HUM 210 Student Work - Winter 2004

E. S. [= Student Contributor]
Humanities 210, Prof. C. Agatucci
Final Discussion Paper
18 March 2004

To Live

To Live takes place during the Chinese Revolution of the 1940’s through the 1970’s. The story is about a farming family and the hardships they face during the Revolution. We learn first hand the effects the Revolution had on the people, especially the farmers, in the novel and the townsfolk in the film. To better understand the events that occur in the story it is essential to know the history of how the communist party and its leader Mao Zedong came into power and the reforms he made in China. In this paper I will provide background information on Mao Zedong and also show how the real life events are illustrated through both the film version of To Live as well as the novel version.

The 1950’s and 1960’s were the most challenging of the four decades-“encompassing the first two decades of life in the People’s Republic of China” (Agatucci, Intro., 4). After WW II the two rival parties, the Nationalist Army and the Communists, resumed fighting until in the year 1949 when the Communists prove to triumphant and gain control over China (Agatucci, Intro., 4). During this time before the Communists won, Fugui was made to fight with the Nationalists and then later taken prisoner by the Communists. After the Communists allowed him to leave and return home, things seemed to go back to normal until Mao began to implement his new ideas for the country. Mao believed in the people and “introduced radical solutions for China’s domestic weakness rather than rely on conservative ones” (history). He wanted more power to be given to the peasants, because there was a need for food to feed the ever-growing population. Landlords such as Long’er were executed, “The Communist Party confiscated his land and divided it among his tenants” (Hua, 83). Landlords were punished for being tyrants and “it is thought that as many as one million ex-landlords were executed between 1949 and 1953” (History).

In 1953 Mao introduced his Five Year Plan in an attempt to boost industry. He met with Stalin and signed the Treaty of Friendship, Alliance, and Mutual Assistance. Upon signing this treaty Stalin gave Mao and his party money and workers to get China started. The plan was to target steel, coal, and iron production. If the factory wasn’t able to meet the target goal set for them it was as if they had let down the people (History).

After the Five Year Plan didn’t prove to be successful, Mao proposed his new campaign called the Great Leap Forward. His plan this time was to develop agriculture as well as industry. He realized that the two went hand in hand. The industrial workers built tools and machines for the farmers so they could work more efficiently and therefore continue to provide the factory workers with food. Mao decided that communes would be the best solution and so they were set up with around 5000 families within each one (History). No sooner had Fugui and his family (in the novel version) received five mu of land of their own, was it taken away from them and given to the commune, “For the past ten years our family had completely depended upon this five mu to survive, and then, in the blink of an eye, this land became the public’s” (Hua, 101). Families were forced to give up all their possessions to the commune, “…before long even cooking pots would have to be turned over to the people’s commune” (Hua, 101). When Jiazhen asked the team leader what they were to do for food he simply answered that from now on they would eat at the dining hall (Hua, 101). Everyone’s life was now dependent and controlled by the commune. In the film version the Xu family didn’t live in the country, as they did in the novel version, instead they lived in town and worked delivering water rather than working in the fields. Having both of these versions gives the reader better insight into what happens during the Revolution both in the country and the towns.

For the first year Mao was so impressed with how things were going and how high production levels were, but after that first year, supplies started to deteriorate. In the novel they ran out of food. They killed all the lamb and “only the three oxen’s lives were spared because they were needed to plough the fields” (Hua, 120). The team leader tried to get the people more food but there was none to get. “After the dining hall closed, no one in the village had any real resources. Just getting by was becoming more and more difficult” (Hua, 126). The novel focuses a lot more on the famine that occurred then the film does. During this time in China Mao also encouraged communes to set up “back yard” production plants, and this aspect of life is illustrated more in the film. Service to the Communist Party meant that everyone had to work feverishly, including the small children to collect and smelt iron for munitions (Agatucci, Film Notes Cont., 1). In the film we see how all the smelting takes its toll on the commune. They work all day and fall asleep in the streets from exhaustion. Mao wanted people to produce not only what was required but even more. “Political decisions/beliefs took precedence over common sense and communes faced the task of doing things which they were incapable of achieving” (History). This demand hit home for the Xu family in the film version, when Fugui took Youqinq, tired and weak, to help in smelting, and Youqinq fell asleep (as many people did those days) behind a wall and was crushed when the district chief accidentally drove his vehicle into the wall that Youqinq slept behind. People in the country side were also injured because the machines that were being made were being made so fast to keep up the quantity, that they lacked in quality and broke down on the farmers (History).

