The Outlook for Taiwanese Language Preservation
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Paper Number: 63 May 2007 Before and After the Fall: Mapping Hong
Paper Number: 63 May 2007 Before and after the Fall: Mapping Hong Kong Cantopop in the Global Era Stephen Yiu-wai Chu Hong Kong Baptist University The author welcome comments from readers. Contact details: Stephen Yiu-wai Chu, Department of Chinese Language and Literature, Hong Kong Baptist University, Hong Kong Email: [email protected] David C. Lam Institute for East-West Studies (LEWI) Hong Kong Baptist University (HKBU) LEWI Working Paper Series is an endeavour of David C. Lam Institute for East-West Studies (LEWI), a consortium with 28 member universities, to foster dialogue among scholars in the field of East-West studies. Globalisation has multiplied and accelerated inter-cultural, inter-ethnic, and inter-religious encounters, intentionally or not. In a world where time and place are increasingly compressed and interaction between East and West grows in density, numbers, and spread, East-West studies has gained a renewed mandate. LEWI’s Working Paper Series provides a forum for the speedy and informal exchange of ideas, as scholars and academic institutions attempt to grapple with issues of an inter-cultural and global nature. Circulation of this series is free of charge. Comments should be addressed directly to authors. Abstracts of papers can be downloaded from the LEWI web page at http://www.hkbu.edu.hk/~lewi/publications.html. Manuscript Submission: Scholars in East-West studies at member universities who are interested in submitting a paper for publication should send an article manuscript, preferably in a Word file via e-mail, as well as a submission form (available online) to the Series Secretary at the address below. -
KUCI Diaoyu Senkaku Ad.Indd
The Diaoyu-Senkaku Alternative 中日另类音乐on KUCI (88.9FM, www.kuci.org ) Winter 2012 (Jan.-Mar.), Noon-2pm Sundays w/ DJ Poseur Chinese and Japanese alternative music for peace in the Pacific. PROGRAM SCHEDULE (DISPUTED MUSICAL ISLANDS): 1-15: SURVEY (Gala; 33島; Omnipotent Youth Society; 旅行团; Yellow Submarine; 二手玫瑰; A-Z组合; LMF; 沼泽; Silver Ash; 重塑 雕像的权利; Buffalo Daughter; 4 Bonjour’s Parties; 椎名林檎 × 斎藤ネコ; Cartonbox; ウリチパン郡; Electronico; 54-71; Ma- mastudio; Plamo; 東京事変; ウイリアム) 1-22: ROCK (崔健; PK 14; 达达乐队; 木mυmα马; 麦田守望者; 果味VC; Fancy World; 刺猬乐队; Lonely China Day; 后 海大鲨鱼; 星期三旅行; 瘦人; 鐵風箏; 沙子; 废墟; 谷僳; Brahman; Cascade; Clingon; センチメンタルバス; Gellers; Maboroshi; 19; Sherbets; Wino) (UCI basketball game at 2 may shorten this show.) 1-29: FOLK/BLUES/REGGAE & DUB/LATIN (山人; 胡吗个; 腰; 李志; 周云蓬; 洪启; Hanggai; 杭天; 布衣; 龙神道; Little Tempo; ナーキ; Copa Salvo; Saigenji; A.S.P.; Determinations; 小松亮太) 2-5: LOUD (PUNK, METAL, EXPERIMENTAL) (冷血動物; 新裤子; 反光镜乐队; 吹波糖; 壞女兒; 哎吆; Haranga; 天堂乐队; 唐朝; Yaksa; 痛苦的信仰; 张 震 岳; Dragon Ash; Eastern Youth; Laputa; Demi Semi Quaver) 2-12: ELECTRONIC & SYNTH-POP (B6; 超级市场; Dead J; Gemini Trip; 周先生; Igo; Nobukazu Takemura; DJ Krush; 氷 室京介; IQU; 嶺川貴子; Pre-school) 2-19: HIP-HOP (LMF; 關威; FAMA; 功夫; A. Jordan Chan; 大陆断层; Machi; 周杰倫; MC Hotdog; 葡桃; タサツ; Lunch Time Speax; DABO; Fu-Ten; Rhymester; Rino Latina; Zeebra) 2-26: HIP-HOP (UCI baseball game at 1 will greatly abbreviate this show.) 3-4: NOVELTIES (苍蝇乐队; 小河; 雪村; Sick Pupa; 王勇; 光磊; 忐忑; Shugo Tokumaru; Great Chicken Powers; 岡平健 治; New Electron; OOIOO) 3-11: QUIET FOR FINALS (Me:Mo; 惘闻; ASA-CHANG & 巡礼; Aoki Takamasa + Tujiko Noriko; 細野晴臣; Yuka Honda; Yuki Kaneko; カヒミカリィ; Kozo) 3-18: QUIET FOR FINALS (UCI baseball game at 1 will greatly abbreviate this show.) 3-25 FREEFORM REVIEW (SURVEY) Highlighting music on the following labels: Modern Sky, Badhead, Jingwen, Scream, Rock Records, So Rock!, Toy’s Factory, Pony Canyon, and many other small, independents. -
Influences of Music's “Chinese Style” Trend on Related Industry's Profit
