"The Namesake" Trailer

The Namesake is a movie that was made in 2006 and released in 2007.  It is a coming of age story about an adolescent, Gogol, and his search for his identity.  Gogol does not appreciate his ethnic sounding name that his father has given him.  What Gogol does not know is his name is a reflection of  his father's intense desire for his children to grow up in a multi-cultural world after his own near-death experience.  Gogol grows into a young adult, wants to study to be an architect and finally learns the truth behind the story of his name.  Shortly thereafter his father suffers a sudden heart attack and dies.  Finally, after a trip to Bangladesh for his father's memorial, Gogol is able to truly appreciate and understand his name for the symbolic representation of his identity that it is.

Compare and Contrast Identity of Gogol and Moushoumi

"Moushoumi's innermost thoughts, as related by the narrator, reveal a complexity in the way she thinks of herself and her identity in relation to Gogol. Moushoumi imagines herself as ending up with someone other than Gogol, and we can assume that she literally means an other: someone of a different ethnic background or nationality. In her self-fashioning, an Indian mate is something that would reaffirm her identity as an Indian American, not as an international cosmopolite, and so she calls her marital choice "transgressive" because it conflicts with her own expectations, even though it is entirely in keeping with her family's cultural expectations. In the character of Moushoumi, therefore, Lahiri creates a foil to the comfortably American Gogol; although he feels at times like a tourist in his own country, he is a happy tourist, one who is content to savor the privileges and pleasures of his native country. In contrast, Moushoumi becomes deeply unhappy as her section of the novel progresses, and finally, in a truly transgressive act, she commits adultery and leaves Gogol to move to Paris, thereby fulfilling her desire to be a true cosmopolite. Not content to assimilate to any cultural norm, she breaks with the normative romantic tradition within which her family operates and changes the paradigm of India-to-America emigration. She also challenges the notion of "return"-after her marital voyage with Gogol, she chooses not to return to her family or ethnic community, and she rejects American pluralism for European"

Analysis: This is taken from an article that focuses on the state of being a tourist in the land in which you live. It focuses on the novel "The Namesake". This article explains the differences between Gogol and Moushoumi. At the beginning of the novel, Gogol is not exactly sure what his identity is because he wants to be seen as an American, but he feels he also has a connection to his Bangladeshi culture. Gogol finds himself searching for what he feels he needs in terms of relationships and Moushoumi does the same by dating Gogol. Gogol wants to be more connected to his roots by marrying someone of the same culture. After marrying her he is happy knowing that he is making a good decision. Moushoumi is never quite sure if she wants to marry Gogol, yet she does because she feels it is right. Gogol knows he made the right decision, while Moushoumi takes her actions back and decides to identify with being more American. The two characters in the novel show that parents do not always have such an effect on their children when it comes to choosing an identity. Gogol chose to have stronger relations with his culture and Moushoumi chose to stay a "tourist" in Paris because she does not want to follow the "cultural norm" by marrying someone of her own culture.

Gogol's Wedding

This image of Gogol's wedding represents his shift towards embracing his Indian culture. When he was growing up, he tried to stray from his Indian culture and immerse himself in the environment around him. Gogol's marriage is one of the main turning points when he wants to be part of the culture he denied for so long.

"He is afraid to be Nikhil, someone he doesn't know. Who doesn't know him […] It's a part of growing up, they tell him, of being a Bengali."

-The Namesake

Article on Zadie Smith's White Teeth

"In White Teeth, Smith demonstrates that the aesthetic experience is not limited to the experience of canonical art but can rather be extended to include the everyday performances of identity. Through this novel, Smith suggests that the accidental elements of presentation space (or context) often disturb the relationship between the form and content of performance, so that it is necessary to be aware of presentation at all times in order to avoid misreading of identity" (Cook 3).

Analysis:

This is a quote taken from an article written about some of Zadie Smith's work, including "White Teeth". The first few lines of this quote suggest that the beauty that surrounds us is not limited to the physical aspects but incorporates our experiences as well. Our experiences cannot be limited to appearances, instead they must come from who we are as a person; the person we identify ourself as. The author uses the phrase, "performances of identity". I related this phrase to the idea that we can create our own identity. Whether we use our culture, our parents, or our own experiences, we can create an identity for ourselves. This ties into the theme of memory because our experiences and memories are the foundation of who we are. They can even shape the path we choose to take in life.