Mao Zedong resigned after his Great Leap Forward campaign failed, but remained in the Party as chairman. “The day-to-day running of China was left to three moderates: Liu Shaoqi, Zhou Enlai, and Deng Xiaoping. In late 1960, they abandoned the Great Leap Forward. Private ownership of land was reinstated and communes were cut down to a manageable size” (History). The three limited Mao’s power, but the people still loved him and viewed him as the leader of the Revolution. He used his popularity during what was called the Cultural Revolution. The Cultural Revolution began in 1965 and lasted through 1968. The battle was between Mao Zedong the former leader of the Communist Party and Liu Shao-chi. Mao believed elitist groups such as engineers, scientists, factory managers, etc. were emerging again. His selling point was that he desired a classless society. He actually wanted to “purge the Chinese Communist Party of anyone who did not fully support Mao. Red Guards (groups of youths who banned themselves together) encouraged all the youth in China to criticize those who Mao deemed untrustworthy with regards to the direction he wanted China to take” (History). Anyone who was associated with Liu Shao-chi was considered an enemy of the party and the people.

In the film version we are able to view the Cultural Revolution in full force, yet we only get a glimpse into it through the novel. In the film version Wan Erxi, Fengxia’s husband, was a Red Guard who worked at a factory and painted murals of Mao Zedong on the side. When he came to visit the Xu family after already meeting Fengxia, he painted a couple murals for the family. In the novel Fugui talked about these big character posters in town when he went to visit Erxi and Fengxia. Propaganda was set up everywhere to encourage enthusiasm in the people (History). After awhile the Red Guards became out of control and began fighting against each other claiming they knew what was best for China. Schools and colleges were closed down, and as I stated before those associated with Liu Shao-chi were considered enemies of the country and put into prison. This is illustrated in the film version when Fengxia wass giving birth at the local hospital and the nurses were all young female students because the experienced doctors were put in prison as “counter-revolutionaries” (Agautcci, Film Notes Cont., 3). The young nurses showed to be incompetent and were unable to deal with Fengxia bleeding out, and as a result caused her death. The team leader in both the film and novel versions was also considered a “counter-revolutionist” and in the novel version was taken away by Red Guards and beaten for three days (Hua, 196). In China the violence caused by the Red Guards spread and was even at one time aimed towards foreigners. In fact the British Embassy was burned down (History).

In 1968 Liu Shao-chi was expelled from the Chinese Communist Party and Mao felt that since Liu was no longer around and therefore, not a threat, that there was no need to continue with the Revolution (History). In the film, after Fengxia died the family seemed to go on and there seemed to be hope for the future as the remaining (Fugui, Erxi, Jiazhen, and “Little Bun”) sat around the table to eat. Fugui even made mention of the possibility that “Little Bun” would ride on trains and plains instead of the “glorious ship of communism” (Agatucci, Film Notes Cont., 3). The novel had a much more depressing ending. Shortly after Fengxia died so did Jiazhen, and then four years later Exri died. When “Little Bun” (actually named Krugen “Bitter Root”) was seven he died as well. So Fugui was left with just himself and later his ox. The novel closes with “Fugui prodding his ox, showing Yu Hua’s version to be darker and more existential, with survival an end in it self” (Agatucci, Novel Notes, 12).

I think the ending in the novel is probably a little more realistic during the time period, and Yu Hua wanted it to be as realistic as possible. He also “explained the life philosophy of his protagonist Fugui: After going through much pain and hardship, Fugui is inextricably tied to the experience of suffering...he lives simply to live. In this world I have never met anyone who has as much respect for life as Fugui. Although he has more reason to die than most people, he keeps on living” (Agatucci, Novel Notes, 12). This makes total sense if we look back in the novel where Fugui arrived home after witnessing Long’er’s death and was so upset that he swore that, “This time, I’ve got to keep on living” (Hua, 85). He realized the second chance he was given by fate. “If it hadn’t been for my father and me, the two prodigal sons, I would have been the one to be executed” (Hua, 84). Maybe he thought he owed fate and to repay her he needed to take full advantage of his life and never give up despite the tragedies. I think this is incredibly noble and brave of Fugui and perhaps it illustrates a view on life that Yu Hua wishes we could all see.

Works Cited

Agatucci, Cora, ed. “Introduction to To Live”. Handout, Humanities 210, Central Oregon

Community College, Winter, 2004.

Agatucci, Cora, ed. “To Live 2: Film Notes, cont.” Handout, Humanities 210, Central Oregon

Community College, Winter, 2004.

Agatucci, Cora, ed. “To Live: Novel Notes.” Handout, Humanities 210, Central Oregon

Community College, Winter, 2004.

History Learning Site. August 2003. www.historylearningsite.co.uk/china_1900_to_1976.htm.

Thomas S. Hage
Humanities 210, Prof. C. Agatucci
Midterm Discussion Paper
12 February 2004

Part I: Mahabharata

To understand the epic, Mahabharata, it is best to have a basic understanding of Indian culture and Hinduism in particular. As the film begins, a brief but instructive explanation of Hinduism sets the stage for the great struggle that is to unfold before us. There are three Gods in all the universe and they are also one. Brahman, the creator, Shiva, the destroyer- “present when history ends” (Mahabharata) - and Vishnu, which is the opposite and the force for all that is good and righteous and “the heart of all that is invisible” (Mahabharata). Vishnu takes a human form in this drama as Krishna. So, these deities can be thought of as one supreme being- with all the good and bad that is inherent in us all. The Creator cannot just create good. What would be good if there were no bad?

