DOCSLIB.ORG

IN CONTEMPORARY CHINESE ART by Madeline Eschenburg BA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IN CONTEMPORARY CHINESE ART by Madeline Eschenburg BA MIGRATING SUBJECTS: THE PROBLEM OF THE “PEASANT” IN CONTEMPORARY CHINESE ART by Madeline Eschenburg BA, Augsburg College, 2005 MA, State University of New York at Buffalo, 2008 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2018 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Madeline Eschenburg It was defended on April 4, 2018 and approved by Katheryn M. Linduff, Professor Emerita, History of Art and Architecture Barbara McCloskey, Professor, History of Art and Architecture Jinying Li, Assistant Professor, Film Studies Terry Smith, Andrew W. Mellon Professor of Art and Theory, History of Art and Architecture Dissertation Advisor: Minglu Gao, Professor, History of Art and Architecture ii Copyright © by Madeline Eschenburg 2018 iii MIGRATING SUBJECTS: THE PROBLEM OF THE “PEASANT” IN CONTEMPORARY CHINESE ART Madeline Eschenburg, PhD University of Pittsburgh, 2018 My dissertation, Migrating Subjects: The Problem of the “peasant” in contemporary Chinese Art presents the narrative of contemporary artworks in China made about marginalized communities, as exemplified by migrant workers and rural inhabitants, from the 1990s to the present. These groups, often referred to as nongmin in popular discourse, were upheld as revolutionary heroes throughout much of the 20th century, but lost their cultural valence with the onset of China’s integration with global market mechanisms in the late 1970s. By examining artworks involving nongmin participation from the 1990s to the present, this study explores, for the first time, the ways in which Chinese artists have continued to make art with the goal of helping these communities against the background of contemporary artists’ own cultural marginalization in the early 1990s, their acceptance into the international art arena over the turn of the century, and their provisional embrace by the Chinese central government at the beginning of the 21st century. It considers the new relational possibilities introduced when a time-honored subject (the “peasant”) is approached through the direct participation of nongmin communities in comparison to imagistic renderings in traditional media. Through this historical narrative, I argue that the Chinese “peasant” in contemporary art, as in the early 20th century, continues to be considered a key factor for the indigenous development of a utopian Chinese society under the changing circumstances brought about by globalization. iv TABLE OF CONTENTS PREFACE ........................................................................................................................... IX 1.0 INTRODUCTION ........................................................................................................ 1 1.1 THE “PEASANT” IN CHINA ........................................................................... 2 1.2 NONGMIN, POLITICS, AND ART UNDER MAO......................................... 5 1.3 NONGMIN, POLITICS, AND CONTEMPOARARY ART SINCE THE 1980S ............................................................................................................................... 9 1.4 THE MARGINALIZED ARTIST.................................................................... 20 1.5 INTERNATIONALIZATION OF CONTEMPORARY CHINESE ART ... 24 1.6 INTERVENTION .............................................................................................. 27 1.7 TEMPORAL FRAMING AND WORKS CHOSEN ...................................... 34 1.8 ORGANIZATION OF DISSERTATION ....................................................... 37 2.0 REDISCOVERING THE OTHER: PERFORMANCE ART WITH MIGRANT WORKERS OVER THE TURN OF THE CENTURY........................................................... 42 2.1 ZHANG HUAN 张洹, TO RAISE THE LEVEL OF A FISHPOND《为鱼塘 增高水位》, 1997 .............................................................................................................. 45 2.2 WANG JIN 王晋, 100% 《百分之百》, 1999 ................................................. 58 2.3 DOCUMENTARY TURN ................................................................................. 66 v 2.4 WANG WEI 王卫, TEMPORARY SPACE 《临时空间》, 2003 ................. 70 2.5 SONG DONG 宋冬, TOGETHER WITH MIGRANT WORKERS《和民工 在一起》, 2003 .................................................................................................................... 76 2.6 XIANCHANG .................................................................................................... 82 2.7 EARLY EXAMPLES OF A NEW METHODOLOGY ................................. 90 2.7.1 Song Dong 宋冬, Yin Xiuzhen 尹秀珍, Wu Wenguang 吴文光, Wen Hui 文慧, Dancing with Farm Workers 《与民工一起舞蹈》, 2001 ............................. 99 2.8 CONCLUSION ................................................................................................ 