Please enable JavaScript.

Coggle requires JavaScript to display documents.

Arts of Gender EN326 Concept Map By Maecey Niksch, General Guide to…

- - - - surrogacy, idea of absorption and digestion (quote on 7?)
- - - - "...older persons pause and gaze upon us very much in the same way that I have seen people gaze upon strange animals in a menagerie." (Sui Sin Far 220)
    - - Mark Carson tells Pan "Those tears prove that you are white," (Sui Sin Far 64) associating emotional expression with whiteness and, in turn, tying Asian identities to notions of stoicism and apathy.
- - - - Double impetus of pleasure and power; "perpetual spirals of power and pleasure" (Foucault 45)
        
        "Power operated as a mechanism of attraction; it drew out those peculiarities over which it kept watch. Pleasure spread to the power that harried it; power anchored the pleasure it uncovered." (Foucault 45)
        
        "The pleasure that comes of exercising a power that questions, monitors, watches, spies, searches out, palpates, brings to light; and on the other hand, the pleasure that kindles at having to evade this power, flee from it, fool it, or travesty it. The power that lets itself be invaded by the pleasure it is pursuing; and opposite it, power asserting itself in the pleasure of showing off, scandalizing, or resisting." (Foucault 45)
        
        "the encroachment of a type of power on bodies and their pleasures" (Foucault 48)
    - - "peripheral sexualities"
        
        Because of the word "peripheral," this also reminds me of a theory in IR called the dependency theory, which describes the global hegemony of some countries over others. Essentially, the theory is that with expanding global capitalism within the world system there are "core" countries (the wealthier, developed countries) and the "periphery" countries (less developed countries) who mainly rely on the core countries. The very idea of a country, or in the case of Foucault an identity, being "peripheral" to a "core" implies the subjugation of certain identities to others. In the context of Foucault, the notion of "peripheral sexualities" points how there is a dominate heteronormativity that informs, and in some ways eclipses, the perception of the periphery. This also would tie into the hegemonic presence of the West and how this informs Western notions of the East.
  - - - Medicalization of the sexually "peculiar"
        
        "The medicalization of the sexually peculiar was both the effect and the instrument of this [power]. Imbedded in bodies, becoming deeply characteristic of individuals, the oddities of sex relied on a technology of health and pathology. And conversely, since sexuality was a medical and medicalizable object, one had to try and detect it--as a lesion, a dysfunction, or a symptom--in the depths of the organism, or on the surface of the skin, or among all the signs of behavior." (Foucault 44)
        
        "It did not exclude sexuality, but included it in the body as a mode of specification of individuals." (Foucault 47)
        
        Sexualization of the body
        
        Symptomatization/pathologization of sexuality
      - "The implantation of perversions is an instrument-effect: it is through the isolation, intensification, and consolidation of peripheral sexualities that the relations of power to sex and pleasure branched out and multiplied, measured the body, and penetrated modes of conduct. " (Foucault 48)
- - - - "moralistic scopophilia" or visual paranoia (Shimizu 18); agenda of moralism to discipline Asian/American women
      - Unknowability: "the limits of moving image media to represent social experience adequately and to remind us of how media are capable of presenting alternative realities" (Shimizu 20)
        
        Unreliability of representation
  - - - "resistance and self-definition in sexual and representational agency" (Shimizu 16)
  - - - "Asian/American women are constructed through sexuality as a disciplinging and objectifying forces--as well as its affirming power when put in service of Asian American women." (Shimizu 16)
- - - - Femininity as Constructed by Men
- - - - Denial of Female Agency
    - - paternalism/ white saviorism
  - - - Mysticism/"Dark Magic"
- - - - in contrast to the gun of Sir John as a "white man's weapon"
        
        Mr. Aki shoots both Fu Manchu and, at the end of the film, Lingmoy. Perhaps this represents his mutually exclusive loyalties being torn between his Asian counterparts and the white Petrie family. In the end, Mr. Aki taking up the gun against Fu Manchu and Lingmoy signifies his commitment to the West. However, this loyalty to the West is not without his own detriment, as Mr. Aki sacrifices himself in an ultimate submission of loyalty by falling out of the window.
        
