21G.022J | Spring 2004 | Undergraduate

International Women's Voices

Pages

Essay Assignments

Some Suggestions for Last Paper for “International Women’s Voices”

Choose a topic below and try to write 4-5 pages. Your paper may be comparative but must deal with at least one work on which you have not written before:

  1. The novel is a form of reading that often tells us how to live, how not to live; how to distinguish between good and evil; how to get married; how to be a good friend; how people communicate and change each other through dialogue. Choose any of the works we’ve read and explain specifically how the work or works taught you about some aspect of living.
  2. The novel often invites us to participate in family life in a way we might not have imagined prior to reading. Choose one or more of the novels or short stories and explain how you were or were not drawn into a style of family life that was unfamiliar or familiar to you before reading the novel.
  3. Many of the novels and short stories we have read concern power relationships between men and women, mothers and daughters, husbands and wives. Choose any of the works and examine the meaning and complexity of one or more of these relationships in the cultures they represent.
  4. Friendship among women is particularly important in So Long a Letter and Nervous Conditions. In what ways are the cultures in which these friendships are embedded an important aspect of these friendships? In what ways are they universal?
  5. Think about the relationships among characters in any of the works we have read. What are the sex roles they represent? What is their social position within the family? What is their economic reality and their geographic and historical situation. In what way is this work distant from your experience? In what way is it close to your life experience?
  6. In Nervous Conditions anorexia is an escape from competing and compelling demands on Nyasha. Compare those demands to the ones expressed in So Long a Letter. Do you sympathize with these characters? Why? Why not?
  7. Many of these works allow the reader to connect political (post-colonial, governmental, economic) violence with gender violence. This violence is not necessarily physical, but also social, ethical or economic. Discuss.
  8. Choose any of the thought questions distributed by the teaching groups or by me and use them as the basis for an essay.
  9. Each person’s identity is inextricably linked to history and culture. Pick one of the works and discuss what historical events are crucial to the story? This may include large social movements.

Thought Questions

SES # TOPICS THOUGHT QUESTIONS
1

Introduction

Film “A Veiled Revolution”

 
2 Distant View of the Minaret (PDF)
3 Distant View of the Minaret (cont.)  
4

Woman at Point Zero

Teaching Group

(PDF)
5 Woman at Point Zero (cont.)  
6 So Long a Letter

Set 1 (PDF)

Set 2 (PDF)

7 So Long a Letter (cont.)  
8 Nervous Conditions  
9 Nervous Conditions (cont.)  
11 Nervous Conditions (cont.)  
12

Chinese Short Stories

Teaching Group

Set 1 (PDF)

Set 2 (PDF)

13 Chinese Film  
14

Oryx and Crake

Teaching Group

 
15 Oryx and Crake (cont.)  
17 Margaret Atwood in Class  
18

The Good Women of China

Teaching Group

 
19 The Good Women of China (cont.)  
20

House of the Spirits

Teaching Group

Set 1 (PDF)

Set 2 (PDF)

Set 3 (PDF)

21 House of the Spirits (cont.)  
22 House of the Spirits (cont.)  
23 House of the Spirits (cont.)  
25 Japanese Films  
26

Kitchen

Teaching Group

Set 1 (PDF)

Set 2 (PDF)

27 Moonlight Shadows (PDF)
28

Last Day of Class

Final Discussion

 

SES # TOPICS KEY DATES
1

Introduction

Film “A Veiled Revolution”

 
2 Distant View of the  Minaret  
3 Distant View of the Minaret (cont.)  
4

Woman at Point Zero

Teaching Group

 
5 Woman at Point Zero (cont.) First version of first paper due
6 So Long a Letter  
7 So Long a Letter (cont.) Final version of first paper due
8

Nervous Conditions

Teaching Group

 
9 Nervous Conditions (cont.)  
10   Nilafer Gole: “Veiled Women: The Forbidden Agents between Islam and Modernity: Cases from France, Turkey and Iran”
11 Nervous Conditions (cont.)  
12

Chinese Short Stories

Teaching Group

 
13 Chinese Film First version of second paper due
14

Oryx and Crake

Teaching Group

 
15 Oryx and Crake (cont.) Final version of second paper due
16   Required presence at Margaret Atwood Presentation at Kresge
17 Margaret Atwood in Class  
18

The Good Women of China

Teaching Group

 
19 The Good Women of China (cont.)  
20

House of the Spirits

Teaching Group

 
21 House of the Spirits (cont.) First version of third paper due
22 House of the Spirits (cont.)  
23 House of the Spirits (cont.)  
24   Final version of third paper due
25 Japanese Films  
26

Kitchen

Teaching Group

 
27 Moonlight Shadows  
28

Last Day of Class

Final Discussion

 
29   Last paper due

The books read in this course vary somewhat from term to term.