Influences of Music’s “Chinese Style” Trend on Related Industry’s Profit Making Strategy Sizhe Liu Shanghai World Foreign Language Academy, Shanghai 201101, China Email: [email protected] Abstract: “Chinese style” is a new music genre that has developed rapidly in China since the 20th century. As its populari- ty rises, which forms a “Chinese style” trend, the music gradually becomes commercialized and thus affects the profit mak- ing strategy of related firms. In the research, the author is going to explain and evaluate these strategies and their causes. Keywords: Chinese style, popular music, industry, audience 1. Introduction The rapid development of “Chinese style” popular music in China has greatly changed the field of popular music since 21 century. This popular music genre, involving traditional poetry, traditional melody, traditional culture, modern singing method, modern arrangement, and modern concept, attracts a huge number of young audiences. The author, in a new angle of view, analyses Chinese style music in the perspective of economics. Because many related industries of Chinese style music want to seize this opportunity of the music genre’s popularity, various strategies are used to make a profit. The effectiveness of these strategies and their influences to the future development of Chinese style music are worth exploring. Therefore, in this study, the author analyses and evaluates the profit making strategies of the related firms. 2. Literature review From databases such as CNKI, Wanfang, and VIP, the author found that early researches have fully analyzed the music musical features of Chinese style music in both aspects of composition and lyrics. -
Indigenous Autonomy: Constructing a Place for Ethnic Minorities in Taiwan’S Emerging Civic Society
Indigenous Autonomy: Constructing a Place for Ethnic Minorities in Taiwan’s Emerging Civic Society Scott Simon, professeur agrégé Département de sociologie et anthropologie Université d’Ottawa, Canada Chercheur invité Institut d’Asie Orientale, ÉNS-LSH Lyon, France Paper prepared for the Fifth European Association of Taiwan Studies (EATS) Conference, Prague, Czech Republic, 18-20 April, 2008. Please do not cite or quote without the written permission of the author. E-mail: [email protected]. Abstract: For more than two decades, indigenous autonomy has been one of the main demands of Taiwan’s indigenous rights movement. Indigenous autonomy was incorporated into Chen Shui-bian’s campaign promises in 1999, and subsequently adopted as a policy goal in the 2000 DPP White Paper on Indigenous Policy. In 2005, the passage of the Basic Law on Indigenous Peoples made it seem as if this goal could soon be fulfilled. The Taroko Nation, recognized by the ROC in 2004, initially seemed poised to create Taiwan’s first indigenous autonomous region. Those goals, however, have been slowed down by the emergence of communities and individuals in their defined territory who refuse Taroko identity and have launched a competing drive for recognition as the Sediq Nation. Some Taroko people also resist the project of autonomy on the grounds that it merely empowers a small elite and does nothing to address their more immediate economic problems. These counter movements suggest that more is at stake in “autonomy” than indigenous rights. This paper thus looks at the creation of indigenous autonomy as part of an emerging civic society for an independent Taiwan. -
Ain't Nothin' but the Blues
14 發光的城市 A R O U N D T O W N FRIDAY, NOVEMBER 14, 2008 • TAIPEI TIMES Shun Kikuta, left, and Lance Reegan-Diehl Band, far right, appear tomorrow at Blues Bash 5, which takes place at the Dream Community in Sijhih. PHOTOS COURTESY OF BLUES BASH Band schedule Outdoor showcase 3:10pm The Money Shot Horns 3:30pm Jamsbee 3:45pm Blues Vibrations Annie Yi and Laurence 4:05pm Musashino Minnie and Small Package Huang have been 4:20pm Black Sheep caught in the act ... of 4:40pm Lance Reegan-Diehl Band holding hands. 