Also important to Indian culture is the concept of Dharma- “good and righteous conduct in performing your life’s roles” (Agatucci, "Hinduism"). It is this idea of a “cosmic moral order underlying all existence (where) correct actions reinforce this moral order (and) actions that are not right violate Dharma and bring personal, and sometimes cosmic, suffering.” (Agatucci, "Hinduism"). To paraphrase, actions or choices are extremely important for they not only harm the individual who makes those decisions, but could cause a cosmic upheaval as well.

With this cultural background in mind, I would like to explore the main theme of the Mahabharata. In doing so, the similarities and the differences between our cultures will become apparent. This process, I hope, will bring the reader to a higher level of appreciation for and understanding of this longest example of epic orature known to mankind.

This is a story about the struggle of good and evil. The storyteller, Vyasa, is the personification of all the oral storytellers who ever attempted this work. He often stops to remember how he may have told it in the past. He plays a part in the film which speaks to the part that orature played in the development of ancient Indian culture and he often changes the script or makes suggestions. It was Vyasa who instructed that Gandhari’s black ball of flesh (her child)- “cold and hard like metal” (Mahabharata), be cut up into one hundred pieces so that she will have one hundred sons. These sons, the eldest of which is the main antagonist, Duryodhana, is thus created by the storyteller. This is paramount to the story for without the evil sons of Kaurava, the good Pandavas, led by Yudhishthira, would have no struggle.

It is instructive to understand the provenance of the Pandavas as well. Kunti, whose husband cannot make love to woman due to a curse, has been given a mantra (a magic formula). This mantra allows Kunti to bear the children of Gods and she does so for her husband, Pandu, and also for his other wife. Of these six “births”, the first was in consort with the Sun prior to her marriage to Pandu. Being so ashamed and alone, she chose to set her child adrift in a basket on the river- a choice that is bad Dharma. Her first three children with Pandu are Yudhishthira, son of the law of righteousness (Dharma); Bhima and Arjuna, son of the war God Indra.

To weave this epic together, Pandu and Dhratarashtra, the blind king, are brothers. It is unclear who belongs on the throne, but it is Dhratarashtra, Gandhari’s husband, who rules with the evil Kauravas as sons. It is suggested that the Pandavas are the rightful heirs and, indeed, Yudhishthira was first born, which prompted Gandhari to deliver her sons by instructing her maid to strike her belly with an iron bar- thus evil is born.

So in the beginning, men were close to the Gods (like the Pandavas) and there was no war. Vyasa has composed the “poetical history of mankind” (Mahabharata) which describes the impending doom- a war between the brothers born of jealousy and a lust for power by Duryodhara- “All the kings of the earth surround Yudhishthira while I love nothing, I am nothing.” (Mahabharata) Pandavas versus Kauravas- cousins fighting for different reasons, one good, the other bad.

Into this conflict, Krishna, the avatar of Vishnu (which represents Dharma- goodness, righteousness and light), intervenes to tell Yudhishthira that “the people want a king who will be calm and just” (Mahabharata). Yudhishthira realizes he is that person but by taking the throne, the Kauravas will oppose him and bring chaos and war to this peaceful world.

There is so much more to this epic poem but the main ingredients include this fundamental struggle between good and evil, the role the Gods and Hinduism play in the story, the power of the spoken word in ancient cultures including curses which are as of destiny and the universal themes of jealousy, lust for power, love, hate and the imperatives of power.

Finally, there is this universal idea of eternal damnation for the acts of man as told by Yudhishthira. “I see the coming of another age where barbaric kings rule over a vicious broken world, where puny, fearful, hard men live tiny lives….copulating with animals, their women, perfect whores making love with greedy mouths….trees stunted lifeless, no more flowers, no more purity, ambition, corruption, commerce. It is the age of Pali, the black time…crime stalks the cities- beasts drink blood and sleep in the streets…all the waters sucked up by the sky- scalded earth scorched to dead ash…the rains fall and engulf the earth- twelve years of storm- the mountains split the waters…all that remains is a grey sea without man, beast or tree. The creator drinks the terrible wind and falls asleep…” (Mahabharata).

Part II: Translations

One issue that, it seems to me, is a net loss in the translation business is this idea of “transculturation” (Agatucci, "On Translation Issues"). This melding of two different cultures, often an ancient with a modern, is damaging to the ancient culture in particular. After all, it is the modern society that is attempting to preserve and integrate some of this ancient culture into its own. The integrity of the ancient society is at risk in such a case, as noble or well meaning as it may be. If we attempt to translate- to explain or express all that is known in terms of our own culture and language- that ancient culture is changed. It becomes violated in a way from which it cannot recover. Indeed, these violated parts are lost forever. If parts of that ancient culture can remain, it requires survivors of such a culture to communicate and live in terms of that culture. In this way, we must learn to celebrate cultural differences among us. Ironically, such a celebration of how we differ, makes us all stronger!

