you have read Tim Cresswell's book 地方：記憶、想像與認同
can you apply the theory to conceptualize the stories collected from Naluwan--what did the grandma's story teach us about Naluwan people's sense of place and belong when life forced them to move and live in between Meishan and Xianshan, among different ethnic culture?
"Scott and Chakrabarty’s critiques tell us less about postcolonial studies’ limits than about the difficulty even its most eminent scholars have keeping its history in mind"
"Advocating resistance and critiquing the conditions of resistance are not, contra Scott, inherently opposed or even separate activities"
"During his “ethical turn,” Derrida reconceived the ultimate point of such deconstructive reading: no longer articulating différance it became instead responding to the experience of the other (Derrida 2002: 230–98; Spivak 1999: 426–8)."
"It becomes instead the capacity and willingness to surrender its agency to the other, thus exposing itself to a future it cannot control. Levinas’s redefinition of the human attempted, in its own way, to place the Hegelian tradition on its feet again. Though Gramsci and Fanon are both frequently assimilated to that tradition (as Scott’s and Chakrabarty’s critiques illustrate), the intellectual’s relationship to the colonized in their work prefigures, if again inchoately, the ideas of responsibility and futurity evident in Levinas and Derrida."
"The problem with Orientalism is precisely its ontological—not ethical—approach: the Orientalist seeks knowledge of the other to master it, decidedly not to protect its epistemic difference. [... ] Orientalism thus declares an epistemological as well as ontological difference between the European and the non‐European. Indeed, the former is the very source of the latter: Europeans and Orientals are different types of being precisely because they have different ways of knowing."
"[T]o think of responsibility as a freedom, you need that very humanistic education which teaches rebellion against it” (Spivak 2012: 461).4 “Humanist education” in general trains the “ethical reflex” in precisely the same way literary study in particular does: it opens one to forms of consciousness fundamentally different from one’s own. Such openness eventually requires one to “rebel” against one’s training itself: the oth- erness of some text—indeed, perhaps every text—will exceed what one has been taught."
"If Marxism responded to capitalism dialectically, wanting to replace it with a single and even more universal system, anti‐globalization movements now respond to capitalism deconstructively, wanting instead to articulate the disparate demands of those who build the global economy but are neither seen nor heard there. If they remain so, who will crawl, Spivak asks, “into the place of ‘the human’ of ‘humanism’ at the end of the day, even in the name of diversity?” (Spivak 2005: 23)."
"[T]he genealogy of postcolonial theory recounted here—from Gramsci and Fanon through Said and Spivak to Chakrabarty and Scott—can be read as a necessarily endless effort to rethink the revolutionary principle of freedom from the perspective of those to whom it was never designed to extend."
shortly attaching this news article on "coronavirus lockdown protests" to this reading. should be an obvious one to all.
Re: the discussion on "our" concepts of freedom
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Adding a popular quote - from Kafka's "A Report to an Academy"
I fear that perhaps you do not quite understand what I mean by "way out." I use the expression in its fullest and most popular sense—I deliberately do not use the word "freedom." I do not mean the spacious feeling of freedom on all sides. As an ape, perhaps, I knew that, and I have met men who yearn for it. But for my part I desired such freedom neither then nor now. In passing: may I say that all too often men are betrayed by the word freedom. And as freedom is counted among the most sublime feelings, so the corresponding disillusionment can be also sublime. In variety theaters I have often watched, before my turn came on, a couple of acrobats performing on trapezes high in the roof. They swung themselves, they rocked to and fro, they sprang into the air, they floated into each other's arms, one hung by the hair from the teeth of the other. "And that too is human freedom," I thought, "self-controlled movement." What a mockery of holy Mother Nature! Were the apes to see such a spectacle, no theater walls could stand the shock of their laughter.
No, freedom was not what I wanted. Only a way out; right or left, or in any direction; I made no other demand; even should the way out prove to be an illusion; the demand was a small one, the disappointment could be no bigger. To get out somewhere, to get out! Only not to stay motionless with raised arms, crushed against a wooden wall.
The central argument/narrative of the film is explaining what the Fukishima nuclear meltdown was and what was done to contain the explosions and the subsquent radiation that was leaking into the atmosphere. How to restore power to the plant in order to contain the fuel rods and prevent meltdown. Indirectly the argument was to persuade the public to be more informed about nuclear power and the affects it could have on the world- to learn how to prevent nuclear disasters; make emergency nuclear response teams.
It is made and sustained through interviews of people who were there in the powr plant during the event, the surrounding citizens in the villages, Americans who came to intervene on their citizens, and people in Japan's government. Film footage is used to support the argument. The scientific information that is provided for support in the film was saying the levels of radiation around the plant as the situation became better and worse, the structure of the power plant (briefly), how to stop a nuclear meltdown.
The stakeholders that are described/portrayed in the film was the fate of Japan, the nuclear disasters in th past that shaked Japan, preventing the same thing from happening. The kinds of decisions they had to grapple with before the aftermath is the powerfailure, the lack of generators, and the affect the water had on the plant, and the future of the fuel rods. During the event they had to figure out how to stop the meltdown, how to restore power to the plant, how to help the engineers who had no choice but to be stuck inside, how to save Japan from nuclear fallout,etc. The aftermath was how to get the plant up and running again, the future of nuclear power in Japan, how to clean up and prevent further contamination of the land surrounding the plant. Also the health,safety and preperation of further nuclear power plant endeavors.
Emergency response was portrayed in the film through the team of engineers who tried to contain the problem, those who laid pipes to attempt to pump water into the reactors, the team of firefighters who sprayed water into the reactors, and the miltary crew who dropped water over the exposed fuel pools.
Very little in this film failed to convice me. The information was well thought out and put together, the resources that were in this film were vaild and cannot be refuted because they are first hand accounts. This film does shine a negative light on nuclear power, which made me a little concerned because nuclear power is not always dangerous, but other then that nothing was done sloppily or had incorrect information
I was compelled and convinced by the whole film, the footage and the interviews with first hand accounts provided compelling and persuasive evidence that the film was well made and valid.
The audience the film best addresses is the public who knew about the nuclear event, but were not informed to the extent of what had happened or its ramifications on the future.