4:55pm David Chen and the Muddy Basin Ramblers PHOTOS: TAIPEI TIMES 5:15pm Nacomi 5:30pm The Rising Hedons 5:50pm Shun Kikuta Indoor performances Theater stage 6:35pm BoPoMoFo (ㄅㄆㄇㄈ) 7:25pm Jamsbee aiwan�s paparazzi whole affair. After studying 8:15pm Musashino Minnie and Small Package outdid themselves this Huang�s nose, the geomancers 9:05pm Lance Reegan-Diehl Band week by portraying determined that he must be 9:55pm Nacomi T actress Annie Yi (伊能 good in bed. That�s right, in 10:45pm Shun Kikuta 靜) as a partying harlot who Taiwan its not big hands or 11:30pm Jam Session doesn�t want anything to do big feet, but a sharp nose that with her husband, Harlem reveals sexual prowess. Coffee shop stage Yu (庾澄慶), and their son, The subtext of the whole Harry (哈利), after the Liberty “scandal,” it seems to Pop 6:15pm The Money Shot Horns Times (自由時報) (the Taipei Stop�s feminist take, is this: 7:05pm Blues Vibrations Times’ sister newspaper) Men, you may leave your 7:55pm David Chen and the Muddy Basin Ramblers and Next Magazine (壹週 family back in Taiwan and 8:45pm Ah-Yi 刊) published photos of the have a second wife (or 9:35pm Black Sheep singer and movie star walking girlfriend) and live it up in 10:25pm The Rising Hedons hand-in-hand with fellow China, but Yi is blazing new Taiwanese actor Laurence ground and proving that Huang (黃維德). -
The Paradigm of Hakka Women in History
DOI: 10.4312/as.2021.9.1.31-64 31 The Paradigm of Hakka Women in History Sabrina ARDIZZONI* Abstract Hakka studies rely strongly on history and historiography. However, despite the fact that in rural Hakka communities women play a central role, in the main historical sources women are almost absent. They do not appear in genealogy books, if not for their being mothers or wives, although they do appear in some legends, as founders of villages or heroines who distinguished themselves in defending the villages in the absence of men. They appear in modern Hakka historiography—Hakka historiography is a very recent discipline, beginning at the end of the 19th century—for their moral value, not only for adhering to Confucian traditional values, but also for their endorsement of specifically Hakka cultural values. In this paper we will analyse the cultural paradigm that allows women to become part of Hakka history. We will show how ethical values are reflected in Hakka historiography through the reading of the earliest Hakka historians as they depict- ed Hakka women. Grounded on these sources, we will see how the narration of women in Hakka history has developed until the present day. In doing so, it is necessary to deal with some relevant historical features in the construc- tion of Hakka group awareness, namely migration, education, and women narratives, as a pivotal foundation of Hakka collective social and individual consciousness. Keywords: Hakka studies, Hakka woman, women practices, West Fujian Paradigma žensk Hakka v zgodovini Izvleček Študije skupnosti Hakka se močno opirajo na zgodovino in zgodovinopisje. -
From Eurocentrism to Sinocentrism: the Case of Disposal Constructions in Sinitic Languages
From Eurocentrism to Sinocentrism: The case of disposal constructions in Sinitic languages Hilary Chappell 1. Introduction 1.1. The issue Although China has a long tradition in the compilation of rhyme dictionar- ies and lexica, it did not develop its own tradition for writing grammars until relatively late.1 In fact, the majority of early grammars on Chinese dialects, which begin to appear in the 17th century, were written by Europe- ans in collaboration with native speakers. For example, the Arte de la len- gua Chiõ Chiu [Grammar of the Chiõ Chiu language] (1620) appears to be one of the earliest grammars of any Sinitic language, representing a koine of urban Southern Min dialects, as spoken at that time (Chappell 2000).2 It was composed by Melchior de Mançano in Manila to assist the Domini- cans’ work of proselytizing to the community of Chinese Sangley traders from southern Fujian. Another major grammar, similarly written by a Do- minican scholar, Francisco Varo, is the Arte de le lengua mandarina [Grammar of the Mandarin language], completed in 1682 while he was living in Funing, and later posthumously published in 1703 in Canton.3 Spanish missionaries, particularly the Dominicans, played a signifi- cant role in Chinese linguistic history as the first to record the grammar and lexicon of vernaculars, create romanization systems and promote the use of the demotic or specially created dialect characters. This is discussed in more detail in van der Loon (1966, 1967). The model they used was the (at that time) famous Latin grammar of Elio Antonio de Nebrija (1444–1522), Introductiones Latinae (1481), and possibly the earliest grammar of a Ro- mance language, Grammatica de la Lengua Castellana (1492) by the same scholar, although according to Peyraube (2001), the reprinted version was not available prior to the 18th century. -
