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Essay / Research Paper Abstract
A 5 page essay that discusses the way that director Mira Nair's film Monsoon Wedding and Michael Ondaatje's novel The Skin of the Lion (1987) are two works that incorporate gender and ethnicity issues. In Nair's film, gender and Indian ethnicity are addressed within the context of a modern romantic comedy that deftly combines elements of the new Westernized India, with respected and honored traditions. Ondaatje's novel is a story of Canadian immigration and emphasizes the wealth of diversity that various immigrants have brought to the city of Toronto. Bibliography lists 6 sources.
Page Count:
5 pages (~225 words per page)
File: D0_khtorind.rtf
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Unformatted sample text from the term paper:
gender and ethnicity issues, but they do so in very different ways. In Nairs film, gender and Indian ethnicity are addressed within the context of a modern romantic comedy that
deftly combines elements of the new Westernized India, with respected and honored traditions. Ondaatjes novel is a story of Canadian immigration and emphasizes the wealth of diversity that various immigrants
have brought to the city of Toronto. Extremely different, both works relate their particular artists perspective on how old becomes integrated with the new. Ondaatjis novel is in
seven sections that appear to be only loosely related. Lyrically beautiful, in many ways, this work is more analogous to poetry than to what readers expect from fiction. Among other
topics, it presents the experience of various immigrants from eastern Europe in the first half of the twentieth century (Page 7). In the first section, a boy travels with his
father, who is an expert in dislodging log-jams with dynamite. They travel somewhere north of Kingston, Ontario (Page 7). The second section concerns the building of the Bloor Street viaduct
across the Don Valley in east Toronto, which was completed in 1918 (Page 7). This section also features the "daredevil" builder, Nicholas, an immigrant from Macedonia (Page
7). In the third section of the novel, Patrick, the boy from the first section is now twenty-one years old and arrives in Toronto. Ondaatje describes Patrick Lewis as
an "isolated, imaginative boy who is locked within an individual self" (Pollrutz 583). Ondaatje paints Patricks colonial/Anglo heritage as extremely limiting. It is only through his association with people of
other ethnic origins that he begins to "fill in" the spaces between himself and others (Simmons 699). It is through his contact with ethnic peoples that Patrick begins to define
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