What is also worrisome is that by translating, we tend to create new works with new meanings which were unintended by the original author. By “explaining” a work, we change it to fit our values, prejudices and our understanding. Poetry in particular cannot be translated without losing at least some of its meaning or essence. Language is the medium of poetry and the rhyme, sound, cadence and even the grouping of its characters define the work. To communicate a work of poetry using a different language, is like trying to run Microsoft software on an Apple computer. It doesn’t work. Language itself is perhaps the most important cultural gift we can give ourselves for without the language of each culture its essence dies.

On the other hand, there are positive outcomes when studying ancient written works. While translating is an imperfect art form, it nonetheless provides a modicum of understanding of an ancient culture- what they valued, what they feared, how they expressed themselves and what beauty meant to them. There is no finer endeavor than to attempt to understand cultures, particularly ancient cultures in danger of extermination. Such an exercise serves to limit ethnocentric behavior, foster knowledge, perspective and wisdom and imbue a society with a higher purpose than themselves. Translation is important work but must be approached very carefully for the history of ancient written works are entirely fragile and easily disemboweled.

Works Cited

Agatucci, Cora, ed. “Hinduism.” Handout, Humanities 210, Central Oregon Community

College, Winter 2004, page 2.

Agatucci, Cora, ed. “On Translation Issues.” Handout, Humanities 210, Central Oregon

Community College, Winter 2004, pg. 3. (Dingwaney and Maier cite Perez Firmat).

Mahabharata (Mini-Version). Dir. Peter Brook. Adapt. Jean-Claude Carriere. Perf. Robert

Langdon Lloyd (Vyasa), Bruce Myers (Krishna), Sotigui Kouyate (Bhishma), Miriam

Goldschmidt (Kunti), Andrzej Seweryn (Yudishthira), Vittorio Mezzogiorno (Arjuna),

Geroges Corraface (Duryodhana), Jeffrey Kissoon (Karna), Mallika Sarabhai

(Draupadi). Videotape. Channel 4 Television/Brooklyn Academy of Music/Les

Prodctions du 3eme Etage, 1989.

Juanita Majel
Hum. 210 Prof. C. Agatucci
Midterm Discussion Paper
12 February 2004

Part I: Tribal Roles and Responsibilities

I am the eldest daughter in my family. To some this means very little, but to me it means I have a responsibility to take care of my brothers and sisters. I am Native American and in our culture we are taught the hierarchy of family and the tribe. There are many different roles and responsibilities in a tribe. Many people who are not familiar with the tribal structure think that it is unfair and unforgiving. In the film Whale Rider a good portion of the film is based on the tribal structure and how it would eventually change.

Within this structure there is the Chief of the tribe (Koro). He is the leader and is regarded with respect because he is wise and has the responsibility of taking care of all of the people in the tribe. The Chief has a council of elders. The elders are very old and knowledgeable in the traditions of the tribe. They are the teachers and preservers of the old ways. The male elders teach the young men. Then there are the young men (Porourangi and Rawiri); they are the warriors of the tribe. They are there to protect the people, hunt for food, and to learn and carry on the old ways for their children. The young men are also used for input on current events.

The women are the support structure of the tribe. The Head woman is usually the Chief's wife (Nanny Flowers). She is the surrogate mother of all the tribal people. She is the voice for the women. The elderly females or grandmas of the tribe are held in high regard. They teach the young women the old ways. The young women are the gatherers and cooks for the tribe.

The children also have roles within the tribe. The older boys are expected to be apprentices of the Chief, they learn certain roles (Hemi). They are taught skills in how to be a Fire Keeper or Rattle Maker. The older girls do the same with the head woman (Paikea). The eldest daughter usually is the little mom. She looks after the small children and helps with the household duties. There are also medicine men and women. They hold the rare ability to heal people. They run the ceremonies and pray over people. As in the film it is usually the Chief’s family that is looked to for the next generation of leaders. The leaders of the tribe have traditionally been all males.

The movie does a very good job of showing the tribal structure. The way Koro made a big show of what girls are not to do gave a very clear picture of the roles of a girl. Every other scene he was saying something about Pai interrupting the tribal roles or tapu. Girls had to sit in the back, couldn’t attend the school for chiefs, were not supposed to use a taiahi or be involved in any of the decision making. It was very clear where the lines were drawn. A girl was not what he wanted. He wanted a boy, the future chief. Instead, he got Pai, the future chief. Pai did cross the boundaries of her tribal structure as well as the boundaries of many other tribes. As with most tribes a woman cannot be chief but, as Cora Agatucci stated in her handout “Whale Rider,” “Paikea/Kahutia challenges that” (3). With the help of Nanny Flowers and her uncle, Pai does learn everything that the boys learned at the school. In the end Pai out does the boys in every lesson. She proves this by beating Hemi with the taiaha, reciting the traditional Paikea chant (through her tears I might add), she retrieved the whale’s tooth and then to top it off she rode Paikea’s whale. Through the movie Pai perseveres and shows herself worthy of being chief. This only seems unheard of to a person who knows the tribal social structure.

