Assignment Prompt & Instructions
[>World history homework help](https://www.sweetstudy.com/fields/history-world-history)
help me do my homework
**files (12)**
– ## INST102BShortPaperTemplate3.pdf
– ## INST102BShortPaper-1stsampleKayleeMeyers3.pdf
– ## INST102BShortPaper-2ndsampleblackmarked3.pdf
– INST102BShimadaKeizoTheAdventuresofDankichi.pdf
– INST102BLongT.BuiABetterLife-AsianAmericansandtheNecropoliticsofHigherEducation.pdf
– INST102BHosseinKhosrowjahABriefHistoryofAreaStudiesandInternationalStudies1.pdf
– INST1021BJuliaH.LeeBTSandtheLaborofTechno-Orientalism.pdf
– INST102BTechno-Orientalism.pdf
– INST102BKawamuraMinatoPopularOrientalismandJapaneseViewsofAsia.pdf
– INST102BNayanShahCh.7MakingMedicalBordersatAngelIsland.pdf
– INST102BJudyTzu-ChunWuCh.5ARevolutionaryPilgrimage.pdf
– INST102BGennyLimPaperAngels.pdf
**## INST102BShortPaperTemplate3.pdf**
Last Name and Page Number
Name
Class Info.
Title
(Intriguing: Expository)
e.g.1 Race and Resistance: Literature & Politics in Asian America
e.g.2 The Age of the “New Normal”:
Multilayered Intersection of Eugenics and the COVID-19
e.g. 3 Cripping the “New Normal”: (Dis)abled Lives during the Global Pandemic
Title of work (primary or secondary source):
Passage/Excerpt:
Critical Questions:
Reading/Analysis:
Reflection:
**## INST102BShortPaper-1stsampleKayleeMeyers3.pdf**
Meyers 1
Kaylee Meyers
Professor Ka-eul Yoo
Asias and Orientalism
October 19, 2024
The Violent Power of Fantasy: Dissecting Orientalism in M. Butterfly
Title of Work: M. Butterfly (1988) by David H. Hwang
Passage/Excerpt: p.(858-859)
SONG: Rule Two: As soon as a Western man comes into contact with the East- he’s already
confused. The West has a sort of international rape mentality towards the East. Do you know
rape mentality?
JUDGE: Give us your definition, please.
SONG: Basically, ‘her mouth says no, but her eyes say yes.’
The West thinks of itself as masculine- big guns, big industry, big money – so the East is
feminine- weak, delicate, poor…. But good at art, and full of inscrutable wisdom- the feminine
mystique.
Her mouth says no, but her eyes say yes. The West believes the East, deep down, wants
to be dominated- because a woman can’t think for herself.
JUDGE: What does this have to do with my question?
SONG: You expect the Oriental countries to submit to your guns, and you expect Oriental
women to be submissive to your men. That’s why you say they make the best wives.
JUDGE: But why would that make it possible for you to fool Monsieur Gallimard? Please- get to
the point.
SONG: One, because when he finally met his fantasy woman, he wanted more than anything to
believe that she was, in fact, a woman. And second, I am an Oriental. And being an Oriental, I
could never be completely a man.”
Critical Questions:
How does David Henry Hwang's M. Butterfly illustrate the inherent power dynamics of
Orientalist discourse, as described by Edward Said, by utilizing gendered representations to
reinforce the construction of the East as a feminized, submissive entity subjected to Western
domination and control? In what ways does the character of Gallimard in M. Butterfly reflect
Said's concept of “positional superiority,” and how does this influence his perception and
treatment of Song as an embodiment of the Western fantasy of the “Oriental” woman?
Reading/Analysis:
Meyers 2
In M. Butterfly, David Henry Hwang exposes the intricate power dynamics embedded within
Orientalist discourse through the character of Song’s dialogue, offering a striking illustration of
the gendered representations that Edward Said argues are central to the construction of the East
as a feminized, submissive entity. Song’s assertion that “the West has a sort of international rape
mentality towards the East” directly engages with Said’s concept of the relationship between the
Occident and the Orient as inherently hierarchical and coercive. Song critiques the way the West
justifies its dominance through a gendered logic, casting the East as submissive and complicit in
its own subjugation- adjacent to Edward Said’s concept of the imagined “Oriental woman” who
“never spoke of herself…He spoke for her and represented her”(Said 6).
Firstly, Song’s dialogue with the Judge allows the audience to draw a parallel between Said’s
claim that “ideas, cultures, and histories cannot seriously be understood or studied without their
force, or more precisely their configurations of power, also being studied” (Said 5). The
gendered dichotomy Song outlines between the masculine West and the feminine East fortifies
the power structure that positions the West as inevitable and “desirable.” Song’s line, “Her
mouth says no, but her eyes say yes,” highlights the assumption that the East secretly desires its
own domination- mirroring a patriarchal myth that women, despite outward protestations, truly
long to be controlled. This statement exposes the psychological violence of Orientalist ideology,
which silences the East, denying it autonomy.
