GASA01H3 Study Guide - Modern Girl, Sex Symbol, Korean Wave

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24 Apr 2012
Nicolas Jeganathan
Essay Topics For Global East Asia
1. Women In Modern Times comparison from the Mani and Silverberg authors.
Café Waitress
The Café Waitress was a
working class model of the
Modern girl and as such
she sang the blues.
The Modern Girl was seen
as promiscuous and
autonomous for two
reasons, she worked the
streets, and secondly male
critics addressed some of
their fears of the
modernity in general and
pinned it to her.
If Freedom of movement
was the hallmark of the
Modern Girl, then
confinement defined the
lifestyle of the Café
waitress. The waitress did
not transgress any cultural
boundaries whereas the
modern girl did.
The café waitress can be
seen as a sex symbol.
The café waitress herself
transgressed social
boundaries after the
introduction of the Jokyu
into modern.
The Jokyu was essentially a
constrained modern girl
who was a café waitress.
She'd be seen as someone
to have sexual relations
A Sekkyakufu however was
someone who came into
direct contact with the
Though the women in the
Cafés weren't legally
obliged to satisfy their
duties. They were mainly
coerced by their
surroundings into their
current line of work.
The lack of freedom and
gender equality in these
groups is very similar as
The women are often
treated as a subordinate to
their superior male
A wife, a common sex
symbol, and the waitress
would also be seen in this
Gender roles within Indian
and South East Asian
Cultures in general are
usually quite strict.
The wife often shows
copious amounts of
devotion to her husband
and doesn't remarry.
The practice of Sati or
Widow burning is simply an
example of this.
The husband is often the
breadwinner of the family
so it would be common in
most families for the wife
to simply die because she
would be unable to
financially support the
After the culture had
grown they believed it to
be mandatory and
eventually windows were
being drugs and held down
by Bamboo and Burnt at
the stake.
Mani examines accounts
written by colonisers,
usually male, who
have witnessed Sati's. She
is examining a "colonial
Women presented as
heroines or pathetic
The accounts note the
"infatuated" widow. The
agency of the
widow is underplayed.
Mani finds the colonial
viewer to be the one who is
truly infatuated,
transfixed by the woman's
beauty and presumed
A "phallocentric reverie". A
"masculinist gaze".
His fascination is the
"underside of horror".
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