104 3.0 TRANSFORMING THE OTHER: NONGMIN ART PROJECTS IN THE EARLY 21ST CENTURY ......................................................................................................... 106 3.1 LU JIE 卢杰 AND QIU ZHIJIE 邱志杰, THE LONG MARCH PROJECT: A WALKING VISUAL DISPLAY 《长征---一个行走中的视觉展示》, 2002 .......... 109 3.2 MODE 1: AMATEUR CREATIONS BY NONMIN COMMUNITIES EXHIBITED AS CONTEMPORARY ART .................................................................. 118 3.2.1 Peasant Paintings in 20th Century China .................................................. 120 3.2.2 The Long March Foundation, The Great Survey of Paper-Cutting in Yanchuan County 《延川县剪纸大普查》, 2004 ................................................. 124 3.2.3 Cai Guo-Qiang 蔡国强, Cai Guo-Qiang: Peasant Da Vincis《蔡国强：农 民达芬 奇》, 2010 ................................................................................................. 132 3.2.4 Sun Yuan 孙原 and Peng Yu 彭禹, Farmer Du Wenda’s Flying Saucer 《 农民杜文达的飞碟》, 2005 .................................................................................... 137 vi 3.2.5 Hu Zhijun 胡志军, Sculpting Contemporary Chinese Art History 《泥塑 中国当代艺术史》, 2015 ........................................................................................ 141 3.3 MODE 2: NONGMIN COMMUNITIES CREATING CONTEMPORARY ART AS A TOOL FOR THEIR OWN SPIRITUAL LIBERATION ......................... 144 3.3.1 Cao Fei 曹斐, Whose Utopia? 《谁的乌托邦？》, 2006 .......................... 144 3.3.2 Alessandro Rolandi, Social Sensibility R&D, 2009-present ..................... 149 3.3.3 Li Mu 李牧, Qiuzhuang Project 《仇庄项目》, 2013-2014 ..................... 158 3.4 CONCLUSION ................................................................................................ 165 4.0 EMPOWERING THE OTHER: SOCIALLY ENGAGED PROJECTS IN RECENT YEARS ..................................................................................................................... 168 4.1 RURAL RECONSTRUCTION 1930-1937.................................................... 170 4.2 WEN TIEJUN’S THREE COUNTRYSIDE PROBLEMS (三农问题) ...... 177 4.3 XI JINPING’S 2014 SPEECH ON ART AND LITERATURE .................. 179 4.4 MODE 3: CONTEMPORARY ART AS A TOOL FOR CULTURAL ENLIGHTENMENT OF RURAL COMMUNITIES ................................................... 181 4.4.1 Ou Ning 欧宁 and Zuo Jing 左靖, Bishan Project 《璧山计划》, 2011- 2016 ....................................................................................................................... 182 4.4.2 Qu Yan 渠岩, Xucun International Art Commune 《许村国际公社》, 2011-present .............................................................................................................. 193 4.5 MODEL 4: CONTEMPORARY ART AS A TOOL FOR RESEARCH AND MICRO-INTERVENTIONS ........................................................................................... 203 vii 4.5.1 Jin Le 靳勒，Shijiezi Village Museum 《石节子美术馆计划》, 2009- present ....................................................................................................................... 204 4.5.2 Art Praxis Group 实验工作坊, Kunshan—Under Construction 《昆山再造 》, 2010-2012 ........................................................................................................... 209 4.5.3 Institutionally-Sponsored Projects ............................................................. 213 4.6 CONCLUSION ................................................................................................ 216 5.0 CONCLUSION ......................................................................................................... 218 APPENDIX A ............................................................................................................................ 232 BIBLIOGRAPHY ..................................................................................................................... 237 viii PREFACE Completing this dissertation would not have been possible without the support of many important people and institutions. I would like to thank my adviser, Gao Minglu, who helped me immensely in refining my dissertation topic, introducing me to artists, and providing many professional development opportunities. His sustained support of my scholarship throughout the entire process has often provided me the confidence I needed to keep working. I am also thankful to him for sharing stories about his childhood and young adult years in China, which provided invaluable context for my topic of study. I am incredibly grateful for the support and wisdom of Terry Smith. Throughout my time as a graduate student, his classes, workshops, and our conversations
Load more

Recommended publications
  • The United States and China Same Bed, Different Dreams, Shared Destiny