Moreover, by dissecting the characters in M. Butterfly, Gallimard is emblematic of Said’s
concept of “positional superiority,” which frames the West’s perspective as inherently
authoritative or unchallengeable; the perception of Song is filtered through the lens of Orientalist
fantasy where she embodies the submissive “Butterfly.” Gallimard’s delusion is rooted in the
conviction that his fantasy aligns with reality- a delusion Song manipulates by saying, “when he
finally met his fantasy woman, he wanted more than anything to believe that she was, in fact, a
woman.” This scene concentrates on Said’s argument that “the relationship between Occident
and Orient [is one] of power, of domination, of varying degrees of a complex hegemony” (Said
6). Gallimard's refusal to see beyond his own delusion and constructed ideal, reflects this
Western addiction to defining and controlling the Orient according to its own desires- a
compulsion fundamental to Edward Said’s argument. His claim is reinforced through
Gallimard’s desperate need to see Song as the docile, obedient woman of his fantasies. And
finally, this fabrication of the Orient, as both an object of fascination and control, underscores the
lack of consent – a point Song elucidates by noting that “the West believes the East, deep down,
wants to be dominated- because a woman can’t think for herself.” In this trial scene, Gallimard’s
belief in the “submissive Oriental woman,” is exposed as it evidently aligns with the historical
Western narrative defining the East through a patriarchal framework, stripping it of its own
agency or voice.
Ultimately, Gallimard’s inability to perceive Song’s true identity is not merely a matter of
personal delusion but of the larger ideology that Said describes as – one that insists on the
Orient’s passivity to justify Western control and domination. Gallimard’s interactions with Song
are driven by a need to see his own superiority confirmed, a need that blinds him to any reality
that contradicts his belief in the East’s submission. The nuance of Hwang’s critique lies in
revealing that this Western fantasy of domination is not simply a cultural misunderstanding. It is
reflective of power relations that rely on the dehumanization and objectification of the “Other.”
Thus, the play’s portrayal of the East as the feminized, inscrutable “Butterfly” serves to
Meyers 3
perpetuate the very “complex hegemony” that Said identifies, where the West’s apparent
superiority is maintained through a constructed narrative rendering the East complicit in its own
domination.
Reflection:
David Henry Hwang’s M. Butterfly illustrates the mechanisms of Orientalist discourse, as
described by Edward Said, by embedding gendered representations within its narrative. The
play’s exploration of the Western perception of the East as feminized and submissive reveals the
structural power that, even now, maintains Orientalist ideology. Through Song’s dialogue, which
portrays the West's view of itself as masculine and dominant in contrast to the East’s perceived
femininity and submission, the play critiques the West’s need to maintain superiority by
constructing the Orient as compliant and controllable.
M. Butterfly exposes the flaws inherent in these gendered power dynamics, revealing that they
are not merely cultural artifacts but active instruments of Western hegemony. Gallimard’s
character embodies Said’s concept of “positional superiority,” as his need to see Song as his
perfect Western fantasy blinds him to her true identity. The play's critique of these
representations extends beyond a historical context to a contemporary one, illustrating how
Orientalist and gendered stereotypes continue to influence modern narratives and perceptions.
This reflection urges a deeper examination of how such stereotypes persist in present-day
cultural and political arenas, where the East is still frequently exoticized, objectified, and spoken
for.
**## INST102BShortPaper-2ndsampleblackmarked3.pdf**
Luna Lozada 1
Iriana P. Luna Lozada
CRES 114
The Aesthetics of Hate: Community, Public and State Perceptions
Title of Work: Zoot Suit (1978) by Luis Valdez
Passage/Excerpt: p.80
PRESS: What’s wrong with that? The Zoot Suit Crime Wave is even beginning to push the war
news off the front page.
PACHUCO:
The Press distorted the very meaning of the word “zoot suit”
All it is for you guys is another way to say Mexican.
hip But the ideal of the original chuco
was to look like a diamond
to look sharp
bonaroo
finding a style of urban survival
in the rural skirts and outskirts
of the brown metropolis of Los, cabron.
PRESS: It’s an afront to good taste.
PACHUCO: Like the Mexicans, Filipinos and blacks who wear them.
PRESS: Yes!
PACHUCO: Even the white kids and the Wops and the Jews are putting on the drape shape.
PRESS: You are trying to outdo the white man in exaggerated white man’s clothes!
PACHUCO:
Because everybody knows
that Mexicans, Filipinos and Blacks
belong to the hurache
the straw hat and the dirty overall.
PRESS: You savages weren’t even wearing clothes when the white man pulled you out of the
jungle.
MARINE: My parents are going without collars and cuffs so you can wear that shit.
PRESS: That’s going too far, too goddamned far and it’s got to be stopped!
Critical Questions:
What is the significance of El Pachuco describing the dressing of zoot suits and stereotypical views
of Mexicans, Filipinos and Blacks? How are normal “American” aesthetics used in the passage?
Who is threatened by the zoot suit clothing? What is the basis for the angry and hateful arguments
of the Press and Marine? How is the interaction between El Pachuco, the Press, and Marine tied to
eugenics-support by the public and state? Why is it significant about the Press and Marine being
Luna Lozada 2
the people who hold negative views of zoot suiters? What are the impacts of these stereotypical
views on communities?
Reading/Analysis:
Race and disability are illustrated—specifically in Act 2, Scene 6 titled Zoot Suit Riots—
through the interactions between El Pachuco, The Press, and Marine with regard to perceptions of
the zoot suit. El Pachuco represents the self-perception of zoot suiters while the Press and Marine
represent the public and state perception, respectively. El Pachuco describes zoot suits as “finding
a style of urban survival/in the rural skirts and outskirts” (80). On the other hand, he also distinctly
points to the fact that the United States society uses zoot suits as “another way to say Mexican”
(80). El Pachuco further emphasizes his point by stating that the dominant white society expects
the stereotypical aesthetic of Mexicans, Filipinos, and Blacks to “belong to the hurache/the straw
hat and the dirty overall” (80). In El Pachuco describing the different perceptions between zoot
suiters and the larger society, it highlights how the larger society creates categories of race and
disability to justify discrimination.
