Thousands of people interested in Asia will gather in New York City, many to hear presentations made by UCLA scholars, students, and alumni.
UCLA scholars, students, and alumni have contributed a great deal to developing Asian studies and continue to offer pioneering scholarship. At the 2003 meeting of the Association for Asian Studies, thirty-four present papers, chair sessions, or serve as discussants -- the largest contingent from any university. Three of the conference's panels were organized by UCLA history graduate students, Margaret Kuo, Nhung Tuyet Tran, and Jason Creigh. A fourth panel was organized by Eileen Cheng, a graduate student in East Asian Languages and Cultures. Another was assembled by art history professor Burglind Jungmann. Three others were initiated by UCLA alumni: Hiromi Mizuno, teaching at the University of Minnesota, Esther Yau, teaching at Occidental College, and Yibing Huang, teaching at Connecticut College. Below we present abstracts of the papers presented by and the panels organized by members of the UCLA Asian Studies family. More information about the AAS and its annual meeting is available at aasianst.org. The 2004 meeting will be held in San Diego on March 4-7. News from the annual meeting: David Schaberg's A Patterned Past receives top AAS book award: The 2003 Joseph Levenson Prize PRESENTERS
Mizuno, Hiromi Bourdaghs, Michael
Nguyen-vo, Thu-huong Cheng, Eileen
Oak, Sung-Deuk Creigh, Jason
Takeuchi, Michiko Faison, Elyssa
Tamanoi, Mariko Ginoza, Naomi
Tran, Nhung Tuyet Hu, Minghui
VanderVen, Elizabeth Jeong, Kelly Yoojeong
Wang, Chaohua Jungmann, Burglind
Yau, Esther Kuo, Margaret
Zackey, Justin Li, Li
UCLA scholars, students, and alumni have contributed a great deal to developing Asian studies and continue to offer pioneering scholarship. At the 2003 meeting of the Association for Asian Studies, thirty-four present papers, chair sessions, or serve as discussants -- the largest contingent from any university. Three of the conference's panels were organized by UCLA history graduate students, Margaret Kuo, Nhung Tuyet Tran, and Jason Creigh. A fourth panel was organized by Eileen Cheng, a graduate student in East Asian Languages and Cultures. Another was assembled by art history professor Burglind Jungmann. Three others were initiated by UCLA alumni: Hiromi Mizuno, teaching at the University of Minnesota, Esther Yau, teaching at Occidental College, and Yibing Huang, teaching at Connecticut College.
Below we present abstracts of the papers presented by and the panels organized by members of the UCLA Asian Studies family.
More information about the AAS and its annual meeting is available at aasianst.org. The 2004 meeting will be held in San Diego on March 4-7.
News from the annual meeting: David Schaberg's A Patterned Past receives top AAS book award: The 2003 Joseph Levenson Prize
von Glahn, Richard
“Good Wives, Bad Wives: Family Ideology in Republican China”
Organized by Margaret Kuo, History, UCLA
The members of our panel investigate attempts in Republican China to transform that most ubiquitous of gender identities, the wife, from a bearer of traditional virtues into a representative of modern values. Her daily tasks of housekeeping and child rearing, moreover, aroused the attention of reformers and revolutionaries who resolved to remodel these routine chores into dynamic household management skills that served state-building and national resistance efforts. Conceptions of wives and their behavior have possessed enormous moral power throughout Chinese history. But as China experienced political and economic upheaval, invasion and occupation, and social and physical dislocation in the first half of the twentieth century, the ideological foundations of the good wife and the ideal family underwent severe disruption. Writers, politicians, feminists, policymakers, and judges all struggled to redefine what constituted the proper wife—her characteristics and her activities. Our papers collectively explore these discursive debates over wives and their duties in the contexts of Communist Party resistance politics in occupied Shanghai (Susan Glosser), Guomindang family education experiments in rural Sichuan (Helen Schneider), litigation over GMD marriage provisions (Margaret Kuo), and variations on “good wife wise mother-isms” in print culture (Ling-ling Lien). Each paper also illustrates related examples of improper wifehood and objectionable domestic activities. Although our inquiry into the burgeoning meanings of wifehood in the new nation elicits questions of how to unbind wives from the narrow confines of the family, our answers, ironically, link wives ever closer to underlying changes in family ideology. Finally, our discussant, anthropologist Ann Anagnost, will raise interdisciplinary insights and draw theoretical connections between Republican and contemporary family ideology.
