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Write a 6-12 page paper discussing the symbolic meaning of Kenji’s amputated and
Write a 6-12 page paper discussing the symbolic meaning of Kenji’s amputated and rotting leg in John Okada’s No-no Boy. Do so while reflecting in writing on the trauma inflicted on real and fictional people during the histories we have discussed and read about over the second half of the semester (after assignment of the midterm). To get a good or even passing grade, one must demonstrate extensive knowledge of at least five of the following texts or videos:
Immanuel Kant, “An Answer to the Question: What is Enlightenment (Links to an external site.)Links to an external site.
Jamelle Bouie, “The Enlightenment’s Dark Side How the Enlightenment created modern race thinking, and why we should confront it” (Links to an external site.)Links to an external site.
Daniel Defoe, Robinson Crusoe
Joseph Conrad, Heart of Darkness
Hitchcock and Flowerday, “Ishi and the California Indian Genocide as Developmental Mass Violence”
“A 1970 Law Led to the Mass Sterilization of Native American Women. That History Still Matters (Links to an external site.)Links to an external site.
Unspoken: America’s Native American Boarding Schools (Links to an external site.)Links to an external site.
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The videos assigned featuring Trevor Noah (counts as one as a set)
JACL, “Power of Words Handbook A Guide to Language about Japanese Americans in World War II Understanding Euphemisms and Preferred Terminology” (Links to an external site.)Links to an external site.
John Okada, No-no Boy
One can also draw from Frank Waln’sWhat Makes the Red Man RedLinks to an external site.
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Students can draw as well from videos that were part of the Iguchi lectures. “One may consider how real real people and fictional accounts reflecting historical events and history sometimes reveal how people find ways to process, challenge, and overcome trauma. In this regard, one might take into account what Waln does with his song and how this repeats and yet transforms the content of the film Peter Pan (1953). One might also consider John Okada’s No-no Boy and that novel’s protagonist Ichiro (or the novelist himself), as well as the heroic leadership of Nelson Mandela and Archbishop Desmond Tutu, and the comedy of Trevor Noah, a man who was “born a crime.” Lastly, it would not be a bad idea to minimally draw from the introductory chapter of James C. Scott’s Against the Grain Download Against the Grain.
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