In order to systematically justify discrimination in the United States, the norm of white
“American” aesthetic is used to reinforce those who are deemed as normal and those who are
othered. In this passage, the Press states “You are trying to outdo the white man in exaggerated
white man’s clothes!” (80). The Press is reinforcing the idea that American fashion is based on
white men’s standards and the use of this style by those outside the dominant society leads to a
distortion of the “American” aesthetic. This is an important concept because historically aesthetics
were used by the United States to determine the ability/disability of immigrants. Through these
two categories, the United States has continued to ensure that perceived “threats” are barred from
entering the country.
A significant aspect of this need for safety is to understand who is threatened by the Other.
The passage points to who is threatened through the Press stating “The Zoot Suit Crime Wave is
even beginning to push the war news off the front page” (80). The focus on zoot suits rather than
the war shows how the United States at-large is focused on racialized communities being an inner
threat. This inner threat is further reinforced when the Marine states “My parents are going without
collars and cuffs so you can wear that shit” (80). The Marine uses his parents rationing of fabric
to reinforce the idea that Mexican American communities are unpatriotic and a potential threat to
the United States.
The angry and hateful arguments made by the Press and Marine are based on eugenics,
specifically atavism and evolutionary progress. The Press states “You savages weren’t even
wearing clothes when the white man pulled you out of the jungle” (80). This statement is
significant to understanding the intersection between disability and race. During the eugenicist
movement, many doctors and scholars viewed disabled people as reversions in evolutionary
progress. This atavism was tied to racialized people since they were categorized as being stuck in
earlier stages of human evolution. Moreover, the passage depicts the public and state support for
eugenics in the United States through the white supremacist arguments used by the Press and
Marine. The public and state support of eugenics is important in understanding race and disability
because it brings to light how normality continues to be used to measure, categorize, and manage
societies.
Luna Lozada 3
Reflection:
The play, Zoot Suit, depicts the discriminatory experiences felt by Mexican-American
communities in the 1940s. These experiences are significant to showcase because they help
understand how disability and race are socially constructed by the dominant society of the United
States. The Press and servicemen in describing their negative views of zoot suiters are highlighting
how negative public opinions of zoot suiters were derived from white supremacy and how these
opinions became quickly supported by many in society. This specific passage illustrates the
impacts of these social constructions by explicitly contrasting the view of the zoot suiters and the
backlash they received from society. Moreover, this play reflects how these negative views have
continued to persist and are the dominant narrative of today. For example, there continues to be a
constant policing of the aesthetics of marginalized communities which include those who
experience racism, sexism, and ableism. This type of policing occurs in higher education
institutions, social media platforms as well as the workplace where people need to dress
“professionally” and “presentable.” People from marginalized communities are often expected to
dress to a certain standard while those from more privileged backgrounds are allowed more leeway
in their dressing attire. Furthermore, aesthetics continue to be a method used to justify exoticism
and discrimination.
**INST102BShimadaKeizoTheAdventuresofDankichi.pdf**
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**INST102BLongT.BuiABetterLife-AsianAmericansandtheNecropoliticsofHigherEducation.pdf**
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**INST102BHosseinKhosrowjahABriefHistoryofAreaStudiesandInternationalStudies1.pdf**
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**INST1021BJuliaH.LeeBTSandtheLaborofTechno-Orientalism.pdf**
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**INST102BTechno-Orientalism.pdf**
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**INST102BKawamuraMinatoPopularOrientalismandJapaneseViewsofAsia.pdf**
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**INST102BNayanShahCh.7MakingMedicalBordersatAngelIsland.pdf**
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**INST102BJudyTzu-ChunWuCh.5ARevolutionaryPilgrimage.pdf**
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**INST102BGennyLimPaperAngels.pdf**
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**INST102BGennyLimPaperAngels.pdf**
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**## INST102BShortPaperTemplate3.pdf**
Last Name and Page Number
Name
Class Info.
Title
(Intriguing: Expository)
e.g.1 Race and Resistance: Literature & Politics in Asian America
e.g.2 The Age of the “New Normal”:
Multilayered Intersection of Eugenics and the COVID-19
e.g. 3 Cripping the “New Normal”: (Dis)abled Lives during the Global Pandemic
Title of work (primary or secondary source):
Passage/Excerpt:
Critical Questions:
Reading/Analysis:
Reflection:
**## INST102BShortPaper-1stsampleKayleeMeyers3.pdf**
Meyers 1
Kaylee Meyers
Professor Ka-eul Yoo
Asias and Orientalism
October 19, 2024
The Violent Power of Fantasy: Dissecting Orientalism in M. Butterfly
Title of Work: M. Butterfly (1988) by David H. Hwang
Passage/Excerpt: p.(858-859)
SONG: Rule Two: As soon as a Western man comes into contact with the East- he’s already
confused. The West has a sort of international rape mentality towards the East. Do you know
rape mentality?
JUDGE: Give us your definition, please.