    The United States and China Same Bed, Different Dreams, Shared Destiny Thomas Fingar Stanford University April 20, 2015 I am deeply honored that Warren Cohen and the Wilson Center have invited me to present this year’s lecture to commemorate the work and the impact of our wonderful friend and greatly missed colleague Nancy Bernkopf Tucker. I hope that my words and observations will be worthy of the great scholar and terrific human being that we honor here today, and that I will come close to meeting Warren’s expectations and the high standard of the previous lectures in this series by Win Lord and Harry Harding. Although I am a political scientist, I share Nancy’s conception of history as a continuous stream of developments shaped by what had happened in the more distant past and shaping the perceptions, priorities, and policy choices of those who came later. In other words, one studies history not merely to understand the past, but also, and more importantly, to understand the present and to anticipate and shape the future. My talk today will attempt to explain how and why Chinese and Americans assess the current state of the relationship differently, and why, broadly speaking, Chinese tend to be more concerned, and Americans more complacent, about the future. Stated another way, I will explore why many Chinese (and some Americans) assess that confrontation and conflict are inevitable without special, even extraordinary steps to avoid it, and why many Americans (and a few Chinese) consider conflict extremely unlikely and relatively easy to avoid. One viewpoint assumes that both sides need to do just about everything right in order to avoid conflict; the other assumes that we need only to be prudent and avoid really stupid errors.
    [Show full text]
  • The Self-Organization of Contemporary Art in China, 2001–2012
    Bao Dong Rethinking Practices within the Art System: The Self-Organization of Contemporary Art in China, 2001–2012 The Origin of the Term “Self-Organization” in China The term “self-organization” was first used in the context of contemporary Chinese art in 2005 at the Second Guangzhou Triennial curated by Hou Hanru, Hans Ulrich Obrist, and Guo Xiaoyan. Self-organization was one of the special projects of the triennial, and there were two panel discussions on the topic. The exhibition theme “Beyond” focused on the topic of alternative modernity in China and non-Western countries, and the term self-organization was defined by the following statements: “A number of independent art organizations, institutions, and communities have taken an active role in artistic creation and practice” and “their projects are often diverse, flexible” and “self-induced in nature.”1 Altogether, twenty-four self- organized groups2 were included in this project, and for the curators, the concept of “self-organization” was used to differentiate independent and autonomous organizations from those attached to government systems or political parties. This feature is also the fundamental difference between the various artist-run autonomous organizations and the organizations within the conventional art system as constituted by Chinese Artists Association, along with the various academies of painting, art institutes, museums, and so on. In other words, self-organization is considered a force operating outside of the conventional art system, just as the inception, growth, and flourishing of contemporary Chinese art is believed to have been achieved outside of official systems. In terms of any independence from the conventional art system, self- organization is not a new phenomenon in the contemporary Chinese art scene.
    [Show full text]
  • Joan Lebold Cohen Interview Transcript
    www.china1980s.org INTERVIEW TRANSCRIPT JOAN LEBOLD COHEN Interviewer: Jane DeBevoise Date:31 Oct 2009 Duration: about 2 hours Location: New York Jane DeBevoise (JD): It would be great if you could speak a little bit about how you got to China, when you got to China – with dates specific to the ‘80s, and how you saw the 80’s develop. From your perspective what were some of the key moments in terms of the arts? Joan Lebold Cohen (JC): First of all, I should say that I had been to China three times before the 1980s. I went twice in 1972, once on a delegation in May for over three weeks, which took us to Beijing, Luoyang, Xi’an, and Shanghai and we flew into Nanchang too because there were clouds over Guangzhou and the planes couldn’t fly in. This was a period when, if you wanted to have a meal and you were flying, the airplane would land so that you could go to a restaurant (Laughter). They were old, Russian airplanes, and you sat in folding chairs. The conditions were rather…primitive. But I remember going down to the Shanghai airport and having the most delicious ‘8-precious’ pudding and sweet buns – they were fantastic. I also went to China in 1978. For each trip, I had requested to meet artists and to go to exhibitions, but was denied the privilege. However, there was one time, when I went to an exhibition in May of 1972 and it was one of the only exhibitions that exhibited Cultural Revolution model paintings; it was very amusing.