De-mystifying the Woman: Gender in Vietnamese History and Historiography
Organized by Nhung Tuyet Tran, History, UCLA
In the scholarship on Viet Nam, women signify the nation’s unique cultural heritage and serve as a marker of tradition or modernity emerging in three reified forms: as signs of Confucian oppression, of Vietnamese uniqueness, or of Southeast Asian permissiveness. Between the two cultural traditions of the Southeast Asian and Sinic world, another model of Vietnamese womanhood emerged. This model emphasized Vietnamese uniqueness, and the woman embodied an ostensibly unified national culture that predates Chinese influence. As markers of tradition, the existing literature relegates women’s experiences to their contribution to the meta-narrative of Vietnamese history. As a result, we still know very little about their lives. What then were women’s lives like?
This panel challenges assertions of Vietnamese women’s uniqueness by examining their lives through their participation in the marketplace, village and urban society, and literature. Two of the papers, Nhung Tuyet Tran’s and Wynn Wilcox’s, examine the ways in which early modern village society and urban colonial society, respectively, constructed gendered roles and set the rules of sexual activity. Liam Kelley’s reading of Doan Thi Diem’s eighteenth-century poetry challenges the mystique of Ho Xuan Huong, whose apparent sexually-charged poetry has captured the imagination of Western audiences. George Dutton’s examination of women’s participation in the market from the seventeenth through the nineteenth centuries at last gives attention to their actual experience in the marketplace. These papers challenge the existing literature by writing about women’s lives without limiting the discussion to Vietnamese identity, whether Chinese, Southeast Asian, or uniquely national.
Chair and Discussant: John K. Whitmore, University of Michigan
Individual and Institution:
How Korean Paintings Reflect Social and Political Circumstances
Organized by Burglind Jungmann, Art History, UCLA
Korean art has been mainly investigated in terms of its stylistic evolution. Although usually accompanied by a short introduction to cultural and political circumstances few studies in Korean painting have made efforts to directly link the visual material to its cultural, political and social contexts. The panel attempts to approach the field under different perspectives, through case studies on individual painters and a government institution, and through Taoist and Buddhist themes used at times when Confucian ideology was strong.
Jeonghye Park will shed light on one of the most powerful government institutions of the Choson period (1392–1910). Introducing documentary paintings commissioned by the Office of Statesmen of Venerable Age she will investigate the political character of the visual material as well as social life inside government agencies.
Burglind Jungmann will introduce the case of Kim Che, a painter whose life and work was overshadowed by internal and external political conflicts. She will show that his paintings rather than being examples of a leisurely pastime can be interpreted as evidence of retreat and thus as reactions to contemporary political conditions.
Seunghye Sun investigates Confucian, Taoist and Buddhist iconography in Choson painting and how the symbolism of the "three religions" amalgamates in the visualization of a Korean novel.
Finally the discussion of a modern painter, Kim Kich’ang, by Joohyun Lee will show how Korea’s political struggle in the 20th century affected painting history and how the heritage of the Choson period helped painters to find their identity in the modern world.