SONG: Basically, ‘her mouth says no, but her eyes say yes.’
The West thinks of itself as masculine- big guns, big industry, big money – so the East is
feminine- weak, delicate, poor…. But good at art, and full of inscrutable wisdom- the feminine
mystique.
Her mouth says no, but her eyes say yes. The West believes the East, deep down, wants
to be dominated- because a woman can’t think for herself.
JUDGE: What does this have to do with my question?
SONG: You expect the Oriental countries to submit to your guns, and you expect Oriental
women to be submissive to your men. That’s why you say they make the best wives.
JUDGE: But why would that make it possible for you to fool Monsieur Gallimard? Please- get to
the point.
SONG: One, because when he finally met his fantasy woman, he wanted more than anything to
believe that she was, in fact, a woman. And second, I am an Oriental. And being an Oriental, I
could never be completely a man.”
Critical Questions:
How does David Henry Hwang's M. Butterfly illustrate the inherent power dynamics of
Orientalist discourse, as described by Edward Said, by utilizing gendered representations to
reinforce the construction of the East as a feminized, submissive entity subjected to Western
domination and control? In what ways does the character of Gallimard in M. Butterfly reflect
Said's concept of “positional superiority,” and how does this influence his perception and
treatment of Song as an embodiment of the Western fantasy of the “Oriental” woman?
Reading/Analysis:
Meyers 2
In M. Butterfly, David Henry Hwang exposes the intricate power dynamics embedded within
Orientalist discourse through the character of Song’s dialogue, offering a striking illustration of
the gendered representations that Edward Said argues are central to the construction of the East
as a feminized, submissive entity. Song’s assertion that “the West has a sort of international rape
mentality towards the East” directly engages with Said’s concept of the relationship between the
Occident and the Orient as inherently hierarchical and coercive. Song critiques the way the West
justifies its dominance through a gendered logic, casting the East as submissive and complicit in
its own subjugation- adjacent to Edward Said’s concept of the imagined “Oriental woman” who
“never spoke of herself…He spoke for her and represented her”(Said 6).
Firstly, Song’s dialogue with the Judge allows the audience to draw a parallel between Said’s
claim that “ideas, cultures, and histories cannot seriously be understood or studied without their
force, or more precisely their configurations of power, also being studied” (Said 5). The
gendered dichotomy Song outlines between the masculine West and the feminine East fortifies
the power structure that positions the West as inevitable and “desirable.” Song’s line, “Her
mouth says no, but her eyes say yes,” highlights the assumption that the East secretly desires its
own domination- mirroring a patriarchal myth that women, despite outward protestations, truly
long to be controlled. This statement exposes the psychological violence of Orientalist ideology,
which silences the East, denying it autonomy.
Moreover, by dissecting the characters in M. Butterfly, Gallimard is emblematic of Said’s
concept of “positional superiority,” which frames the West’s perspective as inherently
authoritative or unchallengeable; the perception of Song is filtered through the lens of Orientalist
fantasy where she embodies the submissive “Butterfly.” Gallimard’s delusion is rooted in the
conviction that his fantasy aligns with reality- a delusion Song manipulates by saying, “when he
finally met his fantasy woman, he wanted more than anything to believe that she was, in fact, a
woman.” This scene concentrates on Said’s argument that “the relationship between Occident
and Orient [is one] of power, of domination, of varying degrees of a complex hegemony” (Said
6). Gallimard's refusal to see beyond his own delusion and constructed ideal, reflects this
Western addiction to defining and controlling the Orient according to its own desires- a
compulsion fundamental to Edward Said’s argument. His claim is reinforced through
Gallimard’s desperate need to see Song as the docile, obedient woman of his fantasies. And
finally, this fabrication of the Orient, as both an object of fascination and control, underscores the
lack of consent – a point Song elucidates by noting that “the West believes the East, deep down,
wants to be dominated- because a woman can’t think for herself.” In this trial scene, Gallimard’s
belief in the “submissive Oriental woman,” is exposed as it evidently aligns with the historical
Western narrative defining the East through a patriarchal framework, stripping it of its own
agency or voice.
Ultimately, Gallimard’s inability to perceive Song’s true identity is not merely a matter of
personal delusion but of the larger ideology that Said describes as – one that insists on the
Orient’s passivity to justify Western control and domination. Gallimard’s interactions with Song
are driven by a need to see his own superiority confirmed, a need that blinds him to any reality
that contradicts his belief in the East’s submission. The nuance of Hwang’s critique lies in
revealing that this Western fantasy of domination is not simply a cultural misunderstanding. It is
reflective of power relations that rely on the dehumanization and objectification of the “Other.”
Thus, the play’s portrayal of the East as the feminized, inscrutable “Butterfly” serves to
Meyers 3
perpetuate the very “complex hegemony” that Said identifies, where the West’s apparent
superiority is maintained through a constructed narrative rendering the East complicit in its own
domination.
Reflection:
David Henry Hwang’s M. Butterfly illustrates the mechanisms of Orientalist discourse, as
described by Edward Said, by embedding gendered representations within its narrative. The
play’s exploration of the Western perception of the East as feminized and submissive reveals the
structural power that, even now, maintains Orientalist ideology. Through Song’s dialogue, which
portrays the West's view of itself as masculine and dominant in contrast to the East’s perceived
femininity and submission, the play critiques the West’s need to maintain superiority by
constructing the Orient as compliant and controllable.