Social Memory and Social Movement on Indigenous Formosa
Remembrance as Resistance: Social Memory and Social Movement on Indigenous Formosa Scott Simon, Associate Professor Department of Sociology and Anthropology University of Ottawa, CANADA [email protected] Paper presented at the Third European Association of Taiwan Studies Conference, Paris, France, March 30-31, 2006 Working Draft: Please do not cite or quote without the written permission of the author. ABSTRACT: Sixty years after the conclusion of World War II, memories of the Japanese occupation of Taiwan remain a part of social and political life in the country. In the weeks leading up to the 2005 county and township elections, for example, the KMT headquarters in Taipei were adorned with an enormous image of Mona Ludaw, the aboriginal hero who had led a rebellion against the Japanese in 1930. The use of this particular image has historical precedents in KMT historical narrative of that rebellion illustrating resistance against Taiwan’s colonial overlords on behalf of the Republic of China. The electoral image, meant to appeal to the party’s hard-core Mainlander supporters, uses social memory of anti-Japanese rebellion to reinforce its image as the carrier of Chinese nationalism. In this discourse, the DPP and its supporters end up looking sympathetic to Japan and nostalgic for colonial rule. But what of the memories of Taiwan’s aboriginal people, the families and communities of Mona Ludaw? How are images and perspectives of the Japanese period evoked in personal and social memories in their communities? This paper, based on anthropological field research and interviews with villagers of the Truku people (Mona Ludaw’s tribe), shows how aboriginal memories of the period both differ from and articulate with the social memories of Mainlanders and Native Taiwanese. -
The Pop Scene Around the World Andrew Clawson Iowa State University
Volume 2 Article 13 12-2011 The pop scene around the world Andrew Clawson Iowa State University Emily Kudobe Iowa State University Follow this and additional works at: http://lib.dr.iastate.edu/revival Recommended Citation Clawson, Andrew and Kudobe, Emily (2011) "The pop cs ene around the world," Revival Magazine: Vol. 2 , Article 13. Available at: http://lib.dr.iastate.edu/revival/vol2/iss1/13 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in Revival Magazine by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Clawson and Kudobe: The pop scene around the world The POP SCENE Around the World Taiwan Hong Kong Japan After the People’s Republic of China was Japan is the second largest music market Hong Kong can be thought of as the Hol- established, much of the music industry in the world. Japanese pop, or J-pop, is lywood of the Far East, with its enormous left for Taiwan. Language restrictions at popular throughout Asia, with artists such film and music industry. Some of Asia’s the time, put in place by the KMT, forbade as Utada Hikaru reaching popularity in most famous actors and actresses come the use of Japanese language and the the United States. Heavy metal is also very from Hong Kong, and many of those ac- native Hokkien and required the use of popular in Japan. Japanese rock bands, tors and actresses are also pop singers. -
Understanding the Nuances of Waishengren History and Agency
China Perspectives 2010/3 | 2010 Taiwan: The Consolidation of a Democratic and Distinct Society Understanding the Nuances of Waishengren History and Agency Dominic Meng-Hsuan et Mau-Kuei Chang Édition électronique URL : http://journals.openedition.org/chinaperspectives/5310 DOI : 10.4000/chinaperspectives.5310 ISSN : 1996-4617 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 15 septembre 2010 ISSN : 2070-3449 Référence électronique Dominic Meng-Hsuan et Mau-Kuei Chang, « Understanding the Nuances of Waishengren », China Perspectives [En ligne], 2010/3 | 2010, mis en ligne le 01 septembre 2013, consulté le 28 octobre 2019. URL : http://journals.openedition.org/chinaperspectives/5310 ; DOI : 10.4000/chinaperspectives.5310 © All rights reserved Special Feature s e v Understanding