In Search of Identity: Figure Paintings by Kim Kich’ang (1913–2001) between 1945 and 1975
Joohyun Lee, Hongik University
Rereading a Revolutionary Icon: Qiu Jin through Texts, Images, and Gestures
Organized by Eileen J. Cheng, East Asian Languages and Cultures, UCLA
Through the use of existing and previously overlooked sources and a variety of innovative perspectives, this panel offers a radical departure from conventional scholarship on Qiu Jin (1875–1907). Qiu Jin has become an iconic image, a revolutionary martyr canonized by both nationalists and communists. What made her such a remarkable figure in her time, however, is not solely nor even predominantly her role as a revolutionary, as much scholarship suggests; it is, rather, the ways in which she was able to forge and negotiate a variety of public identities including that of a writer, anarchist, revolutionary, and feminist.
The panel explores the complexities and contrad-ictions of Qiu Jin’s multiple identities through a variety of perspectives and sources. These include: an analysis of the material details behind and the gendered and cultural implications of photographic images of Qiu Jin in light of previously overlooked Japanese sources; an examination of Qiu Jin’s body as a site of her own self-creation and a source of widespread controversy through memoirs left by her contemporaries; an exploration of the intersection between gender and genre in Qiu Jin’s writings and in the late Qing more generally through a close reading of her shi, ci, songs, political essays, private correspondences, public speeches, etc.; and an inquiry into her subjectivity as it emerged in her autobiographical writings. In allowing the complexities and contradictions of Qiu Jin’s multiple identities to emerge, the panel will also offer new insights on the interconnections between gender and nationalism in the late Qing.
The Menacing Public Body: Qiu Jin’s Troubling Gender
Eileen J. Cheng, East Asian Languages and Cultures, UCLA
Scholarship on Qiu Jin has tended to appropriate her martial body as a symbol of nationalism and revolution. Such treatment, however, largely ignores the complexities behind her identity as a woman and revolutionary, as well as the tactical nature of Qiu Jin’s self-presentations. What is at stake in such occlusions?
This paper will focus on Qiu Jin’s body—as a site which Qiu Jin manipulated in the process of personal and political transformation, as well as a site that generated widespread controversy. Qiu Jin’s writings lament the exclusion of women from public spaces; her cross-dressing and adoption of a male persona served as a means for her to negotiate and circumvent such exclusions. That Qiu Jin’s public and political identity was forged by a visual gender transformation of sorts points to the dilemma of a public woman in the late Qing: her voice and public legitimacy had to be mediated through a renunciation of sexuality and the female body. Yet, despite and in spite of her gender transformation, Qiu Jin’s body continued to be a site of attention, fascination, and controversy throughout her lifetime. That subsequent scholarship has overlooked this issue may be due to several factors: traditional notions of gender, in which the woman’s body and its publicity is linked with social and moral bankruptcy; as well as to the fact that Qiu Jin’s public body and her ability to transgress and blur gender boundaries may have proved a menace to prevailing gender discourses.
Politicizing Japanese Science Fiction
Organized by Hiromi Mizuno, University of Minnesota (UCLA History graduate)
This interdisciplinary panel examines the politics of science fiction in twentieth-century Japan, with each paper analyzing widely consumed yet understudied works from the 1900s (Bensky), the late 1930s–early 1940s (Mizuno), the 1950s (Marran), and the 1980s–90s (Long). The aim of this panel is to explore critical and historical readings of science fiction. In order to create focused and active discussion, we will follow an unconventional format. We will start with the announcement of two sets of questions, to which each presenter will respond in his/her paper, and end with the discussant’s own interpretation of the questions to help us draw historical, literary, and sociological conclusions.
The questions are: (1) What can intellectuals say about contemporary society in the language of science fiction that they cannot say otherwise? Does science fiction necessarily defamilialize the present as Fredric Jameson and others argue? (2) What kind of science is invoked for what vision? For example, what sorts of the bodies (gendered, racial, national, etc.) are imagined based on what kinds of science (medical, military, reproductive, etc.)? How is a particular body of science used to promote or deny a particular ideological world?