M. Butterfly exposes the flaws inherent in these gendered power dynamics, revealing that they
are not merely cultural artifacts but active instruments of Western hegemony. Gallimard’s
character embodies Said’s concept of “positional superiority,” as his need to see Song as his
perfect Western fantasy blinds him to her true identity. The play's critique of these
representations extends beyond a historical context to a contemporary one, illustrating how
Orientalist and gendered stereotypes continue to influence modern narratives and perceptions.
This reflection urges a deeper examination of how such stereotypes persist in present-day
cultural and political arenas, where the East is still frequently exoticized, objectified, and spoken
for.
**## INST102BShortPaper-2ndsampleblackmarked3.pdf**
Luna Lozada 1
Iriana P. Luna Lozada
CRES 114
The Aesthetics of Hate: Community, Public and State Perceptions
Title of Work: Zoot Suit (1978) by Luis Valdez
Passage/Excerpt: p.80
PRESS: What’s wrong with that? The Zoot Suit Crime Wave is even beginning to push the war
news off the front page.
PACHUCO:
The Press distorted the very meaning of the word “zoot suit”
All it is for you guys is another way to say Mexican.
hip But the ideal of the original chuco
was to look like a diamond
to look sharp
bonaroo
finding a style of urban survival
in the rural skirts and outskirts
of the brown metropolis of Los, cabron.
PRESS: It’s an afront to good taste.
PACHUCO: Like the Mexicans, Filipinos and blacks who wear them.
PRESS: Yes!
PACHUCO: Even the white kids and the Wops and the Jews are putting on the drape shape.
PRESS: You are trying to outdo the white man in exaggerated white man’s clothes!
PACHUCO:
Because everybody knows
that Mexicans, Filipinos and Blacks
belong to the hurache
the straw hat and the dirty overall.
PRESS: You savages weren’t even wearing clothes when the white man pulled you out of the
jungle.
MARINE: My parents are going without collars and cuffs so you can wear that shit.
PRESS: That’s going too far, too goddamned far and it’s got to be stopped!
Critical Questions:
What is the significance of El Pachuco describing the dressing of zoot suits and stereotypical views
of Mexicans, Filipinos and Blacks? How are normal “American” aesthetics used in the passage?
Who is threatened by the zoot suit clothing? What is the basis for the angry and hateful arguments
of the Press and Marine? How is the interaction between El Pachuco, the Press, and Marine tied to
eugenics-support by the public and state? Why is it significant about the Press and Marine being
Luna Lozada 2
the people who hold negative views of zoot suiters? What are the impacts of these stereotypical
views on communities?
Reading/Analysis:
Race and disability are illustrated—specifically in Act 2, Scene 6 titled Zoot Suit Riots—
through the interactions between El Pachuco, The Press, and Marine with regard to perceptions of
the zoot suit. El Pachuco represents the self-perception of zoot suiters while the Press and Marine
represent the public and state perception, respectively. El Pachuco describes zoot suits as “finding
a style of urban survival/in the rural skirts and outskirts” (80). On the other hand, he also distinctly
points to the fact that the United States society uses zoot suits as “another way to say Mexican”
(80). El Pachuco further emphasizes his point by stating that the dominant white society expects
the stereotypical aesthetic of Mexicans, Filipinos, and Blacks to “belong to the hurache/the straw
hat and the dirty overall” (80). In El Pachuco describing the different perceptions between zoot
suiters and the larger society, it highlights how the larger society creates categories of race and
disability to justify discrimination.
In order to systematically justify discrimination in the United States, the norm of white
“American” aesthetic is used to reinforce those who are deemed as normal and those who are
othered. In this passage, the Press states “You are trying to outdo the white man in exaggerated
white man’s clothes!” (80). The Press is reinforcing the idea that American fashion is based on
white men’s standards and the use of this style by those outside the dominant society leads to a
distortion of the “American” aesthetic. This is an important concept because historically aesthetics
were used by the United States to determine the ability/disability of immigrants. Through these
two categories, the United States has continued to ensure that perceived “threats” are barred from
entering the country.
A significant aspect of this need for safety is to understand who is threatened by the Other.
The passage points to who is threatened through the Press stating “The Zoot Suit Crime Wave is
even beginning to push the war news off the front page” (80). The focus on zoot suits rather than
the war shows how the United States at-large is focused on racialized communities being an inner
threat. This inner threat is further reinforced when the Marine states “My parents are going without
collars and cuffs so you can wear that shit” (80). The Marine uses his parents rationing of fabric
to reinforce the idea that Mexican American communities are unpatriotic and a potential threat to
the United States.
The angry and hateful arguments made by the Press and Marine are based on eugenics,
specifically atavism and evolutionary progress. The Press states “You savages weren’t even
wearing clothes when the white man pulled you out of the jungle” (80). This statement is
significant to understanding the intersection between disability and race. During the eugenicist
movement, many doctors and scholars viewed disabled people as reversions in evolutionary
progress. This atavism was tied to racialized people since they were categorized as being stuck in
earlier stages of human evolution. Moreover, the passage depicts the public and state support for
eugenics in the United States through the white supremacist arguments used by the Press and
Marine. The public and state support of eugenics is important in understanding race and disability
because it brings to light how normality continues to be used to measure, categorize, and manage
societies.