In "White Teeth", the theme of identity works closely with memory, we see this especially in the character of Samad. Even though Bangladesh is part of Samad's past, it is what defines him. Samad is living in England and raising a family in England, yet he tries to avoid the changes that England brings. Samad choose to identify himself with his past. Samad's "performances of identity" occur for him daily as he struggles to uphold his traditions and his religion. Samad even tries to change the identity of his son, Magid, but Magid cannot be influenced by experiences that are not his own. Unlike Samad, Gogol's father uses his memories to create a new identity for him and his family. Ashoke wants new experiences and that is why he moves to New York with his wife. He wants to raise his children in a place filled with new opportunities. While "The Namesake" does reveal some problems that come from creating a new identity (Ashoke's children have a weak tie with their indian culture), it also shows that identity is something that cannot be forced, we must find it for ourselves. 

The first generation

This image shows the differences that can occur between first generation children and their parents. Ashima chooses to remain close to her Indian heritage while her children, Gogol and Sonia, have chosen to embrace an identity that is their own.

silencing, fear and identity

"I write for those women who do not speak, for those who do not have a voice because they were so terrified, because we are taught to respect fear more than ourselves. We've been taught that silence would save us, but it won't."
-Audre Lorde, writer and civil rights activist

Interview of Quirin

Interview with Rolando

Rolando Calderon is originally from Mexico. He came to the United States with his mom and brother when he was five years old. Rolando shares his experiences of struggling with identity.

From India to America

Ashoke and Ashima Ganguli move from West Bengal, India to the United States. Their journey as a newly married couple is not easy as they must assimilate to the culture of a new place. Part of the reason they move to New York is because Ashoke has a job offer and he wants to raise their future children in a place that is surrounded by opportunity.

Gogol gets his head shaved

Regarding silencing and identity

"Never be bullied into silence. Never allow yourself to be made a victim. Accept no one's definition of your life; define yourself."
-Harvey Fierstein- Tony Award winning actor and playwrite

Silencing Historical Trauma: The Politics and Psychology of Memory and Voice

Silencing Historical Trauma: The Politics and Psychology of Memory and Voice
synopsis:
In this case study, by Ramsay Lien, the after effects of the collective American portrayal of the Korean War ("the forgotten war") are examined through the experiences of 36 Korean American participants.  A series of two part interviews were conducted among the 36 participants.  The conclusions found that little has been recorded in the way of human, emotional stories being told by the survivors.  Considering the amount of life lost during the conflict, some estimate it was close to 10% of the Korean population, as well as the 10 million Koreans who were displaced from their immediate families, the silencing of their stories has had a detrimental effect on their identity as Koreans.  The silencing has also been a result of the unique nature of the conflict.  The conflict has remained stalemated for some sixty years and the threat of renewed violence is always there.  Lastly, there is the personal feeling of silence that so many of those directly involved with combat feel due to the sheer terror of not wanting to relive those moments.

analysis:
when historical memory is silenced or rewritten, those who experienced the trauma become devalued in their identity by basically being told that their experience didn't matter or wasn't of value.  The self censorship that results from a collective narrative of being forgotten eventually becomes a form of habit and only serves to further devalue their view of themselves.  This is, in effect, silencing.  Furthermore, the stalemated conflict also serves to further devalue the Korean American war experience with added pressure to keep the collective memory suppressed so as not to reignite tense feelings.  Lastly, when we think of being silenced, we usually think of an oppressor versus the suppressed and we don't necessarily think of an act itself as being a silencer.  In this case, the war itself can also be considered a silencer as so many don't wish to relive those moments.  This silencing, for many, results in pyschological trauma and proves that  by not speaking out about one's traumatic past, one is doomed to repeat the cycle of remembering, forgetting and being silenced.

Interview with Elizabeth

Elizabeth Adams- full length interview.  Elizabeth is an 18 year old Asian American first generation immigrant.  Her mother immigrated from what was formerly called Saigon, Vietnam and is now Ho Chi Minh City, Vietnam.  Her mother came to the US during the Vietnam War with her five younger siblings and was solely responsible at only the age of 15 for caring for herself and her five younger siblings.

Elizabeth- short for presentation.

Works Cited

Adams, Elizabeth. Personal Interview. 24 April 2013.

Busse, Quirin. Personal interview. 27 May 2013.

Calderon, Rolando. Personal Interview. 27 April 2013.

Cook, C. S. (2011). Zadie smith's aesthetics. Clemson University). ProQuest Dissertations and Theses, , 86. Retrieved from http://search.proquest.com/docview/871113041?accountid=7113. (871113041).

Friedman, Natalie. "From Hybrids to Tourists: Children of Immigrants in Jhumpa Lahiri's the Namesake." Critique 50.1 (2008): 111-28. ProQuest. Web. 2 May 2013.

Liem, Ramsay.  "Silencing Historical Trauma: The Politics and Psychology of Memory and Voice."  Peace and Conflict: Journal of Peach Psychology 13.2 (2007): 153-174.  Print.

The Namesake. Dir. Mira Nair. Fox Searchlight Pictures, 2006. Film.