Scholarly examination of Japanese science fiction has recently begun, but much of its attention has been paid to post-1950s works. This panel covers the early to late twentieth century, seeing how styles, tropes, and themes in science fiction change over time. While we trace the history of the genre, our primary concern is to explore what we mean when we speak of "science" in science fiction and to examine expressions of ideological coercion and critique.
Adventure and Empire: Meiji Era Science Fiction
Xavier Benjamin Bensky, University of Chicago
From Science to Utopia: Wartime Science Fiction in Japan
Hiromi Mizuno, University of Minnesota
This paper examines works published as "science fiction" during the Pacific War (1937–1942), mainly Unno Jûza’s Floating Airfield [Ukabu Hikôtô] (1938) and Kigi Takatarô’s The Flag of the Green Rising Sun [Midori no Nisshôki] (1939–1940). First serialized in popular children’s magazines, both works portrayed a scientific Japan but in different ways. Unno’s work, arguably the best known science fiction novel of the time, is an action-adventure story of Japanese soldiers who disable a Western powers’ secret mission. Kigi’s lesser known work provides a fascinating example of how "scientific" Japan was imagined in the colonial context; in Kigi’s work, Manchuria provides a site for scientific and technological perfection. Despite their popularity and influence on postwar science fiction, scholars have yet to seriously examined wartime science fiction.
Does science fiction function as a critique of existing systems or rather turn attention away from the present? Wartime science fiction in fact does not fit either interpretation. In Unno’s and Kigi’s works, inventions—strictly related to production and military technology—devised a technologically invincible and scientifically superior Japan and expressed the loyal imperial body, both male and female. While their works can be read as a critique of unscientific Japan, I argue that such a critique went hand in hand with the wartime state’s mobilization of science. I call this politics of wartime science fiction "scientific nationalism"—the mobilization of the youth with the vision of a scientific Japan for the division of the world according to the official ideology.
Race in Space: Numa Shozo’s Pet Yapoo
Christine Marran, University of Minnesota
Are Otaku Naturally Selected? Some Feminist Implications
Margherita Long, State University of New York, Buffalo
The Social Life of Books in Nineteenth- and Twentieth-Century Japan
Organized by Jason Creigh, History, UCLA
Despite occasional murmurs of revision, approaches to the book in the field of Japanese cultural history tend to run along one of two paths. Along one path, the book serves as a window unto social reality. Largely unmediated and cut off from the social base of its production, the book functions as pure source material. Along the other, the book exists primarily as a world turned in upon itself. As a closed set of signs, the book is an effect of discourse, offering up example terms and concepts. In both cases, the book’s status as a material object is taken for granted or overlooked. In keeping with recent trends in the history of the book, this panel seeks to address the problem of the book as a material object embedded in specific social contexts of patronage, publishing, circulation, reading, and preservation. By tracing the lives of particular books in the nineteenth and twentieth centuries, the presentations taken as a whole both expose a critical transition in the history of book-making technologies—from manu-scripts and block-printing to movable-type printing and the mass-produced book—and also comment upon larger cultural dynamics, including the market in political ideas, the spatial dimension of cultural consumption, the role of images in structuring class affinities, and the effects of form on cultural description. In the end, at a time when the archive is increasingly being digitalized, these presentations demonstrate the continuing relevance and necessity of encountering books in their original forms.