Readings by Class Session

SES # TOPICS READINGS
1

Introduction

Film “A Veiled Revolution”

Required Readings

Rifaat, Alifa. Distant View of the Minaret. New York: Quartet Books, 1983.

Supplementary Readings

Allende, Isabel. “Pinochet Without Hatred.” The New York Times (January 17, 1999): 25-27.

Garibay, Ricardo. “Pablo Neruda’s Funeral.” New York: Entelechy Press Corp., 1973. (transcript of recording of funeral)

2 Distant View of the Minaret

Required Readings

Distant View of the Minaret. (cont.)

Supplementary Readings

Crossette, Barbara. “Testing the Limits of Tolerance as Cultures Mix: Does Freedom Mean Accepting Rituals that Repel the West?” The New York Times (March 6, 1999): A15, and A17.

Inda, Jules. “Behind the Veil Debate.” Utne Reader (March/April 1992): 23-24.

Lerner, George. “To Us, Women’s Liberation is the Unveiling of the Mind.” The Progressive (April 1992): 32-35.

Thompson, Ginger. “No U.S. Asylum for a Woman Threatened with Genital Cutting.” The New York Times (April 25, 1999): 27-28.

3 Distant View of the Minaret (cont.)

Required Readings

El Saadawi, Nawal. Woman at Point Zero. New Jersey: Zed Books, 1983.

4

Woman at Point Zero

Teaching Group

Required Readings

Ba, Mariama. So Long a Letter. Oxford: Heinemann, 1989.

Supplementary Readings

Ahmed, Leila. Women and Gender in Islam: Historical Roots of a Modern Debate. New Haven: Yale University Press, 1992.

Dallal, Jenine Abboushi. “The Perils of Occidentalism: How Arab Novelists are Driven to Write for Western Readers.” The Islamic World (April 24, 1998): 8-9.

Gocek, Fatma Muge, and Shiva Balaghi, eds. Reconstructing Gender in the Middle East. New York: Columbia University Press, 1994.

5 Woman at Point Zero (cont.)

Required Readings

So Long a Letter. (cont.)

6 So Long a Letter

Supplementary Readings

Esonwanne, Uzo. “Enlightenment Epistemology and ‘Aesthetic Cognition’: Mariama Bâ’s So Long a Letter.” The Politics of (M)Othering: Womanhood, Identity, and Resistance in African Literature. pp. 82-100.

Nnaemeka, Obioma. “Urban Spaces, Women’s Places: Polygamy as Sign in Mariama Bâ’s Novels.” The Politics of (M)Othering: Womanhood, Identity, and Resistance in African Literature. pp. 162-191.

7 So Long a Letter (cont.)

Required Readings

Dangarembga, Tsitsi. Nervous Conditions. London: Women’s Press, 2001.

8 Nervous Conditions

Required Readings

Nervous Conditions. (cont.)

Supplementary Readings

Basu, Biman. “Trapped and Troping: Allegries of the Transnational Intellectual in Tsitsi Dangaremba’s Nervous Conditions." ARIEL: A Review of International English Literature 28, no. 3 (July 1997): 7-24.

Gorle, Gilian. “Fighting the Good Fight: What Tsitsi Dangarembga’s Nervous Conditions Says About Language and Power.” Tsitsi Dangarembga’s Nervous Conditions: Language and Power. pp. 179, and 192.

Moyana, Rosemary. “Tsitsi Dangarembga’s Nervous Conditions: an Attempt in the Feminist Tradition.” Zambezia. 1994, XXI (1), pp. 23-42.

Nair, Supriya. “Melancholic Women: The Intellectual Hysteric(s) in Nervous Conditions.”  Research in African Literatures. pp. 130-139.

Uwakweh, Pauline A. “Debunking Patriarchy: The Liberational Quality of Voicing in Tsitsi Dangarembga’s Nervous Conditions.” Research in African Literatures. pp. 75-84.

9 Nervous Conditions (cont.)

Required Readings

Nervous Conditions. (cont.)

