Tag Archives: culture

The Universality of Literature: Balzac and the Little Chinese Seamstress

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– Angélica Creixell

Literature has the power to transport readers to different times in the history of a country. Rather than stating facts and chronological events, authors situate and educate readers about a reality through characterization, metaphors, settings and, essentially, the plot. A novel can be a form of expression for authors to subtly, or not so subtly, protest against historic periods or governmental regimes. It can enhance higher education by teaching indirectly through narratives and imagery. Such is the case of Dai Sijie.

Born on March 2, 1954, in Putian, China, he was sent to the Sichuan Providence for his re-education during Mao’s Cultural Revolution. Afterward, he sought refuge in France and became a filmmaker. Years later trying to succeed in this form of art, he found the magic and universality of literature. In “Balzac and the Little Chinese Seamstress,” he portrays the re-education reality of two young men, Luo, and the narrator, who are sent to the countryside to learn from illiterate farmers in a semi-autobiographic novel. Together they share the hardships of their new life and then fall in love with the same girl, a seamstress.  They also meet Four Eyes, another young man from the same town who has a secret trunk full of books of Western literature – banned by the Communist regime. It is through literature that they discover the meaning of love, new ideas and the power of imagination. In the novel, literature represents freedom as it gives faith to the characters to overcome any obstacle. It becomes their channel of education in the middle of the mountains.

The novel’s subtle criticism was enough for it to be banned by the Chinese government. When talking about this, Dai Sijie stated, “It wasn’t that I touched the Cultural Revolution … they did not accept that Western literature could change a Chinese girl. I explained that classical literature is a universal heritage, but to no avail.” This novel about literature and love is an ode to the universality of literature and education. After its worldwide success, Dai Sijie directed the movie of the book. For me, it is one of the rare cases where the movie might be better than the book. As a filmmaker, Dai converts the novel’s simple language into beautiful images and palpable nostalgia as the two young men discover themselves in literature, Balzac, and love for the same seamstress. The film ends differently from the novel, as the two young men meet again in Beijing years later, possibly after completing graduate degrees in the United States and Europe, as did Dai Sijie with his former companions after the Cultural Revolution.

Sources and reviews:

Allen, Brooke. “A Suitcase Education.” The New York Times. Sept. 16, 2001. http://www.nytimes.com/2001/09/16/books/a-suitcase-education.html

Riding, Alan. “Artistic Odyssey: Film to Fiction to Film.” The New York Times. July 25, 2007. http://www.nytimes.com/2005/07/27/movies/MoviesFeatures/artistic-odyssey-film-to-fiction-to-film.html

 

Characterizing the Globalized African University

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This week I found an article which analyzes the station of higher education in Africa. We haven’t yet dealt with African cases in class, so I figured that this might be a topic of interest. The article “The African University as ‘Global’ University” was written by Isaac Kamola, Assistant Professor of Political Science at Trinity College.

Kamola argues that, despite a low matriculation rate of 3% in sub-Saharan Africa, it is intellectually valuable to analyze African universities as global universities. The main thrust is that the ‘globe’ has had an indelible effect on the development of the African university- whether by colonization or the international finance regime- and that the objective for policymakers today is to distinguish between what is African about the university system and what is not.

Perhaps the most interesting point Kamola raises, concerns the role of the World Bank in impeding the development of African higher education. In the years following decolonization, many African states faced financial crises, which they sought to solve with loans from the World Bank. As a condition of the loan, the World Bank mandated austerity measures targeting, among other things, higher education spending. The cuts inspired street protests by university students who were met with violent crackdowns by military and police forces. Today however, the World Bank prioritizes higher education as an essential pathway in economic development. All this provides an interesting backdrop for Kamola’s thesis: that despite it’s low domestic enrollment, lack of research, and lack of international students, African universities are wary of anymore globalization.

For me the piece raises interesting questions about the proper course of higher education policy in developing countries. Should states prioritize creating national universities, which may be directed towards addressing domestic policy problems and fostering locally-sourced solutions, or prioritize university globalization? Is it even possible to make that decision as a developing country when the Western model and its emphasis on internationalization is so dominant globally? How else do you foster a culturally-specific intellectual tradition?