If the viewer is unaware of the tribal structure, the film Whale Rider will not have the same impact on them as the viewer who is aware of it. While discussing the movie with peers I found that there was a lack of understanding as to what the roles were of tribal women. One woman felt that the place of women in the tribal structure was very low and demeaning. The truth is that women are respected and that they are relied upon heavily to take care of the elders, men, and children. Without the women to keep the men in line there would have been considerably more ego based fights.

Another comment was that it seemed like the men were trying to hold the women back. The men do support women in their endeavors but, at the same time they expect everyone to stay within their roles. My family supports me in my wish to go to school yet they still expect that I will return to my home and help my tribe when I am done. This is not done in a negative way, because they are only thinking of what will be best for the tribe. However, if I do not go back home after school they will still love and support me.

The women in my group had never been told what roles women play in a tribal social structure. When they watched the movie they thought it was about women being oppressed. To them it was not a story about change, but a story about feminism. The comment was made that the movie was about women being able to do anything that a man can do. This may be the case, but to me the movie was about the changing of old ways and the opening of hearts to a new day and age.

The movie showed the reality of tribes today. Tribal structures are changing. They are changing slowly but surely. The tribal structure used to be hard and fast. No one was ever out of their social role without being an outcast. It used to be that you had to leave the tribe if you wanted to change your role (Porourangi). Now there is a little more room to move within the structure. Today women sit on tribal council, run tribal businesses, go hunting and fishing, go to school, and still take care of their families. The movie Whale Rider did an exceptional job of showing the tribal hierarchy and how difficult it can be to change the time honored traditions of a culture.

Part II: Translation: Good and Bad

My name is Juanita Spring Majel. When the average person hears my name most of them automatically assume that it is of Hispanic descent. However, my name is of Native American descent. My last name, Majel, is a Luseno word that is translated to mean “dove.” So, my name is Juanita Spring Dove. Being able to translate my last name gives me the benefit of knowing the true meaning of my name. Without translation most if not all of my native language would be lost. In my tribe there are very few people who are fluent in the Luseno language. Most of us rely on translations to figure out what certain words mean. Studying Asian works in translation is not that different from studying Luseno in translation.

By using translations, I have been given easy access to knowledge about people who are rich in history and tradition. I am able to go deeper into their culture by using translations. Without translation, I would be an outsider, forced to glean whatever meaning possible from observation. Translation facilitates learning, but one must beware of inaccurate or cultural influenced translations.

One limitation to translations as a whole is that there can be many different meanings for a single word. There are many different ways to speak Spanish. There is proper Spanish from Spain, the Spanish spoken in Mexico, and the Spanish spoken in the U.S. Although, it is all called Spanish there can be variances on grammar, punctuation, speed, and accents. If a translator is not sensitive to all off these issues, the translation can be inaccurate. For example, in American Spanish the word guapa means “cute” or “good looking.” However, in proper Spanish it has more of a sexual connotation. This can lead to a change in the meaning and mood that the author was trying for in the original presentation.

In Asia there are many different dialects, and some words cannot be translated. As Cora Agatucci explained in the handout “Confucianism, Taoism, and More Chinese Characters & Translation Issues,” there is “no equivalent English word or concept” (9) for Tao. If the translator is unable to translate a word or thought properly, the meaning of such will be lost. This must be where we get the phrase, lost in translation.

Translation is a great tool to use but, it may be wise to look at many translations to be sure of what the author is really trying to convey. This may take some time but in the end it will be worth the search.

Works Cited

Agatucci, Cora, ed. “Confucianism, Taoism, and More Chinese Characters & Translation Issues.” Handout, Humanities 210, Central Oregon Community College, Winter 2004.

Agatucci, Cora, ed. “Whale Rider.” Handout, Humanities 210, Central Oregon Community College, Winter 2004.

Whale Rider. Dir. Niki Caro. Perf. Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis. South Pacific Pictures/ApolloMedia GmbH & Co. 5/Filmproduktion KG, 2002. DVD. Newmarket Films, 2003.

Seminar #1 Notes

Student Contributor: E. S. - Seminar #1 Notes

Whale Rider:

· Beliefs and traditions need to be somewhat flexible in order for the culture to survive.

· Women in a male dominating society trying to find meaning in their lives.

· The children are our future. They can open our eyes to so many different dimensions if we let them take us there.

· Significant scene, when the rope breaks and Pai fixes it. Also after Pai hears Koro say that she is no use to him, she forgives him automatically without him even apologizing. She is already more of a leader than he is.

Mahabharata:

· “Greed devours all beings” this is a significant scene when Draupadi says this because it is foreseeing the Kaurava’s future. Duryodhara is very greedy and wants to keep the whole kingdom for himself. Duryodhara is faced at one time with the opportunity to prevent the war by giving the Pandavas brothers a few villages and he refuses.

