Colorado Journal of Asian Studies
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COLORADO JOURNAL OF ASIAN STUDIES Volume 4, Issue 1 (Summer 2015) 1. Capitalist Influences on Chinese Masculinities through Cinema Earl Grey Chrysogelos 18. Working Hard or Hardly Working: An Examination of Factors Contributing to Workloads of Tokugawa Era Peasants Laura Graham 34. Newars of Kathmandu Valley Chandan Maharjan 48. Nationalist Archaeologies of Korea and Applying Multivocal Interpretations Jessica Wolff Colorado Journal of Asian Studies Volume 4, Issue 1 (Summer 2015) Center for Asian Studies, University of Colorado 1424 Broadway Street, Boulder CO 80309 Colorado Journal of Asian Studies Volume 3, Issue 1 (Summer 2014) The Colorado Journal of Asian Studies is an undergraduate journal published by the Center for Asian Studies at the University of Colorado at Boulder. Each year we highlight outstanding theses from our graduating seniors in the Asian Studies major. EXECUTIVE BOARD AY 2014-2015 Tim Oakes, Director Tim Weston, Associate Director Danielle Rocheleau Salaz, Executive Director Steve Chan Jennifer Fluri Chris Hammons Faye Kleeman Dennis McGilvray Rob McNown Meg Moritz CURRICULUM COMMITTEE AY 2014-2015 Tim Weston, Chair David Atherton Colleen Berry Holly Gayley Rob McNown Mithi Mukherjee Ex-Officio Sylvie Burnet-Jones, Office of International Education Allison Frey, Academic Advisor Manuel Laguna, Leeds School of Business Center for Asian Studies, University of Colorado 1424 Broadway Street, Boulder CO 80309 Colorado Journal of Asian Studies Volume 4, Issue 1 (Summer 2015) NOTE FROM THE EDITOR The Center for Asian Studies is pleased to publish four senior theses from the 2014-2015 academic year. Every senior graduating with a degree in Asian Studies is required to complete a research project under the guidance of a faculty advisor on any topic related to Asia. Each year, students produce excellent work on a wide variety of topics, and this year was certainly no exception. Earl Grey Chrysogelos’ essay, “Capitalist Influences on Chinese Masculinities through Cinema,” examines how representations of masculinity in Chinese cinema reflect the influences of capitalism and Western understandings of heterosextual masculinity. In “Working Hard or Hardly Working: An Examination of Factors Contributing to Workloads of Tokugawa Era Peasants,” Laura Graham looks at how peasant life in Tokugawa Japan varied depending on region, gender, and class and status. Chandan Maharjan’s study, “Newars of Kathmandu Valley,” gives an in- depth understanding of Newari Culture. Jessica Wolff’s thesis concludes the volume with her analysis of the politics of archaeology in Korea and how the current situation can be remedied through the use of multivocal interpretations, entitled, “Nationalist Archaeologies of Korea and Applying Multivocal Interpretations.” Center for Asian Studies, University of Colorado 1424 Broadway Street, Boulder CO 80309 Colorado Journal of Asian Studies Volume 3, Issue 1 (Summer 2014) Center for Asian Studies, University of Colorado 1424 Broadway Street, Boulder CO 80309 Colorado Journal of Asian Studies Volume 3, Issue 1 (Summer 2014) Capitalist Influences on Chinese Masculinities through Cinema EARL GREY CHRYSOGELOS (Men and Masculinities). Through this process hina has long been a country that has children learn how to “act out” their genders. enjoyed a high degree of power and While growing up, boys are subjected to societal influence over its neighboring countries. C ideals of masculine privilege, the idea that men For a great many years China was the are afforded unearned benefits, rights, and powerhouse of the Asian world. Over the course advantages in society solely based upon their of time other countries begin to rise in power, gender, and they also learn what may happen if and challenge the hegemonic rule of the Chinese they fall outside the appropriate “norms” (Men empire. Between Japan and many Western and Masculinities). General Western ideas of nations, China was slowly removed from its masculinity are sometimes termed “Hegemonic position as the ruler of Asia, and placed in a Masculinity,” and the characteristics for this man position of pure subordination to foreign powers. are: During this period of imperialism, Chinese 1. distance oneself from femininity government and society was forced to change in 2. restrict emotion order to thrive within the new culture that was 3. be tough and aggressive (avoidance of slowing beginning to form. Taken on a roller vulnerability) coaster ride of political institutions, China 4. be seen as highly sexualized with women underwent a long period of general uncertainty in 5. prove one’s heterosexuality via everyday life, but eventually capitalism settled in homophobia (Men and Masculinities) and made itself