Importing the Novel to Japan: The Jin Yun Qiao and the Viscidities of Cultural Consumption in Nineteenth-Century Japan
Jonathan Zwicker, University of Michigan
Hand-Held Cameras and Pocket Knowledge: How-To Books and the Camera Enthusiast in Interwar Japan
Kerry L. Ross, Columbia University
The Discovery of Folklore Studies: Yanagida Kunio and the Book
Kenji Sato, University of Tokyo
Chinese Cinemas and "the Ruin"
Organized by Esther Yau, Occidental College (UCLA Film Studies graduate)
The "ruin" is a critical and historical figure for cultural criticism and national cinema. To Walter Benjamin, the allegorical exemplar is the ruin: "allegories are, in the realm of thoughts, what ruins are in the realm of things." The "ruin" has appeared as a powerful trope of history in Chinese films: from Fei Mu’s Spring in a Small Town (1948) to Tian Zhuangzhuang’s The Blue Kite (1992), ruins provoke thoughts of the nation’s traumatic pasts and of decadence. Taking an allegorical turn in the direction of rewriting cinema history and aesthetics, the essays in this panel depart from the dominant uses in Chinese films of the "ruin." The essays attempt to rewrite film aesthetics, film genres, and local agency through the notions of unraveling, rebuilding, re-mapping, and anti-monumentalizing. These essays engage the temporal notion of decay, the idea of weak redemptive power, and the role of slighter texts. They approach the screen images as the palimpsest and the ephemeral, and they characterize Chinese and Hong Kong cinema as an apparatus of fear production and a screen of incomplete ethical agency. The "ruin" in these essays became allegorical for "the other beginnings" of critical approaches in Chinese film studies and cinema historiography. It no longer remains the illusive, fear-inspiring center of the nation’s traumatic encounter with history. The "ruin" is the site where work for a liberated future for Chinese film studies is being done.
Shadow Citizens of the Cold War Cinema Screen
Esther Yau, Occidental College
Spies pose threats to the nation as homeland and they undo the inside/outside opposition that peasants are made to sustain. Spies in their everyday guises and peasants with their docile appearances could throw normative perception off guard at any moment. They are shadow citizens who could bring about a collapse of the national security state from the inside. The subjects of a paranoid vision, they turn looking into surveillance—all visible surfaces will be monitored yet sights are not to be trusted. In Chinese cinema, the "espionage" genre (fante pian) and the "village" genre (nongcum pian) turn cinema into an apparatus for the mass production of fear. The dark world that appears in the counter-intelligence narratives is also the only legitimate setting for screen murders, suicides, affairs, and decadent behavior. To the extent that these elements have been completely purged from the sunny and productive countryside in the village film and from "worker-peasant-soldier" films altogether, the espionage genre became a pretext for traces of capitalist modernity to maintain their attraction on screen as an open secret during the Maoist era. This essay approaches the espionage film and the village film as complementary genres that make up an illusive, fear-inspiring center of the national imaginary during the Cold War. It examines cinema visuality as transformed by the looks of fear and it reconfigures fetishism and fantasy in the context of surveillance. Selective films of the 1950s will be discussed and compared with film and television drama series of recent years.
Slicing, Street-Mapping, and Fractured Reality: From the Nation-State to Screen Citizenship
Linda Chiu-Han Lai, City University of Hong Kong
Hybridizing "Chineseness": Contemporary Chinese and Chinese American Poets
Organized by Yibing Huang, Connecticut College
(UCLA Comparative Literature Graduate)
The panel attempts to break down boundaries between studies on contemporary Chinese poetry and Chinese American poetry and to start a new and meaningful dialogue between these two fields so far separated in discipline. The panelists share the same belief that Chinese and Chinese American poets can no longer be bounded by a single national identity; instead, their identities must be multiple and hybrid. While this cultural hybridity has always been one of the most important concerns for Chinese American poets, it has also increasingly generated much discussion and debate among contemporary Chinese poets who are now entering into an era when transnational and diasporic culture and identity are significant. Their different experiences of hybridizing "Chineseness" are certainly illuminating to each other.
All of the three panelists, besides being scholars, are poets themselves. They have all experienced and witnessed different moments of recent Chinese and Chinese American poetry history, which they discuss respectively in their papers. Jianhua Chen presents on underground poetry in Shanghai from the 1960s to the 1970s, of which he himself was a participant and witness. Russell Leong, the well-known Asian American poet and critic, chooses two famous Chinese American poets and compares their different conceptions of engaged enlightenment. Finally, Yibing Huang focuses upon the "after history" theme in contemporary Chinese poetry by examining how Chinese poets have striven for new alternatives and hybrid identities which can eventually break down the once narrowly defined category of "Chinese poetry" against a transnational and "post-history" new world.
