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American culture and characteristics which are different from Philippine culture
Foreign modern influences on Filipino culture
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Reflections in a Foreign Mirror
After reading the novels assigned in this Asian American class, it seems that many Asian American experiences are similar. One similarity that is outstandingly prominent is how an outside culture impacts either directly or indirectly a foreign society. Often, the influences of the powerful yet glamorous American lifestyle lead to self-hatred of one's own society and culture. We see this in "Obasan," by Joy Kogawa, and in "Dogeaters," by Jessica Hagedorn, where many of the characters cease to acknowledge their own identity by living vicariously through movies, music and other American influences. In this essay, I will compare and contrast the portrayals of this self-hatred, and analyze how America influences it. I will also discuss resolutions, or escapes that these characters use to counteract this self-hatred.
Self-hatred of the Filipino heritage is demonstrated throughout the novel "Dogeaters," which bases many of its circumstances on factual statistics of the Philippines. The history of the Philippines allows us to see the roots of their self-hatred. For instance, the four hundred year long colonization of the Philippines by Spain and other foreign countries led to oppression and self-hatred of Filipino culture. Even the title of the book, "Dogeaters," amplifies a common American stereotype of Filipinos, suggesting that Filipino people are uncivilized and even animalistic. By being exposed to negative stereotypes and oppression for such a long duration, shame and self-hatred are inevitable. We see this with the narrator, Rio who is a sensitive young girl growing up in the Philippines. She narrates the first scene in the movie theater: "I am powerless, I am only ten years old. I remembered ...
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... find it is hard to appreciate my own Chinese customs because I am lingered to the sweet domineering customs of America. Much like Stephen and Pucha, I feel as though if I could just be more American in the way I act, dress, eat and talk, I will be happy. However, having been fortunate enough to grasp such patterns, perspectives and problems through these novels and through lecture, I feel enlightened, although the preservation of Asian culture and custom and the fear of its extinction is still a very real issue in the Asian American community today. Hopefully one day we will be able to strike a balance between cultures and live in harmony.
Bibliography
Hagedorn, Jessica, Dogeaters, Penguin Books, 1990
Kogawa, Joy, Obasan, Anchor Books, 1981.
Miller, Roy, Japan's Modern Myth, Weatherhill, 1982.
Wong, Shawn, ed. Asian American Literature: A Brief Introduction and Anthology. New York: Harper Collins College Publishers, 1996.
In analyzing these two stories, it is first notable to mention how differing their experiences truly are. Sammy is a late adolescent store clerk who, in his first job, is discontent with the normal workings of society and the bureaucratic nature of the store at which he works. He feels oppressed by the very fabric and nature of aging, out-of date rules, and, at the end of this story, climaxes with exposing his true feelings and quits his jobs in a display of nonconformity and rebellion. Jing-Mei, on the other hand, is a younger Asian American whose life and every waking moment is guided by the pressures of her mother, whose idealistic word-view aids in trying to mold her into something decent by both the double standards Asian society and their newly acquired American culture. In contrasting these two perspectives, we see that while ...
Oftentimes the children of immigrants to the United States lose the sense of cultural background in which their parents had tried so desperately to instill within them. According to Walter Shear, “It is an unseen terror that runs through both the distinct social spectrum experienced by the mothers in China and the lack of such social definition in the daughters’ lives.” This “unseen terror” is portrayed in Amy Tan’s The Joy Luck Club as four Chinese women and their American-born daughters struggle to understand one another’s culture and values. The second-generation women in The Joy Luck Club prove to lose their sense of Chinese values, becoming Americanized.
The second and third sections are about the daughters' lives, and the vignettes in each section trace their personality growth and development. Through the eyes of the daughters, we can also see the continuation of the mothers' stories, how they learned to cope in America. In these sections, Amy Tan explores the difficulties in growing up as a Chinese-American and the problems assimilating into modern society. The Chinese-American daughters try their best to become "Americanized," at the same time casting off their heritage while their mothers watch on, dismayed. Social pressures to become like everyone else, and not to be different are what motivate the daughters to resent their nationality. This was a greater problem for Chinese-American daughters that grew up in the 50's, when it was not well accepted to be of an "ethnic" background.
Lindo Jong provides the reader with a summary of her difficulty in passing along the Chinese culture to her daughter: “I wanted my children to have the best combination: American circumstances and Chinese character. How could I know these two things do not mix? I taught her how American circumstances work. If you are born poor here, it's no lasting shame . . . You do not have to sit like a Buddha under a tree letting pigeons drop their dirty business on your head . . . In America, nobody says you have to keep the circumstances somebody else gives you. . . . but I couldn't teach her about Chinese character . . . How to know your own worth and polish it, never flashing it around like a cheap ring. Why Chinese thinking is best”(Tan 289).