        mutually exclusive loyalties
        
        internment/commitment to the West, sacrifice of identity to remain loyal to the West
        
        Mr. Aki is also the only character that enacts any physical violence, so he carries all of the culpability of both his Asian counterparts and the white family he is loyal to
        
        Asian culpability for violence in white spaces
      - Fu Manchu: character imagined in popular culture to incite "yellow peril"; a figure who is immortal, somehow always returns when thought dead; an impenetrable threat
- - - - "produce against these particularized images the abstract national subject of a unified and coherent national body" (Eng 3);
        i.e. femininization of the East as a whole in the Western cultural imagination
      - "Vigilant in his desire to maintain this particular vision of a submissive Orient, Gallimard is forced to counter the disrobed diva with a tranvesting act of his own: now that Song is publicly the man, Gallimard must publicly become the woman" (Eng 138); "'straightening' his relationship to the exposed Chinese man" (Eng 139)
  - - - primitivity / temporality in relation to whiteness
        
        colonial exploitation through modernization rhetoric
      - pathologizing of racialized groups as "maldeveloped"
        
        "the primitive's presumed incivility is symptomatized by Freud precisely as a problem of sexual development" (Eng 7); propensity of sexual impropriety
        
        Freud's works: convergence of homosexuality with racial difference (Eng 13); "a coming together of the homosexual and the primitive as pathologized, banished figures within the psychic landscape of the social proper" (Eng 13)
    - - "suggests that heterosexuality gains its discursive power through its tacit coupling with a hegemonic, unmarked whiteness" (Eng 13)
- - - - "When popular culture mandates positive feelings for consumption, it often erases nuanced histories of racism shown from the perspective of people of color." (Huang 1376)
        
        "If popular consumers can only stomach Asian experience through a filter of cheer, then what of Asian and Asian American experience that is anything but tidy or cheerful?" (Huang 1379)
        
        Asian Americans expected to perform a "positive racial affect" as well as excuse public forgetting of their histories (Huang 1379)
        
        national denial of Asian American histories; "The discard bin of history" (Huang 1380)
        
        History of internment camps imprisoning Japanese Americans: "A central effect of the incarceration system was the humiliation of Japanese American men, whose loss of property and constitutional rights can be read as a loss of masculine legitimacy. The state escalated this shame by compelling performances for remasculinization through the loyalty questionnaire, asking inmates to affirm their willingness to serve in the US armed forces and to swear allegiance solely to the United States" (Huang 1385)
        
        humiliation/shame to "discipline" racialized groups in Western societies
    - - "Kondo's performance as a cute Japanese host makes space for melancholic attachments and the surfacing of painful histories" (Huang 1376)
        
        "...Japanese gendered performances of cuteness and cheer manage US national affect in powerful ways, especially in response to national historic documentation that often goes unnoticed." (Huang 1377); "It is precisely through Japanese feminized cuteness that a nationalist racial order can reproduce itself through economic and affective models in the pursuit of happy consumption." (Huang 1377)
        
        "sparking joy" and cheerful encouragement for organization "serves to broker the ambivalent feelings of global racial capitalism and its discontents--including outgoing histories of labor exploitation, militarism, and settler colonialism that undergird modernity." (Huang 1377)
        
        "Deviation from the hypercheerful performance of Asian hospitality can be read as a lack of affect that constructs Asians as robotically productive. Corporations and the wealthy elite can benefit from discourses of cyborg Asian laborers who may appear to survive without worker protections or labor rights." (Huang 1378)
        
        "white" as the emotional standard
- - - - the host talks about how many people died and were hurt in Hiroshima by the atomic bombing; the host is standing and Reverend Tanimoto is sitting below him and to the right
        
        the United States, the white West, controlling the Hiroshima narrative
        
        two of the women from Hiroshima (who came to New York for medical aid) are speaking from behind a screen so as not to show their faces and, as the host says, "cause them embarrassment"; the host somehow learns Japanese, despite previously not being able to understand Mrs. Tanimoto, and "translates" that the women are happy to be in the U.S. and thankful to the U.S.
        
