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Shattered

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Katarzyna Wasylak

on 12 January 2016

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Transcript of Shattered

How do you understand Miss Moti, Shattered"?
Do "Camden's Revenge" and "The Strange" have anything in common?
Shadow Hero
Master Tortoise & Master Hare
Aesop's fable:

The Tortoise and The Hare


There once was a speedy hare who bragged about how fast he could run. Tired of hearing him boast, Slow and Steady, the tortoise, challenged him to a race. All the animals in the forest gathered to watch.

Hare ran down the road for a while and then and paused to rest. He looked back at Slow and Steady and cried out, "How do you expect to win this race when you are walking along at your slow, slow pace?"

Hare stretched himself out alongside the road and fell asleep, thinking, "There is plenty of time to relax."

Slow and Steady walked and walked. He never, ever stopped until he came to the finish line.

The animals who were watching cheered so loudly for Tortoise, they woke up Hare.

Hare stretched and yawned and began to run again, but it was too late. Tortoise was over the line.

After that, Hare always reminded himself, "Don't brag about your lightning pace, for Slow and Steady won the race!"
The Other
The Other designates radical alterity, an other-ness which transcends the illusory otherness of the imaginary because it cannot be assimilated through identification. (Jacques Lacan)
the Other
Judith Butler
Shattered
THANK YOU!
Compare these two stories. Is Chinese setting in "Master..." significant for the interpretation of the narrative? Why?/Why not?
AN IMPORTANT FEATURE of colonial discourse is its dependence
on the concept of 'fixity' in the ideological construction of otherness.
Fixity, as the sign of cultural/historical/racial difference in the discourse
of colonialism, is a paradoxical mode of representation: it connotes
rigidity and an unchanging order as well as disorder, degeneracy
and daemonic repetition.
Likewise the stereotype, which is its major discursive
strategy, is a form of knowledge and identification that vacillates
between what is always 'in place', already
known
, and something that
must be anxiously
repeated
... it is
the force of ambivalence that gives the colonial stereotype its currency
: ensures its repeatability in changing historical and discursive conjunctures; informs its strategies of individuation and marginalisation; produces that effect of probabilistic truth and predictability
which,
for the stereotype, must always be in excess of what can be
empirically proved or logically construed.
My reading of colonial discourse suggests that the point of intervention
should shift from the identification of images as
positive or negative
, to
an understanding of the
processes of subjectification
made possible (and
plausible)
through stereotypical discourse.
"THE OTHER QUESTION"
HOMl BHABHA RECONSIDERS THE STEREOTYPE AND COLONIAL DISCOURSE
http://bigthink.com/videos/your-behavior-creates-your-gender
Your Behavior Creates Your Gender
Performativity
the capacity of speech and gestures to act or complete an action, or to construct and perform an identity.
Interpellation
the process by which ideology addresses the pre-ideological individual and produces him or her as a subject proper
"In Althusser's notion of interpellation, it is the police who initiate the call or address by which a subject becomes socially constituted. There is the policeman, the one who not only represents the law but whose address "Hey, you!" has the effect of bringing the law to the one who is hailed. This "one" who appears not to be in a condition of trespass prior to the call (for whom the call establishes a given practice as a trespass) is not fully a social subject, is not fully subjectivated, for he or she is not yet reprimanded. The reprimand does not merely repress or control the subject, but forms a crucial part of the juridical and social formation of the subject.
The call is formative, if not performative, precisely because it initiates the individual into the subjected status of the subject.
In the reprimand the subject not only receives recognition, but attains as well a certain order of social existence.
Are there other ways of being addressed and constituted by the law, ways of being occupied and occupying the law, that disarticulate the power of punishment from the power of recognition?
The law might not only be refused, but it might also be ruptured, forced into a rearticulation that calls into question the monotheistic force of its own unilateral operation. Where the uniformity of the subject is expected, where the behavioral conformity of the subject is commanded, there might be produced the refusal of the law in the form of parodic inhabiting of conformity that subtly calls into question the legitimacy of the command, a repetition of the law into hyperbole, a rearticulation of the law against the authority of the one who delivers it.
Here the performative, the call by the law which seeks to produce a lawful subject, produces a set of consequences that exceed and confound what appears to be the disciplining intention motivating the law. Interpellation thus loses its status as a simple performative, an act of discourse with the power to create that to which it refers, and creates more than it ever meant to, signifying excess of any intended referent."
Butler, Judith. "Gender is Burning: Questions of Appropriation and Subversion." Bodies that Matter: On the Discursive Limits of Sex. Routledge: New York (1993). 121-40.
Homi K. Bhabha
the construction of the individual subject.
What is the role of monsters/ monstrosity in "Camden...", "The Stranger," "Personal Monsters," and "Qi Lai!" ?
How is Asian identity portrayed in "Occupy Ethnic Foods" and "Shadow Hero"?
Opening Dao - trailer
Being vs Non-being
Action vs Non-ction
Ego vs emptiness
Camden's Revenge
an American philosopher and gender theorist whose work has influenced political philosophy, ethics and the fields of feminist, queer and literary theory.
the Anne F. Rothenberg Professor of English and American Literature and Language, and the Director of the Humanities Center at Harvard University. He is one of the most important figures in contemporary
post-colonial
studies.
Miss Moti
Green Turtle
1944
by Chu F. Hing
"When you look at his original comics, the Green Turtle almost never shows his face. He usually has his back to the reader, and when he is turned around something is covering his face -- another character, his own arm, a shadow. Supposedly, Chu Hing did this so that he could imagine his hero as he originally intended, as a Chinese American."
Gene Luen Yang:
"The Green Turtle wasn't very popular. He was the lead feature of a series called Blazing Comics which lasted only five issues. His adventures ended before we ever find out his secret origin or secret identity.

So that's what Sonny [Liew] and I are doing. We've created a secret origin and secret identity for this obscure hero from the 1940s. We're firmly establishing him as the first Asian American superhero."
Yang:
from: "Lost 1940s Asian-American Hero Green Turtle Returns in THE SHADOW HERO"
by Zack Smith
The Shadow Hero (2014)
Thirty spokes are joined around the wheel's hub,
Its non-being makes the carriage useful.
Clay is molded to make a pot,
Its non-being provides the utility.
Doors and windows are cut to make a room,
Their utility is furnished by non-being.
Therefore,
Being only facilitates, non-being provides utility.
English version by David Hong Cheng
Full transcript