11 Nervous Conditions (cont.)

Required Readings

Altman, David. “For Chinese Women’s Ears Only.” The Christian Science Monitor. 11 Oct. 1995.

Barlow, Tani E., ed. Gender Politics in Modern China: Writing and Feminism. Durham: Duke University Press, 1993.

Book Reviews: “The Good Women of China: Hidden Voices.” The New Yorker, Publisher’s Weekly, and Kirkus Review.

Chinese History: Time line: 1921- present.

Dai, Jinhua, and Mayfair Yang. “A Conversation with Huang Shuqing.” Positions. Durham: Duke University Press, 1995, pp. 790-805.

Liu, Kang, and Tang Xiobing, eds. Politics, Ideology and Literary Discourse in Modern China. Durham: Duke University Press, 1993.

Liu, Lydia. “The Female Body and Nationalist  Discourse: The Field of Life and Death Revistied.” In Scattered Hegemonies: Postmodernity and Transnational Feminist Practices. Edited by Inderpal Grewal, and Caren Kaplan. Minneapolis: Univ. of Minnesota Press, pp. 37-62.

Confucius. The Analects. (Selections)

Teng, Jinhua Emma. “The Construction of the ‘Traditional Chinese Woman’ in the Western Academy: A Critical Review.” Signs (Autumn, 1996): 115-151.

Wolf, Margery, and Roxanne Witke, eds. Women in Chinese Society. Stanford: Stanford University Press, 1975.

Women in China: Free Market Outcasts.” Revolutionary Worker Online.

Yang, Gladys. “A New Woman Writer Chen Rong and Her Story ‘At Middle Age.’” In Chinese Literature. Vol. 10. Beijing, China, 1980.

12

Chinese Short Stories

Teaching Group

Required Readings

Yang, Gladys. “A New Woman Writer Chen Rong and Her Story ‘At Middle Age’.” In Chinese Literature 10, 1980. Beijing, China.

13 Chinese Film

Required Readings

Atwood, Margaret. Oryx and Crake. Toronto: McClelland & Stewart, 2003.

Film

To Live. Directed by Zhang Yimou.

Woman, Demon, Human. Directed by Huang Shuqing.

14

Oryx and Crake

Teaching Group

Required Readings

Oryx and Crake._(cont.)

15 Oryx and Crake (cont.)

Required Readings

Oryx and Crake. (cont.)

17 Margaret Atwood in Class

Required Readings

Xinran. The Good Women of China. New York: Pantheon Books, 2002.

18

The Good Women of China

Teaching Group

Required Readings

The Good Women of China.(cont.)

19 The Good Women of China (cont.)

Required Readings

Allende, Isabel. House of the Spirits. New York: Bantam Books, 1986.

20

House of the Spirits

Teaching Group

Required Readings

House of the Spirits. (cont.)

21 House of the Spirits (cont.)

Required Readings

House of the Spirits. (cont.)

22 House of the Spirits (cont.)

Required Readings

House of the Spirits. (cont.)

23 House of the Spirits (cont.)

Required Readings

House of the Spirits. (cont.)

25 Japanese Films

Required Readings

Yoshimoto, Banana. Kitchen. New York: Grove Press, 1993.

Supplementary Readings

Carter, Albert H.

“Review of Kitchen.” Studies in Short Fiction (1993): 614-615.

Gelb, Joyce, and Marian Lief Palley, eds. Women of Japan and Korea: Continuity and Change. Philadelphia: Temple University Press, 1994.

Fujimura-Fanselow, Kumiko, and Atsuko Kameda, eds. Japanese Women: New Feminist Perspectives on the Past, Present and Future. New York: City University of New York Feminist Press, 1995.

Garrison, Deborah. “Day-O!” New Yorker 68 (January 25, 1993): 109.

Iwao, Sumiko. The Japanese Woman: Traditional Image and Changing Reality. Cambridge: Harvard University Press, 1993.

Kristof, Nicholas D. “In Japan, Brutal Comics for Women.” The New York Times (November 5, 1995): 1, and 6.

Kusaka, Kimindo. “Do Japanese women Want Total Equality?” Economic Eye (June, 1984): 19-21.

Strauss, Neil. “A Japanese TV Show That Pairs Beauty and Pain.” The New York Times (July 14, 1998): 2. Section E.

Tolbert, Kathryn. “Career or Motherhood: Harsh Choice in Japan.” International Herald Tribune (Aug. 15, 2000.)