Luna Lozada 3
Reflection:
The play, Zoot Suit, depicts the discriminatory experiences felt by Mexican-American
communities in the 1940s. These experiences are significant to showcase because they help
understand how disability and race are socially constructed by the dominant society of the United
States. The Press and servicemen in describing their negative views of zoot suiters are highlighting
how negative public opinions of zoot suiters were derived from white supremacy and how these
opinions became quickly supported by many in society. This specific passage illustrates the
impacts of these social constructions by explicitly contrasting the view of the zoot suiters and the
backlash they received from society. Moreover, this play reflects how these negative views have
continued to persist and are the dominant narrative of today. For example, there continues to be a
constant policing of the aesthetics of marginalized communities which include those who
experience racism, sexism, and ableism. This type of policing occurs in higher education
institutions, social media platforms as well as the workplace where people need to dress
“professionally” and “presentable.” People from marginalized communities are often expected to
dress to a certain standard while those from more privileged backgrounds are allowed more leeway
in their dressing attire. Furthermore, aesthetics continue to be a method used to justify exoticism
and discrimination.
**INST102BShimadaKeizoTheAdventuresofDankichi.pdf**
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**INST102BLongT.BuiABetterLife-AsianAmericansandtheNecropoliticsofHigherEducation.pdf**
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**INST102BHosseinKhosrowjahABriefHistoryofAreaStudiesandInternationalStudies1.pdf**
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**INST1021BJuliaH.LeeBTSandtheLaborofTechno-Orientalism.pdf**
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**INST102BTechno-Orientalism.pdf**
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**INST102BKawamuraMinatoPopularOrientalismandJapaneseViewsofAsia.pdf**
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**INST102BNayanShahCh.7MakingMedicalBordersatAngelIsland.pdf**
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**INST102BJudyTzu-ChunWuCh.5ARevolutionaryPilgrimage.pdf**
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**INST102BGennyLimPaperAngels.pdf**
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**## INST102BShortPaperTemplate3.pdf**
Last Name and Page Number
Name
Class Info.
Title
(Intriguing: Expository)
e.g.1 Race and Resistance: Literature & Politics in Asian America
e.g.2 The Age of the “New Normal”:
Multilayered Intersection of Eugenics and the COVID-19
e.g. 3 Cripping the “New Normal”: (Dis)abled Lives during the Global Pandemic
Title of work (primary or secondary source):
Passage/Excerpt:
Critical Questions:
Reading/Analysis:
Reflection:
**## INST102BShortPaper-1stsampleKayleeMeyers3.pdf**
Meyers 1
Kaylee Meyers
Professor Ka-eul Yoo
Asias and Orientalism
October 19, 2024
The Violent Power of Fantasy: Dissecting Orientalism in M. Butterfly
Title of Work: M. Butterfly (1988) by David H. Hwang
Passage/Excerpt: p.(858-859)
SONG: Rule Two: As soon as a Western man comes into contact with the East- he’s already
confused. The West has a sort of international rape mentality towards the East. Do you know
rape mentality?
JUDGE: Give us your definition, please.
SONG: Basically, ‘her mouth says no, but her eyes say yes.’
The West thinks of itself as masculine- big guns, big industry, big money – so the East is
feminine- weak, delicate, poor…. But good at art, and full of inscrutable wisdom- the feminine
mystique.
Her mouth says no, but her eyes say yes. The West believes the East, deep down, wants
to be dominated- because a woman can’t think for herself.
JUDGE: What does this have to do with my question?
SONG: You expect the Oriental countries to submit to your guns, and you expect Oriental
women to be submissive to your men. That’s why you say they make the best wives.
JUDGE: But why would that make it possible for you to fool Monsieur Gallimard? Please- get to
the point.
SONG: One, because when he finally met his fantasy woman, he wanted more than anything to
believe that she was, in fact, a woman. And second, I am an Oriental. And being an Oriental, I
could never be completely a man.”
Critical Questions:
How does David Henry Hwang's M. Butterfly illustrate the inherent power dynamics of
Orientalist discourse, as described by Edward Said, by utilizing gendered representations to
reinforce the construction of the East as a feminized, submissive entity subjected to Western
domination and control? In what ways does the character of Gallimard in M. Butterfly reflect
Said's concept of “positional superiority,” and how does this influence his perception and
treatment of Song as an embodiment of the Western fantasy of the “Oriental” woman?
Reading/Analysis:
Meyers 2
In M. Butterfly, David Henry Hwang exposes the intricate power dynamics embedded within
Orientalist discourse through the character of Song’s dialogue, offering a striking illustration of
the gendered representations that Edward Said argues are central to the construction of the East
as a feminized, submissive entity. Song’s assertion that “the West has a sort of international rape
mentality towards the East” directly engages with Said’s concept of the relationship between the
Occident and the Orient as inherently hierarchical and coercive. Song critiques the way the West
justifies its dominance through a gendered logic, casting the East as submissive and complicit in
its own subjugation- adjacent to Edward Said’s concept of the imagined “Oriental woman” who
“never spoke of herself…He spoke for her and represented her”(Said 6).
Firstly, Song’s dialogue with the Judge allows the audience to draw a parallel between Said’s
claim that “ideas, cultures, and histories cannot seriously be understood or studied without their
force, or more precisely their configurations of power, also being studied” (Said 5). The
gendered dichotomy Song outlines between the masculine West and the feminine East fortifies
the power structure that positions the West as inevitable and “desirable.” Song’s line, “Her
mouth says no, but her eyes say yes,” highlights the assumption that the East secretly desires its
own domination- mirroring a patriarchal myth that women, despite outward protestations, truly
long to be controlled. This statement exposes the psychological violence of Orientalist ideology,
which silences the East, denying it autonomy.