the main “culture” in China, with The Western man is the embodiment of all Communism remaining the political face. The masculine features in a single body. It is no masculine style of men began to change from a wonder that there is such a conflict between the figure devoted to his country to a businessman ideal Western man and the ideal Eastern Man. In devoted to the almighty income. This pursuit of a early China, masculinity was closely tied to capitalist lifestyle, a Western creation, is cultural development (Zhou). The emphasis on something that proves to be detrimental to Wen and Wu was also very dependent on the Chinese masculinity, causing him distress rulers of China, as different eras emphasized the throughout his life by way of economical value of one over the other (Jankowiak 5). In backlashes, family strife, and lost love. The Chinese culture, Wen and Wu indicate two examples within the selected films show that conflicting virtues, Wen referring to an although China has gained a sense independence “intellectual” trait, while Wu refers to a “physical, from foreign countries, there is still a high degree action-oriented” trait (Jankowiak 5). Beginning as of Western imperialism influencing the lives of a figure that may have been worthy of the Chinese citizens. This foreign influence clashes Western glorification of the bellicose lifestyle, a with the nationalist desire for independent bearded martial warrior full of Wu, the Chinese cultural creation. man eventually morphed into a “dainty scholar” Before any claims are made about masculine (Zhou). This transition stemmed from Confucian portrayals in Chinese cinema, we must first look texts from the Spring and Autumn Period (770 at the definition of masculinity which will be used BC-476 BC). Confucius stated that Wen was the in this paper. Masculinity, as every other feminine “yin” force, and Wu was the masculine personality trait, is extremely difficult to define. “yang” force, and the “proper” man would have a There is no one definition, merely a grouping of balance of both of these features within himself. culturally accepted ideas that take the shape of Throughout Chinese history the emphasis on masculinity. The cultural creation of gender roles Wen over Wu, or Wu over Wen, would fluctuate is sometimes referred to as a “gendering process” with the changes in power structures (Zhou). The 1 Colorado Journal of Asian Studies Volume 3, Issue 1 (Summer 2014) concept of Wen and Wu was seen as a purely The route of traditional learning in China was Chinese one; one unable to be obtained by foreign traded in for a modern education, as education men who were outside the “orbit of civilization” had always focused on the past. Up until the Qing (Louie 1065). As China suffered years of Western Dynasty (1644-1911), Chinese education focused Imperialism, the idea of the Chinese man was on the memorization and understanding of broken down and recreated. Western views on Confucian Classics and commentaries on these Chinese masculinity have always been rather Classics (The Confucian Classics and Civil Service negative. Often viewing Chinese men as “weak, Examinations). As China underwent forced immature, selfish, and impotent”, the West imperialism at the hands of many Western reserved the title of “true masculinity” for figures Countries, the education system chosen by China such as Rambo and Takakura Ken (Song 407). But changed to suit a new culture. This new this can hardly be seen as a fair argument. China education system, focusing on foreign languages, has come from a culture that has a long history of business, and science represented a break away androgyny. Having no word that specifically from tradition for practices that were “abhorred” points to cultural masculinity or femininity by the Confucians: profitable activities (Louie implies that in Imperial Chinese times, 1076). Confucian texts heavily emphasized interactions were more important than a traditions, rituals, social conduct, and filial piety; linguistic term identifying gender as a social to expend one’s energy for the sake of profit was configuration (Jankowiak 3). something that was strongly rejected by Masculinity in China has always been rather Confucian thought. China underwent a time of fluid. In early dynasties education was stressed as political fragmentation, battling warlords, the path that men are expected to take. Civil fractured political parties, and Japanese invasion; Service Exams granted literary degrees, which eventually some semblance of order was gained would secure one a position within the once the Chinese Communist Party gained full government. Open only to males, these exams control of China by defeating the Kuomintang, were highly competitive, placing the sole which retreated to Taiwan where it became the importance on