        tone-deaf advertisements for Hazel Bishop nail polish and a shampoo interrupting the program, Western beauty and capitalism and cheerful programming in Western media but above the emotions of the Japanese family being interviewed (more like spoken about with them sitting there like a spectacle)
        
        propaganda
      - Tanimoto's "entire body recoiled in what seemed like agonizing revulsion" (Serlin 88)
        
        "lurid voyeurism and brutal insensitivity" (Serlin 89)
    - - sadistic display of power in controlling the narrative and exploiting displays of trauma/emotion for consumption
- - - - referred to as the "Keloid Girls"; meant to be a term of endearment but seems more derogatory in pointing out their scar tissue as their defining feature; then after surgery the 25 women who were treated in the United States were referred to as the "Hiroshima Maidens"
    - - "The stories about Noguchi and the Maidens both embody the political and philosophical contradictions that lay at the heart of what Masao Watanabe has identified as 'Japanese ethics, European science.' In this dialectic, both Noguchi's critics and the Hiroshima Maidens' sponsors sought a cosmopolitan postwar Japanese identity while also laboring to disavow the provincial values associated with prewar Japanese nationalism." (Serlin 61)
        
        privileging of Western cultural and technological forms
    - - "The visual and symbolic evidence of the women's damaged bodies, now in full public view, forged unavoidable links between their physical scarring and the devastation wrought by the atomic bomb, much to the State Department's chagrin." (Serlin 82)
      - "colonial medicine"; the ABCC studied radiation victims while maintaining a strict no-treatment policy
      - "Despite the humanitarian ethos that surrounded the project, the potential for racism remained vexing for the Maidens as well as for the entire postwar generation of American citizens of Japanese descent for whom legal discrimination and government-sponsored internment camps were well within recent historical memory." (Serlin 86)
      - "To some degree, the project depended on the collective gendered fantasies of the Maidens as docile Oriental caricatures to accomplish its altruistic goals." (Serlin 87)
        
        feminization of Japan within American popular culture; "cultural desire to replace the crafty, militaristic, kamikaze images of Japan with 'soft' images in order to 'repress wartime memories.'" (Serlin 87)
        
        "the American and Japanese supporters of the Hiroshima Maidens project conceptualized the women within Western paradigms of beauty and femininity" (Serlin 108)
        
        "Oriental spectacles with which to elicit compassion from American viewers who might otherwise harbor residual resentment" (Serlin 90)
        
        Quaker's observations and judgments regarding the Maidens' dispositions: lovability and intelligence
- - - - consumerism, capitalism
        
        packaging: Hyun Jin pastes the Ho Hos packaging to her bedroom wall; she also wears the condom in its wrapper around her neck as a necklace. preoccupation with exteriority/representations, building a façade for protection
      - Hyun Jin's acquired taste for Ho Hos: "The first time I tried that chocolate roll, I spit out the cake with its too-sweet lining of sugar cream. I couldn't believe that Americans, who could have anything in the world, would eat that...She and I ate our way through the box before I decided I liked it." (Keller 11)
        
        idealizing American/Western culture: "Slowly, though, we began to view their features as desirable, developing a taste for large noses, double lids, and cow eyes just as we had learned to crave the chocolate candy and cakes we had once thought sweet as dirt." (Keller 14)
        
        over-indulgence / toxicity
        
        Hyun Jin's consumption of the grapes, vomiting
        
        Hersheys: "Sweet explosion, dark and bitter as blood" (Keller 12)
      - hot dog a soldier, condom to protect it (Keller 20-21): ubiquity and permanence of preserved food in the presence of war; silliness paired with serious truths, child's digestion of difficult truths
        
        nourishment and poison
        
        preserved bodies and technological interventions
        
        surveilled and tested STDs; pumping anti-biotics into women in sex work at the Monkey House
  - - - "When Sookie handed the paper back to me, I saw that she had drawn a perfect me, a me without the birthmark. Through her eyes, with her touch, I was transformed; I saw that, with the darkness erased, I had what the old ladies would call a bok-saram, a face as lucky as the full moon." (Keller 10)
      - Hyun Jin: "I thought I could see my stained skin dissolving under the layer of white cream" (Keller 13)
- - - - disposability; construction of Asian women and their bodies as disposable; objects of white male rage
      - double standard: sex addiction the focus of the article and used to justify white male violence / resistance to call this a hate crime
- - - - cultural silencing
- - - - "perihumanity"
        
        perihumanity of Asian women: "the peculiar in-and-out position, the peripherality and the proximity of the Asiatic woman to the ideals of the human and the feminine...she circles but is excluded from humanity" (Cheng 2)
        
        ontology
        
        "parahumanity"
        
        parahumanity of Black women: concept of not being human beings but not being precisely inhuman either
  - - - synthetic personhood
        