Historicizing the Underground Romanticism: A Shanghai Poetic Group in the 1960s
Jianhua Chen, Hong Kong University of Science and Technology
Written Texts in Oral Contexts: Memorization, Performance and Transmission in Early China
On the Move: Women in Rural-Urban Migration in Contemporary China
Out to the City and Back to the Village: The Experiences and Contributions of Rural Women Migrating from Sichuan and Anhui
Cindy Fan, Geography, UCLA
Research on migration in China has generally downplayed the agency, contributions and experiences of migrants, and is even scantier on rural women migrants. In this paper, I analyze the Interview Records of the 1995 Sichuan and Anhui Survey conducted by the Ministry of Agriculture, to examine four aspects of the experiences and contributions of rural women migrants. First, I argue that rural women, when given the opportunity to pursue migrant work, are as economically active as their male counterparts and are able to make important economic contributions to the village household. Second, I illustrate the central role women migrants play in forging networks of rural-urban migrants. These networks are highly gendered. They facilitate the migration of women migrants but also channel them into segregated jobs and homogenize their urban experiences. Third, I show that women migrants are empowered by their urban work experiences, and that they are potential agents of social change in rural areas. Fourth, I emphasize that sociocultural traditions related to marriage continue to be a powerful constraint on the economic and physical mobility of single and married women alike, and that such constraint limits rural women’s agency and contributions. The qualitative data examined in this paper highlight the utility of using migrants’ narratives to study their experiences and agency.
The Ambivalent Qing: The Politics and Ethics of Translating Emotion in Early Republican China
Modernity and the Project of Self-Cultivation: Shûyô from Late Meiji to Early Shôwa
Female Desires in Movement: Longings, Acts, and Policies in Contemporary Vietnam
Conquerors and Concubines: The U.S. Military in Japan, 1945–1953
Japanese Empire in the Everyday Life: Film and Literature of the 1920s and 1930s as a Colonial Frontier
Religious Syncretism and Cliff Sculpture at Dazu, Sichuan during the Song Dynasty
Law, Policy, and Identity in Modern China
Japanese Imperialism and the Shaping of Chinese-Muslim Minority Nationalism in Republican China
Zvi Ben-Dor, Boston University
Drawing on hitherto unexamined Japanese, Chinese, and Arabic sources, this paper presents and discusses the scholarly activities of nationalist Chinese-Muslims during the 1920s, 30s and 40s. Specifically, it focuses on the activities of the Japanese occupying forces in Manchukuo and their role in promoting a Chinese-Muslim identity that saw itself as distinct and separate from China and the Chinese.
The paper also explores the reactions of the Chinese nationalist government and of Chinese Muslims in the rest of China to the Japanese initiative. It suggests that, paradoxically the Japanese efforts in Manchukuo helped shape a Chinese-Muslim identity which both saw itself as strongly connected to China and ultimately gained the close attention and the support of the Chinese government.
Ecological Modernization and Its Discontents: Green Development in China
China’s Logging Ban: Environmental Narratives and Policy Impacts
Justin Zackey, Geography, UCLA
After the devastating flooding of the Yangtze River in 1998, the Chinese Central Government, as part of the larger National Natural Forest Protection Program, imposed a logging ban on the upper reaches of the Yangtze watershed. This paper explores the environmental narratives that have justified China’s logging ban, and looks at some of the social and environmental externalities of the policy. I argue that although the logging ban has certain successes, it is a reactionary and problematic solution to failures in China’s environmental policy. It represents another dramatic shift in forestry policy that has changed, not stopped, the nature of deforestation in China. The logging ban, combined with other factors, has made village collective forests more vulnerable to deforestation, and thus undermines the long-term "sustainability" of village life that depends on forests. Theoretically, this paper addresses links between perceptions of environmental crisis and policy-making, and subsequently how the resulting "environmental interventions" impact local communities and environments. This paper draws on extensive village-based field research in northwestern Yunnan Province during 2000–2002, and focuses on high-altitude, rural communities.