26

Kitchen

Teaching Group

Required Readings

Yoshimoto, Banana. “Moonlight Shadows.” In Kitchen. New York: Grove Press, 1993.

27 Moonlight Shadows

 Required Readings

“Moonlight Shadows” (cont.)

28

Last Day of Class

Final Discussion

none

Course Meeting Times

Lectures: 2 sessions / week, 1.5 hours / session

Course Objectives

International Women’s Voices has several objectives. It introduces students to a variety of works by contemporary women writers from Asia, Africa, the Middle East, Latin America and North America. The emphasis is on non-western writers. The readings are chosen to encourage students to think about how each author’s work reflects a distinct cultural heritage and to what extent, if any, we can identify a female voice that transcends national cultures. In lectures and readings distributed in class, students learn about the history and culture of each of the countries these authors represent. The way in which colonialism, religion, nation formation and language influence each writer is a major concern of this course. In addition, students examine the patterns of socialization of women in patriarchal cultures, and how, in the imaginary world, authors resolve or understand the relationship of the characters to love, work, identity, sex roles, marriage and politics.

This class is a communication intensive course. In addition to becoming more thoughtful readers, students are expected to become a more able and more confident writers. Assignments are designed to allow for revision of each paper. The class will also offer opportunities for speaking and debating so that students can build oral presentation skills that are essential for success once they leave MIT. The class is limited to 25 students and there is substantial classroom discussion.

Prerequisites

There are no prerequisites for this course. It is meant for undergraduates who like to read and who are curious about cultures other than their own.

Summary of Major Assignments

Throughout the semester students are asked to submit short reading response essays on every work. These essays will be read, but not graded. Three asterisks on the syllabus indicate days on which these short responses must be submitted. One purpose of the responses is to get your thoughts and reactions together for class discussion; therefore, they must be submitted when you come to class - not a few days or an hour later. Unless you have a convincing excuse, failure to turn-in a response paper will lower your grade. These response papers should avoid summarizing the works. Here are some things to consider while reading and writing the short responses:

  • What is your reaction to the work? Does it move you? Do you hate, love or feel indifferent toward it? Is your reaction based on gender? On nationality? What else in your own education has influenced your reaction?

     

  • How is the author’s vision shaped by her culture? By gender?

     

  • Do the personal and/or political views differ from those of male authors whose works you have read on the same theme?

     

  • What is the author’s view of sex roles, class, race, religion, sexuality, and sexual preference?

     

  • What role do children play in the lives of the main characters?

     

There will be four longer papers (5-6 pages) required in the course of the semester. For the first three papers you will submit the first version of the paper on the date indicated on the syllabus. Our writing tutor will have conferences with you regarding your first versions. Then you will re-write the paper for submission on the date indicated on the syllabus. There is no required draft for the fourth paper but you are welcome to meet with the tutor before it is submitted.

The class will divide itself into groups. Each group will be responsible for teaching one class. The group will meet to discuss the reading and to outline its teaching plan; the group will prepare “thought questions” on the reading and distribute them at the class meeting prior to discussion of the book. Teaching groups will meet with the instructor before they finalize their teaching plans. Groups should obtain and distribute bibliography on the author and/or the culture under discussion through library work. Students are not required to submit a journal entry on the book for which their teaching group is responsible.

Course Format

Each class is 1-1/2 hours. There will be short lectures to provide background on the history, geography and politics of the countries represented by the authors. Lectures will also contextualize the author’s style and place in the literary history of her country. When teaching group presentations are scheduled, students will lead 45 minutes of the class. Most class time will be spent in discussion - either with the whole group - or with the class divided into smaller groups that report back to the whole. Frameworks for these discussions will be distributed in class.

Basis for Grade

  1. Students are expected to attend all classes since class discussion is central to the course. Unexcused absences will automatically lower your grade.

     

  2. Since this HASS-D subject is communication intensive there is no final exam.

ACTIVITIES PERCENTAGES
Class Participation 20%
Papers 50%
Teaching Group 10%
Response Journals 20%

Other General Course Guidelines

If at any time during the semester you find yourself having trouble with work for the class, let me know right away - not at the end when it is too late. If you have any suggestions regarding any aspect of the course - how it is taught, organized, etc. - feel free to let me know either by seeing me or by attaching a note to your journal.

Course Info

As Taught In
Spring 2004
Learning Resource Types
Written Assignments
Activity Assignments