With these questions, I’m reminded of the discussions we had early on this semester regarding the significance of a university’s ‘legacy’ when making admissions decisions. At the time, we were concerned with how a recently established, campus-less university would attract students compared to a similarly ranked conventional university. From Kamola’s perspective, similar questions apply to universities with a colonial legacy, and also to more recently established institutions that continue to be patterned on the Western model. While, he is less concerned with admissions decisions than with cultural cohesion, his answer is that establishing an African university is more important to the continent’s long-term development than simply establishing universities in Africa.

Chimamanda’s Danger of a Single Story

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“When we reject the single story. When we realize that there is never a single story about any place. We regain a kind of paradise.”                  – Chimananda Ngozi Adichie

This is the last phrase of Chimamanda Adichie’s excellent TED talk about the danger of a single story. Although the TED talk was given in 2009, its message, specially about immigrants, is stronger today.  Chimamanda, a Nigerian author, encourages us to avoid single stories (having one single perspective or narrative of a person, community or country) and learn about our peers thoroughly and holistically. She grew up near higher education institutions because her parents were faculty at the University of Nigeria in Nsukka, and continued to be close to universities throughout her education. She began her undergrad in Drexel University, then transferred to Eastern Connecticut State University. She did her master’s degree at John Hopkins University, followed by a second masters from Yale University. Additionally, she was awarded fellowships from both Princeton and Harvard Universities.

Higher education is present in her novels as well. Her characters range from academics in the heart of planning revolutions, to Nigerian immigrants facing the challenges of American higher education, both as students and as immigrants. Through her storytelling, the readers are given another perspective of what it means to study in the United States and what international students face when entering a new academic system while getting used to a different culture. In between lines, she highlights the importance of diversity in universities and how international students enhance the educational experience.

Universities are spaces where the danger of a single story can be eliminated. As Chimamanda’s experience meeting her undergrad roommate who had a single story about Africans, cultural and friendship exchanges can help bridge cultural perceptions and share knowledge.  After reading her novels, being an international student myself and coming from a Mexican University with only 5% international students, I question: How can diversity of students and nationalities be encouraged in universities? What type of activities can students and faculty do to avoid the danger of a single story? What are other advantages of having international students in higher education institutions?

Here is the link to the TED talk: https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story

Novels by Chimamanda N. Adichie:

Half of a Yellow Sun, Purple Hibiscus, Americanah

 

 

Art, Racism, and Higher Education

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Hello, all!

My name is Gayoung Kim and I am in the art group. While googling, Timothy and I found an interesting dance performance to share with everybody. It is called, Octavia’s Brood: Riding the Ox Home, performed by an anti-racist choreographer, Meghan Abadoo. She, as a black woman dance performer, tries to reveal the identity of black womanhood (It is all performed by black female dancers) and to create a space for freely sharing the vulnerability of black women with the witnesses who watch the performance. Throughout the performance, one movement captured my sight really strongly when the performers try to run forward but they keep failing because of cloth tying their bodies to the walls from 26’-33’. (The whole performance is 46 minutes, but I think this part is the highlight.) The dancers keep trying to reach forward but they tumble and fall, and I felt like that is the reality of racism and gender discrimination.

Meghan Abadoo also wrote a short essay about the subtle systematic injustice in society and how University of Maryland tries to deal with it. She points out that it is a widely held misconception that racial inequality does not exist anymore because race-based discrimination is illegal and shares the moment when she participated the Words of Engagement intergroup dialogue program at University of Maryland. There, she had profound experience gathering with people of different racial backgrounds, listening divergent viewpoints and stories.

Personally, as an Asian female student, I have not experienced specific occasion, but her words made me think about how race and gender are still the issue to resolve and how those are under-estimated as a problem. I think this performance is a worth while piece to watch.

You can watch the performance here:
http://drum.lib.umd.edu/handle/1903/18432
And her essay, you can read it here:
http://terp.umd.edu/sights-unseen-2/#Abadoo

And here some inviting questions to think for you all;

  • Do you think racial or gender discrimination is still prevalent in US higher education institutions today?
  • What do you think are the merits and limitations of Abadoo’s project of using dance as a medium to champion notions of racial and gender equality in HE institutions? 
  • Are you able to think of any other ways for HE institutions to leverage their academic and cultural influence to advocate social causes in the world? How might these ways or approaches differ in an Asian HE context?