Memories of Manchuria: Past and Present of a Historical Borderland
Imagining Colonial Identities in Korean and Japanese Cultural Production
The Paradox of Korean Colonial Modernity: Images of the New Woman in Colonial Literature
Kelly Yoojeong Jeong, East Asian Languages and Cultures, UCLA
In the early 20th century, the pre-existing notions of Korean womanhood became antiquated when more opportunities for women’s education opened up outside of the traditional domestic sphere. Beginning in the 1910s until the end of the 1930s, images and debates about the New Woman, fascinating proto-feminists and intellectuals of their time, came to preoccupy the imaginations of the nation’s intellectuals, as her high visibility in literature of this period testifies. Despite such popular debates among intellectuals, the New Woman’s relatively high education, mobility, and modernized consciousness made her an anachronism in the socio-cultural environment of colonial Korea, a conflicted nation caught between traditional Confucian patriarchy and colonial Japanese modernity. My paper explores images of the New Woman in two novels of the 1930s, Yom Sang-sob’s Three Generations (Samdae, 1931) and Ch’ae Man-sik’s Muddy Water (T’angnyu, 1937), to show the ways in which the New Woman figures in the texts embody the dilemma of colonial Korea. Indeed, my paper will discuss how the fall from grace that the New Woman characters experience in the narratives in fact underlines the rupture between Korea’s modern ideals and its colonial reality. Finally, my reading of the texts will explain how the images of this new feminine identity in literature reveal and reflect the internal struggles of colonial Korea that are exacerbated by the trauma of the simultaneous and over-determined nature of colonization and modernization.
Discussant: Namhee Lee, East Asian Languages and Cultures, UCLA
On the Margins? Re-examining Hijiri and Buddhist Institutions in Medieval Japan
Money and Democracy in Early Twentieth-Century China
"Hananim": The Term Question in Korea, 1881–1911
Sung-Deuk Oak, Center for Korean Studies, UCLA
The Korean Protestant Church officially adopted "Hananim" as the term for God by using it in the first authorized Korean New Testament published in 1904; it was also retained in the first Korean Old Testament, published in 1911. "Hanamin" is now the standard term for God among Korean Protestants, but that was hardly the case during the two decades preceding 1904. Quite the contrary—when missionary John Ross first adopted it in 1881, it was just one of several terms in contention; and from 1893 till 1904, a heated debate ensued among the missionaries and Korean Protestants as to which of them should be selected for that most important concept in their religion. This debate bears a close examination, inasmuch as it betrays telling interpretations and negotiations whereby Protestantism became Koreanized. More specifically, it reveals how the North American missionaries understood the etymology of "Hananim" and why they subscribed to the notion that Korean myths contained a "primitive monotheism." In addition, the debate reveals what "Hananim" meant in the context of contemporary Korean Shamanism, and affords an insight into the power dynamics that existed among the Protestants in Korea at the turn of the 20th century—among the missionaries, Korean Protestants, and missionary organizations. This paper focuses on two main issues: (1) the transformation of "Hananim" from being the word for a polytheistic Korean supreme god to the word for the monotheistic Christian God; (2) the three shortcomings of the term—its patriarchal image, provincialism, and syncretism.