the Nuances i a t c n i e of Waishengren h p s c r History and Agency e p DOMINIC MENG-HSUAN YANG AND MAU-KUEI CHANG In the late 1940s and early 50s, the world witnessed a massive wave of political migrants out of Mainland China as a result of the Chinese civil war. Those who sought refuge in Taiwan with the KMT came to be known as the “mainlanders” or “ waishengren .” This paper will provide an overview of the research on waishengren in the past few decades, outlining various approaches and highlighting specific political and social context that gave rise to these approaches. Finally, it will propose a new research agenda based on a perspective of migration studies and historical/sociological analysis. The new approach argues for the importance of both history and agency in the study of waishengren in Taiwan. -
Taiwan Language-In-Education Policy: Social, Cultural, and Practical Implications
Arizona Working Papers in SLA & Teaching, 20, 76- 95 (2013) TAIWAN LANGUAGE-IN-EDUCATION POLICY: SOCIAL, CULTURAL, AND PRACTICAL IMPLICATIONS Elizabeth Hubbs University of Arizona In recent years, Taiwan language-in-education policy has greatly transformed and become the subject of much research (Oladejo, 2006; Sandel, 2003; Tsao, 1999). Previously, monolingual policies under Japan and the Kuomintang1 demonstrated that language was a symbolic tool to build nationalism and create social hegemony (Bourdieu, 1991). After these policies faded out in the early 1990s, Taiwan began to incorporate multilingual education, promoting internationalization through English as a foreign language and Taiwanisation through the introduction of local and indigenous languages in schools (Beaser, 2006; Sandel, 2003). The paper examines the launching of these two movements in education by discussing their development through history, current policy implementation, and the linguistic orientations of the surrounding communities. Rather than draw conclusions, the study ends by asking how indigenous scholarship and knowledge can be further integrated and validated in Taiwan’s education system, and how critical perspectives can be used to understand language policy and indigenous education in an increasingly globalized world. INTRODUCTION The field of language planning and policy (LPP) in Taiwan has received significant attention over the past twenty-five years (Sandel, 2003). During this time frame, Taiwan has shifted from a country that promoted a monolingual national language policy, to one that seeks to develop societal multilingualism and internationalization. This shift has sparked an increasing interest for researchers to document and characterize the changes, development, and implementation of current LPP in Taiwan (Sandel, 2003; Wu, 2011). -
Love Is the Answer
love is the answer Born out of love for children with AIDS All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore rap: give it up yoah And when you're all alone once in a while you gotta let your hair down Love is the answer turn your troubles all around And when you're far from home its not a ghost town Love one another feel the heat yoah And when you're down and out there's love all around You can count on me, brother hey groove to the beat And when your hopes run out wave your hands in the hair You can be there for each other love jump up and down like a carnival fair And when you need a friend is the answer hey! Let's talk about love! Love one another And when you're on the end Name your price Love, we got to love, we got to love one another A ticket to paradise ! can't stay here any more Light of the world, shine on me, love is the answer And I've looked high and low (let's talk about love let's talk about love) I've been from shore to shore to shore Shine on us all, set us free, love is the answer If there's a short cut I'd have found it (let's talk about you let's talk about me and the way it should But there's no easy way around it be let's talk about love a dream, you and me, let's open up our hearts Light of the world, shine on me let it be free bring it on! Hey! Love is the answer Watcha gonna do? No matter what you say 1 and 1 makes 2 Shine on us all juz shout it out every boy every girl Set us free Spread out the word