very well manipulated by Ogai to show his opposition to westernization during a time where nationalism is pervasive in Japan. Ogai is conscious that the western interpretation would connect Suezo to the snake, and believe that Suezo, who is a traditional Japanese man, is the culprit for the unwanted disturbance. However, Ogai intends to deliver the real message to his countrymen, who would see the snake as a symbol of change and thus make a connection to Okada, who would be seen as a heroic figure in accordance through a western lens. There is almost a sense of irony when Ogai had the hero, as perceived by westerners, slice open a symbolism of western influence to save the linnets. The birds are symbolic of Otama, who could then be seen as a symbolism of Japan from her obedience to classes and duty. This is allegorical of how Japan is training their youth through western education to gain true independence and drive the western superiority out of their lands. Okada would have had the same experience as Ogai actually did when he studied in Germany. The moment where the doctor told Okada suits made by Japanese tailors would not do could be a reflection of Ogai’s experience abroad. He may have felt anger, spite or motivation, which he decided to embed within the snake killing story. The storytelling’s paradoxical mix of first person narrative and omniscience raises suspicions: does the novel recount an actual love story by which Ogai was never a part of, or a fabricated event in which Ogai romanticized the outcasting of western influence?
PG56 Response on Cosi
https://docs.google.com/document/d/1JTP1GxqrSxU8PV7G7w5k9LuBNVngUeoe-5c5M0t4qzQ/edit?usp=sharing
4th October 2019
I read a really interesting insight into representation of the mentally ill today from Sinuan. She said that the idea of misrepresentation can be dangerous but mostly due to the nature and intent of people that are adopting this representation. The idea of mental illness will lead to severe violence tendencies can be used to either defend inabilities of mental ill people to control themselves, or as Roy said “up his lithium”, which is to drugs the patients even more as a “precaution”. Perception by the audience matters greatly as representations of sensitive issues like race, gender, mental illness, and religion can invoke hatred and disgust just as well as it can call for empathy
Bechdel’s comical representation of a global Issue in “Fun Home”
PG 72
On Bechdel’s parent’s trip to Germany, we get to see one of the only times “Father” expresses emotion, which lead to what seemed to be verbal domestic abuse. Father’s choice of insults creates the comical effect here, as “crazy” is not a proper insult for people that can’t read maps, “imbecile” or “idiot” on the other hand would be a lot more accurate. This deliberate word choice is to paint a picture of a man in utter rage and losing all self control. We can also observe the facial expressions of the mother when walking out of the car. She appears intimidated and wry. The ironic comparison between the bravery shown by walking out on a husband and the fearful expressions brushes over the difficulty for people in toxic, and abusive relationships to extract themselves set in the scenes of domestic abuse. We can also project the idea of using a self-bolstering action to mask inner insecurities onto the father. He acts as a dictator inside the house and the family, only to never be able to come out to his family. This to a degree creates a satirical power dynamic of social consensus-father-mother.
Gianina wrote”Just when Alison feels as though she is finally becoming her own person and establishing her unique identity by deviating from the social norms at the time and coming out as lesbian, she is once again seen as being resemblant of her father. It is almost as if she has had a piece of her identity stolen from her.” I did not think about the idea of estranged parent and child would change the concept of sharing an identity to stealing. In a normal family coming out of the closet with your father would be comforting and supportive for each other, but it was disappointing in a dysfunctional family like Bechdel’s.