· The spoken word is very powerful and once one has made a promise it must be kept. This differs from our society today where everyone says one thing and then turns around and does something completely different.

Hum210 handouts:

· I found the film notes on the Mahabharata to be extremely helpful. After watching the first day of film I was completely lost. I pulled out the film notes after class and everything made sense.

· I also found the section on Major Deities in the Hindu Pantheon to be helpful. All the deities kind of run together for me and this helped me distinguish which was which and what their purpose was. I still need to refer back to these notes to keep them straight in my head.

Student Contributor: C. S. - Seminar #1 Notes

1.      A significant scene, character, theme, question or issue presented in Whale Rider.

1R.     A significant scene from the Whale Rider is when Paikea is out fishing with her uncle and his friends and girlfriend. This is where Paiken retrieves the taonga (white tooth) that only the next chief is supposed to be able to retrieve. Not only did she find the taonga, but she did it with ease. This is what I believe to be the biggest indicator that she is supposed to be the next chief.
        Another significant scene is when Paikea is able to talk to the biggest whale and and make him unbeach himself. this shows that Paikea is the next chief.

2.      A significant scene, character, theme, question or issue presented in Mahabharata.

2R.     Significant scene: Krishna tells Kama, (Drivers Son), that Kunti is his mother. Krishna also tells Karna that he is fighting his brothers. This is strange to me because Krishna is supposed to be the human form of good. But he is setting Karna up for death.
Discussion Question: Why was Gandhari so upset about Kunti having her first born before she did?

3.      The passage that helped me understand Mahabharata better was almost the whole film notes handout. However, passage one, opening scene, and the narrative frame, and ; Bhishama in the “golden age” of “no war or misery” were the two most helpful passages.

Passage one helped me understand the main gods and what their purposes were.
Passage two helped me understand the beginning, which I did not understand by watching the movie.

Maori Reactions to Whale Rider
Brief Research Report #1 on Whale Rider
Student Contributor: C. L.

Bagnall, Dianna. “True Film Noir.” Bulletin Eddesk Article. 26 Jan. 2004 http://bulletin.ninemsn.com.au/bulletin/EdDesk.nsf/0/69d06950c2569767ca256d010028ba67?OpenDocument

Fickling, David. “The Return of the Native.” Guardian Unlimited. 26 Jan. 2004
http://film.guardian.co.uk/features/featurepages/0,4120,995725,00.html

Source Summaries:

Maori people were the first people to inhabit what is now called “New Zealand.” These people still live in New Zealand today, but their people have suffered a great deal since the colonization of New Zealand by the Europeans. “Whale Rider” is a movie that is based on a book involving the traditions and cultures of the Maori people. I chose to investigate the reactions of the Maori people to the making of Whale Rider, especially since the director of the film is a non-Maori female. In exploring brief interviews with the author of the book Witi Ihimaera and the director Niki Caro I was able to get a basic understanding as to what the Mauri’s thoughts were about the making of the movie before it was released. What I discovered, to my surprise, was that the Maori people were in support of the making of this film.

Witi Ihimaera wrote this book roughly 15 years ago. What I didn’t know was that the rights to make a movie based on the book were sold immediately after the book was released; yet no one came up with an appropriate movie line till Niki Caro. When Ihimaera heard of Caro’s intentions to make “Whale Rider” he was very pleased with the changes she had made to update the story of his work so that it would have more appeal. However, he did not provide translation for the native chants and words spoken as he felt that would take away from Maori culture. "We are a much more proud and complex people than that," he said and he did not want to sell out the Maori culture. What also struck me was his desire to go against the grain in the making of this film. The movie’s push for the Maori’s to adopt new ways is reflective of the ways of his own life. He was the eldest son and had two daughters and broke that tradition himself.

Niki Coro was a great choice as the director of this film. She is a native of New Zealand although she is not Maori. Since this was her first significant film she had a fresh perspective and a strong desire to collaborate with the Maori people. "When I was first invited to the [Whangara] marae and replied to their welcome in Maori, their jaws collectively dropped," she said. She put a lot on the line to make this movie, but she also had a lot to offer. Surprisingly, having an all-Maori cast and an all-European crew wasn’t a problem for them. She selected a crew that would be sensitive and respectful of the Maori people. In fact, the Maori people grew to admire and respect her a great deal for her professionalism and desire to represent the Maori people as authentically as possible. "[While we were shooting] all the nannies and aunties would be out each day, and our unit guys would set up chairs beside the monitor, and they would sit and knit and talk, and the crew would bring them lots of cups of tea and they would give me little hugs and tell me that I was making a 'real quality show'." So from those involved in the film she experienced a lot of support. Yet, the Maori press gave her a real bad time. During this time a community leader gave her a necklace and encouraged her with the support of his people.

In conclusion, it is clear that Niki Caro had the support of the Maori people during the making of "Whale Rider". Despite Caro being a non-Maori director and prying into their culture, the Maori believed in Niki Caro's vision for the film and showed this through their cooperative participation in film.