Accommodating the Provocative Others: Knowledge Re-Production in Late Qing China
Women, Work, and Society in China
In the Name of the Mother: The Development of Women’s Education in Early Twentieth-Century Northeast China
Elizabeth VanderVen, History, UCLA
Most scholarship on female education in the early twentieth century focuses on urban areas, especially the Jiangnan region. There has been an enduring assumption that in rural areas, especially in north China, girls and women simply did not attend school until after the Communist take-over in 1949. That rural girls did not attend school has been explained in terms of local conservatism creating ideological resistance to female education. This paper, based on archival sources, argues that, on the contrary, after 1907 (when the Qing formally sanctioned girls’ schools) and peaking during the teens and twenties, individuals and communities in Haicheng County, rural northeast China founded numerous well-attended primary schools for girls. Furthermore, these local reformers successfully sought financial and organizational help from the county government. Their success in winning over the state as well as their own communities can be explained by their selective adherence to early national debates on women’s education, in particular the views embodied by Liang Qichao. When petitioning for funds, local reformers drew on the aspects of Liang’s thought that emphasized the xianqi, liangmu (virtuous wives, good mothers) ideal and passed over the aspect of his ideology that suggested women should enter the work force. Nonetheless, these reformers embraced Liang’s notion of universal education and were successful in providing an education to hundreds of young women in towns and villages across the county.
South Asians in East Africa: Rethinking Culture, Commerce, and Colonialism
Cashing in on Sôseki: Modern Japanese Literature, Critical Reception, and the State
The Never-Ending Story: Kokoro and Contemporary Japanese Cultural Criticism
Michael Bourdaghs, East Asian Languages and Cultures, UCLA
In the mid-1980s, the world of literary criticism in Japan was occupied by a fierce debate over Natsume Sôseki’s Kokoro (1914), one ignited by radical re-readings of the novel proposed by a new generation of critics and scholars. The debate marked a crucial turning point in the acceptance of new theories and methodologies of literary criticism in Japan, including structuralism, psychoanalysis, and semiotics. Moreover, as the "old guard" opponents to the new re-readings declared, the younger generation of critics presumed, among other things, the death of the author—the keystone that had anchored previous versions of interpretation and canonicity.
This conflict between orthodoxy and heterodoxy can be understood in part through Bourdieu’s sociology of cultural production, an approach that allows us to see the debate as an active sate for working through the tensions of its historical situation.
But other aspects evade a sociological approach—including the uncanny manner in which, as earlier commentators have noted, the structure of the debate came to resemble the plot of the novel Kokoro itself. This paper explores the debate in terms of its structure as an object of sociological knowledge, but also takes up those aspects that fall within the blind spots of the sociological gaze and which demand an alternative, perhaps literary, form of understanding. It argues that contemporary cultural criticism must employ both forms of knowledge in a process of never-ending mutual supplementation to recover critical possibilities from the Kokoro text and its (inevitably failed) attempts to represent death.
Innovation, Media, and Global Networks
Country, City and Borderline Crossing: A Case Study of Two Left-Wing Chinese Films of the 1930s
Vivian Shen, Davidson College (UCLA Graduate)
This paper contends that the majority of 1930s left-wing Chinese cinema involves issues of country, city, and the borderline crossings between the two. By examining two similar popular films, Small Toys (Sun Yu, 1933) and Songs of Fishermen (Cai Chusheng,1934) it will demonstrate that borderline crossings from country to city in the 1930s reveal disparities and conflicts between the center (typically Shanghai) and the rural periphery. These crossings also reveal even more profound conflicts between the Chinese upper and lower classes, between modernization/Westernization and Chinese traditions, between agrarian society and industrial society, and between patriotism and imperialism.
Contrary to Ernest Gellner’s assessment, the transition from agrarian society to industrial society in the 1930s was forced upon the Chinese peasant as a direct or indirect result of imperial aggression, according to these films. Furthermore, China’s social, political, and economic realities potentially posed disastrous problems for the peasants to march toward an industrial society.
Although most Chinese peasants were rarely touched by films of any kind, as Jay Leyda has observed, "the portrayal of peasant problems was nevertheless a crucial revolutionary claim for the left filmmakers to emphasize." However, the tragic ending of both films suggests, understandably, that left-wing directors were not able to resolve these conflicts.
Published: Friday, March 21, 2003
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