        The ornamental project "suggests that Asiatic femininity in the Western racial imagination does not need to pass through the biological or the natural in order to acquire its most palpable, fully sensorial, supply, and vibrant presence." (Cheng 14)
        
        "To speak of Asiatic femininity, then, is to speak of a style, which claims specificity but lends itself to promiscuous transferability. It designates a specific racial category but can be applied to different racial subjects...It is an abstraction that materializes" (Cheng 14)
    - - "the ornament and especially the ornamentality of the Asiatic continue to provide a charged site for the modernists, precisely because the ornament triggers the fluctuations between essence and supplement, depth and surface, utility and decoration, interiority and exteriority, organicity and the inorganic, femininity and masculinity, and finally, Western discipline and Oriental excess." (Cheng 16)
- - - - "animacy hierarchy"
      - representations in visual media: animated and physical backlash against Chinese immigration; Chinese immigrant laborers perceived as economically threatening to economic livelihood of whites (Chen 108)
        
        simianization
        
        Chinese man's hands (signal of labor/work capacity) concealed in baggy sleeves; fuzzy face, etc.
        "simianized" rendering (Chen 108) in advertisements and visual media
        
        animal figurations of rats / depictions of rat-tail like hair: caricature and racialized notion of hygiene (Chen 110)
        
        Fu Manchu: fictional representations of evil Asian masculinity; racialized animality, "feline cunning, stature, and ocular appearance"
        
        "his [Fu Manchu's] femininity hides as felineness, undercutting his otherwise trenchant masculinity by effectively queering it." (Chen 118)
        
        techno-orientalism
- - - - desire depicted as animal, uncontrollable and ferocious
- - - - "In their role as spectators, black men could enter an imaginative space of phallocentric power that mediated racial negation." (Hooks 118)
        the black male gaze in private realm of television where "there they could 'look' at white womanhood without a structure of domination overseeing the gaze, interpreting, and punishing." (Hooks 118)
  - - - "Before racial integration, black viewers of movies and television experienced visual pleasure in a context where looking was also about contestation and confrontation." (Hooks 117)
    - - cinematic racism and its violent erasure of black womanhood: "Even when representations of black women were present in film, our bodies and being were there to serve--to enhance and maintain white womanhood as object of the phallocentric gaze." (Hooks 119)
        
        looking at films with an oppositional gaze, "Black female spectators chose not to identify with the film's imaginary subject because such identification was disenabling." (Hooks 122)
        
        Hooks argues that mainstream feminist film criticism does not acknowledge black female spectatorship and "does not even consider the possibility that women can construct an oppositional gaze via an understanding and awareness of the politics of race and racism" (Hooks 123)
        
        "A new focus on issues of race and representation in the field of film theory could critically intervene on the historical repression reproduced in some arenas of contemporary critical practice, making a discursive space for discussion of black female spectatorship possible." (Hooks 125)
- - - - Grist sisters bodies used to upload human consciousness to Eng; erasure of humanity
        
        donning of the "cat coat" renders Kora invisible, until she looks another person in the eye; the eye as the epicenter of humanity? / representation of humanity across species?
  - - - transplantation and consumption
        
        cannibalism of the Grist sister bodies transformed into fish; animal hierarchies and Kora and Kirilow's intra-species loyalty to their kin; loyalty that extends beyond the presentation of the body/consciousness
      - necessary pain for the survival of the community
- - - - "I had created an underground culture of survival for myself and had become in the eyes of others the person I was trying not to be." (Yamada, 13)
      - resigned acceptance, "Shikataganai"
        
        "Because I separated such opinions from the persons who were making them, I accepted them the way I accepted natural disasters; and I endured them as inevitable." (Yamada, 15) "Invisibility is not a natural state for anyone." (Yamada, 16)