Moreover, by dissecting the characters in M. Butterfly, Gallimard is emblematic of Said’s
concept of “positional superiority,” which frames the West’s perspective as inherently
authoritative or unchallengeable; the perception of Song is filtered through the lens of Orientalist
fantasy where she embodies the submissive “Butterfly.” Gallimard’s delusion is rooted in the
conviction that his fantasy aligns with reality- a delusion Song manipulates by saying, “when he
finally met his fantasy woman, he wanted more than anything to believe that she was, in fact, a
woman.” This scene concentrates on Said’s argument that “the relationship between Occident
and Orient [is one] of power, of domination, of varying degrees of a complex hegemony” (Said
6). Gallimard's refusal to see beyond his own delusion and constructed ideal, reflects this
Western addiction to defining and controlling the Orient according to its own desires- a
compulsion fundamental to Edward Said’s argument. His claim is reinforced through
Gallimard’s desperate need to see Song as the docile, obedient woman of his fantasies. And
finally, this fabrication of the Orient, as both an object of fascination and control, underscores the
lack of consent – a point Song elucidates by noting that “the West believes the East, deep down,
wants to be dominated- because a woman can’t think for herself.” In this trial scene, Gallimard’s
belief in the “submissive Oriental woman,” is exposed as it evidently aligns with the historical
Western narrative defining the East through a patriarchal framework, stripping it of its own
agency or voice.
Ultimately, Gallimard’s inability to perceive Song’s true identity is not merely a matter of
personal delusion but of the larger ideology that Said describes as – one that insists on the
Orient’s passivity to justify Western control and domination. Gallimard’s interactions with Song
are driven by a need to see his own superiority confirmed, a need that blinds him to any reality
that contradicts his belief in the East’s submission. The nuance of Hwang’s critique lies in
revealing that this Western fantasy of domination is not simply a cultural misunderstanding. It is
reflective of power relations that rely on the dehumanization and objectification of the “Other.”
Thus, the play’s portrayal of the East as the feminized, inscrutable “Butterfly” serves to
Meyers 3
perpetuate the very “complex hegemony” that Said identifies, where the West’s apparent
superiority is maintained through a constructed narrative rendering the East complicit in its own
domination.
Reflection:
David Henry Hwang’s M. Butterfly illustrates the mechanisms of Orientalist discourse, as
described by Edward Said, by embedding gendered representations within its narrative. The
play’s exploration of the Western perception of the East as feminized and submissive reveals the
structural power that, even now, maintains Orientalist ideology. Through Song’s dialogue, which
portrays the West's view of itself as masculine and dominant in contrast to the East’s perceived
femininity and submission, the play critiques the West’s need to maintain superiority by
constructing the Orient as compliant and controllable.
M. Butterfly exposes the flaws inherent in these gendered power dynamics, revealing that they
are not merely cultural artifacts but active instruments of Western hegemony. Gallimard’s
character embodies Said’s concept of “positional superiority,” as his need to see Song as his
perfect Western fantasy blinds him to her true identity. The play's critique of these
representations extends beyond a historical context to a contemporary one, illustrating how
Orientalist and gendered stereotypes continue to influence modern narratives and perceptions.
This reflection urges a deeper examination of how such stereotypes persist in present-day
cultural and political arenas, where the East is still frequently exoticized, objectified, and spoken
for.
**## INST102BShortPaper-2ndsampleblackmarked3.pdf**
Luna Lozada 1
Iriana P. Luna Lozada
CRES 114
The Aesthetics of Hate: Community, Public and State Perceptions
Title of Work: Zoot Suit (1978) by Luis Valdez
Passage/Excerpt: p.80
PRESS: What’s wrong with that? The Zoot Suit Crime Wave is even beginning to push the war
news off the front page.
PACHUCO:
The Press distorted the very meaning of the word “zoot suit”
All it is for you guys is another way to say Mexican.
hip But the ideal of the original chuco
was to look like a diamond
to look sharp
bonaroo
finding a style of urban survival
in the rural skirts and outskirts
of the brown metropolis of Los, cabron.
PRESS: It’s an afront to good taste.
PACHUCO: Like the Mexicans, Filipinos and blacks who wear them.
PRESS: Yes!
PACHUCO: Even the white kids and the Wops and the Jews are putting on the drape shape.
PRESS: You are trying to outdo the white man in exaggerated white man’s clothes!
PACHUCO:
Because everybody knows
that Mexicans, Filipinos and Blacks
belong to the hurache
the straw hat and the dirty overall.
PRESS: You savages weren’t even wearing clothes when the white man pulled you out of the
jungle.
MARINE: My parents are going without collars and cuffs so you can wear that shit.
PRESS: That’s going too far, too goddamned far and it’s got to be stopped!
Critical Questions:
What is the significance of El Pachuco describing the dressing of zoot suits and stereotypical views
of Mexicans, Filipinos and Blacks? How are normal “American” aesthetics used in the passage?