In this paper I will be sharing information I had gathered involving two students that were interviewed regarding education and their racial status of being an Asian-American. I will examine these subjects’ experiences as an Asian-American through the education they had experienced throughout their entire lives. I will also be relating and analyzing their experiences through the various concepts we had learned and discussed in class so far. Both of these individuals have experiences regarding their education that have similarities and differences.
The air would always be humid and stuffy while riding the bus to school, and the slightest bump in the road would result in tossing up the kids like salad. The backseat would provide carriage for all the popular and tough kids shouting out at pedestrians on the street or flipping off a middle finger to the bus driver that would shout for them to calm down. I despised those kids in the back. They were the same people that made my life a living hell, while growing up and attending an American school.
U.S. media history has been plagued with limited representations of Asians and Asian Americans. Specifically Asian American female roles have been limited to stereotypes such as the Lotus Blossom/Madame Butterfly and the dragon lady. The Lotus Blossom and the Madame Butterfly stereotypes are seen as being sexually attractive, alluring, passive and obedient. On the other hand the Dragon Lady is seen as sexualized, sinister and conniving. These stereotypical representations of Asian females are what Darrel Hamamoto refers to as “controlling images”. The repetition of these loaded representations within contemporary media has created a limited perspective of Asian American images. According to Hamamoto in “Monitored Peril: Asian Americans and the Politics of TV”, controlling images involve the process of objectification, subordination, and justification. These images are used to create a hierarchy of gender, race, and class; this hierarchy can also be understood as media racial hegemony. In their book “Asian Americans and the Media” Kent Ono and Vincent Pham articulate media racial hegemony as the way people think about how race is represented through media and how media representations help guide and regulate beliefs and actions of those within society in indirect ways.
Since the first influx of Asian immigrants to the United States, Asian Americans were never treated as an integral part of the American population. Accounting for five percent of the US demographic, often times, they are still portrayed by provincial people as outsiders who do not belong in society. Over the years, this negative mentality has transformed into the way Asian Americans are viewed in media. Though there are many attempts of reversing the trend such as diversifying the cast members, stereotypical personalities such as “the human calculator” or “undesirable partner” are still utilized for writers to infuse racial slurs into comedy skits. However, in reality especially now that many Asian Americans are second generation, none of these stereotypes pertains to all them. As a result, directors and script writers have an ethical responsibility to best portray Asian Americans as human beings who can function normally without putting negative stereotypes as the primary focus of Asian characters’ personas.
The story of the pilgrims and Native Americans was always taught in elementary school during the Thanksgiving holiday. The teachers frequently called Native Americans “Indians”. It never crossed my mind that the word “Indians” was the politically incorrect way of labeling Native Americans until a student shouted it out to the teacher in 5th grade. It finally clicked in my mind that Indians are people from India not America.
The impact of these biases is shown through the author’s own experiences as he progressed through his life. His stories evoke a sense of pity enough, because we realize that because of discriminatory actions against foreign races in America, they feel as though they live in a hostile environment. For instance, when Staples went to a jewelry store, the proprietor “stood, the dog extended toward [him], silent to [his] questions, her eyes nearly bulging out of her head.” This shows how the woman made an unfounded
It is as though Asian Americans are succumbing to the thought that America is the only place to be and that they should be grateful to live here. On the other hand, keeping silent due to pressures from the white population means being shunned by the members of the Asian American population. I disagree with Chin’s assertion that “years of apparent silence have made us accomplices” to the makers of stereotypes (Chin 1991, xxxix). I agree with Hongo’s argument that the Chin viewpoint “limits artistic freedom” (Hongo 4). Declaring that those writers who do not argue stereotypes of the good, loyal, and feminine Chinese man or the submissive female, are in any way contributing to or disagreeing with them is ridiculous.
Unfortunately children of Asian descent have been portrayed inaccurately in children’s literature for decades. As a large part of the American society, Asian Americans originate from a vast selection of countries including India, China, Vietnam, Japan, Korea, and Thailand. As a result of so many different countries, children are able to learn about many different cultures originating in those countries. Young children reading stories about Asians will become exposed to different ways of life and mannerisms. Authors of children’s books are attempting to eradicate the stereotypical image of Asian Americans to a more a genuine and accurate version of Asian Americans, that children can relate to. The repercussions of having inaccurately written
I'm emailing you to talk about certain attitudes at PVCICS. It has come to my attention over the past few months that there have been some derogatory or mean things said at PVCICS over the past few months.
In Growing Up Asian American in Young Adult Fiction, just published this last fall, Ymitri Mathison presents a collection of ten essays by writers that discuss Asian American young adult(YA) novels addressing different Asian American subgroupings and how those novels address issues particular to each subgroup. In her introductory essay, Mathison discusses the specific context in which Asian American children and young adult literature has developed and how that literature goes beyond the “model minority” stereotype. The complex environment in the latter part of the twentieth and early twenty-first