Vishnu
Brief Research Report #1 [for Mahabharata]
Student Contributor: C. S.

In the Hindu religion, god Vishnu is considered the greatest and most powerful god of all. In the trinity there are three gods, Brahma, Vishnu and Shiva (1). Vishnu is considered the preserver of the universe (2). He is deemed to be all-powerful, all-knowing and all present (1). The name Vishnu comes from the root VISH, which means, “to spread in all directions, to pervade” (1). Vishnu is the center, the core, the nucleus, and the cohesive point through which everything exists (1). In the ancient Vedas, the body of literature, Vishnu is ranked among the lesser gods and is usually associated with he major Vedic god Indra who in the epics fights against dragons and demonic forces (2). It is throughout this literature and especially through incarnations that Vishnu is raised to higher rankings within the Hindu pantheon (2).
Throughout the ages, god Vishnu incarnates in various life forms through different ages or eons in situations where Dharma was in danger (3). Krishna, who was a main character in the Mahabharata, is the eighth reincarnation of Vishnu. Krishna is considered to be Vishnu’s most glorious incarnation (4). Krishna himself was a manifestation of joy at all levels and in all walks of life (4). Krishna was a very lavish person early in his life. He was known to utter falsehoods and break pledges. He had many wives and even “married” 16,000 women (4). After doing all of this, Krishna made a declaration. He assured that he would take birth whenever Dharma declined and Adarma rose its ugly head. He declared his role as protector of the good and the holy and the destroyer of the unholy and the wicked, and as the establisher of Maha Shivratri (4).

Works Cited

(1) Hefner, Alan G. “Vishnu the Preserver in his Vishwaroop.” Indian Mythology. Online.   26 May 1999. <http://www.pantheon.org/articles/v/vishnu.html>.

(2) Hefner, Alan G. “Vishnu.” Online.   26 May 1999. <http://www.pantheon.org/articlesd/v/vishnu.html>.

(3) “Krishna Avatar.” The Story of KRISHNA Avatar. Ten Avatars of Vishnu. Online: Jan. 2004. <http://members.tripod.com/!srinivasp/mythology/avatars.html>.

(4)   “Makar Sankranti.” Online. 29 Jan. 2004. <http://www.lpa.london!snv.co.uk/Festivals.htm>.

"Seppuku"
Brief Research Report #2 [for Seven Samurai]
Student Contributor: C. L.

“Seppuku, Hari-kiri.” Oren. Hanko and Kanji House: Oren. Feb. 19, 2004.
<http://www.oren.jp/japan_12.htm>

"Seppuku." Detarver. Feb. 19, 2004 <http://www.detarver.com/Seppuku.htm>

Source Summaries:

Suicide is a painful secret in American culture. Families who survive those who have taken their lives are often ashamed and ostracized in our society. It's no wonder it may be difficult for most Americans to imagine how the act of Samurai warriors committing suicide through disembowelment could be considered such an honorable way to die in ancient Japanese culture. Understanding the importance of the stomach in Japanese culture may help Americans to better understand why the act of suicide, or Seppuku, has been ritualized and holds such an honor to the Japanese. First, I will explore the role of the stomach and it's significance in Seppuku and then I will discuss the rituals involved in Seppuku.

Interestingly, the reason for the Samurai to disembowel themselves as a means of suicide was not coincidental. The Japanese placed significant value on their stomach. According the Oren web page, Japanese who were highly regarded were considered to "have stomach." This term would be comparable to the American slang term to "have guts." While the American term implies that a person who has guts is brave, to have stomach refers to a person with considerable integrity. The Samurai warriors held the belief that the stomach was the container of the soul and to disembowel themselves by removing the soul was a means to hold themselves accountable in times of war (Oren).

The practice of Seppuku in a ceremonious fashion originated nearly 1,000 years ago. Samurai warriors who were hurt in battle but did not die, survived a battle that their community had lost, or failed their leader in some way, would choose to die in Seppuku rather than endure the shame that would follow. The bravest of Samurai would disembowel themselves, wipe off their swords and draft their last words in a poem in the moments before their death. Other Samurai would rely on the assistance of a kaishaku-nin or assistant. When Seppuku was imminent, the kaishaku-nin would cut off the Samurai's head out of devotion for their master before they hurt themselves. The most honorable way to die was to complete the suicide without aid. Yet in either case, a kaishaku-nin would stand as a witness of the death of the Samurai and could step in to assist the Samurai in suicide in the event something went wrong (Oren).

In conclusion, even though the Samurai warrior’s death was committed involving feelings of shame, it was still an honorable way to die. It could be conceived that the act of Seppuku is more of an act of human sacrifice than it is suicide. With the value placed on the stomach and the ritualizing of the act it is hard to compare it to what Americans consider suicide. Perhaps the true meaning behind Seppuku was lost in translation and it could have been more effectively interpreted as “ritual sacrifice.”

"Shintoism"
Brief Research Report #2 [for Seven Samurai]
Student Contributor: M. B.