Who is threatened by the zoot suit clothing? What is the basis for the angry and hateful arguments
of the Press and Marine? How is the interaction between El Pachuco, the Press, and Marine tied to
eugenics-support by the public and state? Why is it significant about the Press and Marine being
Luna Lozada 2
the people who hold negative views of zoot suiters? What are the impacts of these stereotypical
views on communities?
Reading/Analysis:
Race and disability are illustrated—specifically in Act 2, Scene 6 titled Zoot Suit Riots—
through the interactions between El Pachuco, The Press, and Marine with regard to perceptions of
the zoot suit. El Pachuco represents the self-perception of zoot suiters while the Press and Marine
represent the public and state perception, respectively. El Pachuco describes zoot suits as “finding
a style of urban survival/in the rural skirts and outskirts” (80). On the other hand, he also distinctly
points to the fact that the United States society uses zoot suits as “another way to say Mexican”
(80). El Pachuco further emphasizes his point by stating that the dominant white society expects
the stereotypical aesthetic of Mexicans, Filipinos, and Blacks to “belong to the hurache/the straw
hat and the dirty overall” (80). In El Pachuco describing the different perceptions between zoot
suiters and the larger society, it highlights how the larger society creates categories of race and
disability to justify discrimination.
In order to systematically justify discrimination in the United States, the norm of white
“American” aesthetic is used to reinforce those who are deemed as normal and those who are
othered. In this passage, the Press states “You are trying to outdo the white man in exaggerated
white man’s clothes!” (80). The Press is reinforcing the idea that American fashion is based on
white men’s standards and the use of this style by those outside the dominant society leads to a
distortion of the “American” aesthetic. This is an important concept because historically aesthetics
were used by the United States to determine the ability/disability of immigrants. Through these
two categories, the United States has continued to ensure that perceived “threats” are barred from
entering the country.
A significant aspect of this need for safety is to understand who is threatened by the Other.
The passage points to who is threatened through the Press stating “The Zoot Suit Crime Wave is
even beginning to push the war news off the front page” (80). The focus on zoot suits rather than
the war shows how the United States at-large is focused on racialized communities being an inner
threat. This inner threat is further reinforced when the Marine states “My parents are going without
collars and cuffs so you can wear that shit” (80). The Marine uses his parents rationing of fabric
to reinforce the idea that Mexican American communities are unpatriotic and a potential threat to
the United States.
The angry and hateful arguments made by the Press and Marine are based on eugenics,
specifically atavism and evolutionary progress. The Press states “You savages weren’t even
wearing clothes when the white man pulled you out of the jungle” (80). This statement is
significant to understanding the intersection between disability and race. During the eugenicist
movement, many doctors and scholars viewed disabled people as reversions in evolutionary
progress. This atavism was tied to racialized people since they were categorized as being stuck in
earlier stages of human evolution. Moreover, the passage depicts the public and state support for
eugenics in the United States through the white supremacist arguments used by the Press and
Marine. The public and state support of eugenics is important in understanding race and disability
because it brings to light how normality continues to be used to measure, categorize, and manage
societies.
Luna Lozada 3
Reflection:
The play, Zoot Suit, depicts the discriminatory experiences felt by Mexican-American
communities in the 1940s. These experiences are significant to showcase because they help
understand how disability and race are socially constructed by the dominant society of the United
States. The Press and servicemen in describing their negative views of zoot suiters are highlighting
how negative public opinions of zoot suiters were derived from white supremacy and how these
opinions became quickly supported by many in society. This specific passage illustrates the
impacts of these social constructions by explicitly contrasting the view of the zoot suiters and the
backlash they received from society. Moreover, this play reflects how these negative views have
continued to persist and are the dominant narrative of today. For example, there continues to be a
constant policing of the aesthetics of marginalized communities which include those who
experience racism, sexism, and ableism. This type of policing occurs in higher education
institutions, social media platforms as well as the workplace where people need to dress
“professionally” and “presentable.” People from marginalized communities are often expected to
dress to a certain standard while those from more privileged backgrounds are allowed more leeway
in their dressing attire. Furthermore, aesthetics continue to be a method used to justify exoticism
and discrimination.
**INST102BShimadaKeizoTheAdventuresofDankichi.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/inst102bshimadakeizotheadventuresofdankichi-pdf-10501525)
**INST102BLongT.BuiABetterLife-AsianAmericansandtheNecropoliticsofHigherEducation.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/inst102blongt-buiabetterlife-asianamericansandthenecropoliticsofhighereducation-pdf-10501527)
**INST102BHosseinKhosrowjahABriefHistoryofAreaStudiesandInternationalStudies1.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/inst102bhosseinkhosrowjahabriefhistoryofareastudiesandinternationalstudies1-pdf-10501519)
**INST1021BJuliaH.LeeBTSandtheLaborofTechno-Orientalism.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/inst1021bjuliah-leebtsandthelaboroftechno-orientalism-pdf-10501515)
**INST102BTechno-Orientalism.pdf**
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**INST102BKawamuraMinatoPopularOrientalismandJapaneseViewsofAsia.pdf**
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**INST102BNayanShahCh.7MakingMedicalBordersatAngelIsland.pdf**
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**INST102BJudyTzu-ChunWuCh.5ARevolutionaryPilgrimage.pdf**
This file is too large to display. [View in new window](https://www.sweetstudy.com/files/inst102bjudytzu-chunwuch-5arevolutionarypilgrimage-pdf-10501507)
**INST102BGennyLimPaperAngels.pdf**
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