Shintoism is the ancient religion of Japan. There are many different sources that have different opinion on when it started. Shintoism basically means the way of the gods or in this religion the Kamis (spirits). People who follow Shintoism believe that spirits or spiritual power resides in just about everything from mountains to animals and even to the dead. Shintoists believe in numerous kamis, but the most important one is called Amaterasu-omi kami. She was believed to be the sun goddess. She was also believed to be the ancestor of the emperors of Japan.

In Shintoism there are no real religious texts. There are two books that are highly honored but are not real religious texts. They are the Kojiki (chronicles of Ancient Events) and Nihongi (Chronicles of Japan). The Kojiki is more a mythological text telling the tales of the ancient gods or kamis.

Because Shintoism is such an old religion it of course has been influenced by other neighboring religions such as Buddhism and Confucianism. I would eve say that it has been influenced by Jainism considering they have the same concept of spirits in everything. Around the fourth century, “the Japanese came under the influence of Buddhism, Taoism, and Confucianism. By the end of the sixth century Mahayana Buddism had taken a firm foothold on Japan” ( Sprunger). Because Buddhism was having such a vast impact on the Japanese Shintoism was almost completely erased. In the seventeenth century a military leader brought it back. But still today there are many Buddhists shrines all over Japan. While Buddhism was in control of Japan there were a couple of branches that formed that Japan took hold of that is still practiced today. One familiar one is called Zen Buddhism, basically a Japanese adaptation of the original Buddhism. It took the philosophies of Buddhism and added the cultural aspects of Japan. In Cora’s handout “Introduction to Seven Samurai” she points out a difference of the two sects when she says, “Zen emphasized personal enlightenment through individual discipline” (3). Another mesh of the religions in Japan was the code of the warrior or Bushido. “A combination of Shinto and Confucianism was used to develop the warrior code of Bushido” (Sprunger).

Shintoism still lives today in Japan with many worshippers and shrines spread throughout the giant islands of Japan. Shintoism has also spread it’s influence to many other parts of the world.

Works Cited

Agatucci, Cora, ed. “Introduction to Seven Samurai.” Handout, Humanities 210, Central
Oregon Community College, Winter 2004.

Sprunger, Meredith. “Introduction to Shinto.” Religion Index: The Urantia Book Fellowship.
18 Feb. 2004 <http://www.ubfellowship.org/archive/readers/601_shinto.htm>.

Samurai
Brief Research Report #2 [for Seven Samurai]
Student Contributor: C. S.

The Samurai come from the Japanese caste system. It is the most prestigious and highly regarded group of the Japanese caste system. There are three more groups in the Japanese caste system, the Farmers, the Artisans and the Merchants (1) It is said that even by law the Samurai could not become farmers (1). A Japanese feudal warlord is know as a Daimyo. The Samurai wanted nothing more that to serve a daimyo, and be tied down to a classic feudal organization (1). Samurai prefer to fight by themselves and one on one with their opponents (2). In a traditional Samurai battle the Samurai would call out his family name, and then seek an opponent with similar rank to do battle with (2). After a Samurai has killed his opponent, he severs his opponent's head. Then he will take the head back to the village to show proof of his victory (2).
A Samurai lives by strict beliefs and codes. A true Samurai will not stray away from these beliefs and will not alter any codes in any way. The only options for a defeated Samurai is death or a ritual suicide referred to as: Seppuku. Seppuku is a disembowelment, this is when a samurai stabs a knife into his abdomen and literally disembowels himself by cutting out his own guts (2). Once the suicide was completed a kinsman or friend of the Samurai will cut off the dead Samurai’s head. This ritual suicide was not only performed after a defeat, it was performed on other occasions as well. Such as to avoid capture in battle, or if there was a chance of the samurai bringing shame and disgrace to his family name or his lords name (2).
Another lifestyle of the Samurai is the Bushido. Bushido literally translates into ‘Way of the Warrior”. Bushido was developed in Japan between the 9th and 12th century (3). Bushido is derived from Buddhism, Zen, Confucianism, and Shintoism (3). From Buddhism the samurai believe in reincarnation; therefore the samurai are not afraid to die (3). Through Zen teachings samurai can reach the ultimate “Absolute” (3). Samurai use this teaching of the absolute to drive out fear, unsteadiness, and ultimately mistakes (3). Samurai believe in loyalty and patriotism from the study of Shintoism (3). The last part of Bushido is Confucianism. Confucianism teaches the samurai their beliefs in relationships with the human world, their environment and family (3).

Works Cited

(1) Agatucci, Cora, ed. “Introduction to Seven Samurai.” Handout, Humanities 210, Central Oregon Community College, Winter 2004.

(3) “Bushido.” The Way of the Warrior. Online. 17 Febuary 2004.
<http://mcel.pacificu.edu/as/students/bushido/bindex.html>.

(2) “Samurai.” The Samurai and Their Use of Bushido. Online. 17 Febuary 2004.
<http://mcel.pacificu.edu/as/students/bushido/bsamurai.html>.