    [Show full text]
  • Esperanto and Chinese Anarchism in the 1920S and 1930S
    The Anarchist Library (Mirror) Anti-Copyright Esperanto and Chinese anarchism in the 1920s and 1930s Gotelind Müller and Gregor Benton Gotelind Müller and Gregor Benton Esperanto and Chinese anarchism in the 1920s and 1930s 2006 Retrieved on 22nd April 2021 from archiv.ub.uni-heidelberg.de usa.anarchistlibraries.net 2006 Zhou Enlai Zhou Zuoren Ziyou shudian Contents Introduction ..................... 5 Xuehui and Erošenko ................ 7 Anarchism and Esperanto in the late 1920s . 16 Anarchism and Esperanto in China in the 1930s 17 Conclusions ...................... 21 Bibliography ..................... 23 Glossary ........................ 25 30 3 “Wang xiangcun qu” wanguo xinyu “Wanguo xinyu”“Wo de shehui geming de yi- jian” Wu Jingheng (= Wu Zhihui) Wu Zhihui Wuxu Wuzhengfu gongchan zhuyi she “Xiandai xiju yishu zai Zhongguo de jianzhi” Xianmin Xin qingnian Xin she Xin shiji “Xinyu wenti zhi zada” Xing Xiwangzhe Xuantian Xuehui Xu Anzhen “Xu ‘Haogu zhi chengjian’” Xu Lunbo “Xu Lunbo xiansheng” “Xu ‘Pi miu’” Xu Shanguang / Liu Jianping / Xu Shanshu “Xu wanguo xinyu zhi jinbu” “Xu xinyu wenti zhi zada” Yamaga Taiji Ye Laishi Yuan Shikai “Zenyang xuanchuan zhuyi” Zhang Binglin Zhang Jiang (= Zhang Binglin) Zhang Jingjiang Zhang Qicheng Zheng Bi’an Zheng Chaolin Zheng Peigang Zheng Taipu “Zhishi jieji de shiming” “Zhongguo gudai wuzhengfuzhuyi chao zhi yipie” Zhongguo puluo shijieyuzhe lianmeng Zhongguo wuzhengfuzhuyi he Zhongguo shehuidang 29 Min Esperanto in China and among the Chinese diaspora was for Minbao long periods closely linked with anarchism. This article looks Ming Minguo ribao at the history of the Chinese Esperanto movement after the Minsheng repatriation of anarchism to China in the 1910s. It examines Minshengshe jishilu Esperanto’s political connections in the Chinese setting and Miyamoto Masao the arguments used by its supporters to promote the language.
    [Show full text]
  • Anarchism in the Chinese Revolution Was Also a Radical Educational Institution Modeled After Socialist 1991 36 for This Information, See Ibid., 58
    only by rephrasing earlier problems in a new discourse that is unmistakably modern in its premises and sensibilities; even where the answers are old, the questions that produced them have been phrased in the problematic of a new historical situation. The problem was especially acute for the first generation of intellec- Anarchism in the Chinese tuals to become conscious of this new historical situation, who, Revolution as products of a received ethos, had to remake themselves in the very process of reconstituting the problematic of Chinese thought. Anarchism, as we shall see, was a product of this situation. The answers it offered to this new problematic were not just social Arif Dirlik and political but sought to confront in novel ways its demands in their existential totality. At the same time, especially in the case of the first generation of anarchists, these answers were couched in a moral language that rephrased received ethical concepts in a new discourse of modernity. Although this new intellectual problematique is not to be reduced to the problem of national consciousness, that problem was important in its formulation, in two ways. First, essential to the new problematic is the question of China’s place in the world and its relationship to the past, which found expression most concretely in problems created by the new national consciousness. Second, national consciousness raised questions about social relationships, ultimately at the level of the relationship between the individual and society, which were to provide the framework for, and in some ways also contained, the redefinition of even existential questions.
    [Show full text]
  • Locating Vietnamese Contemporary Art Scene
    Locating Vietnamese contemporary art scene An ethnographic Hong-Ngoc TRIEU attempt from afar TRI14437741 Abstract. Initially, as a student majored in Design Cultures, I was intrigued in Vietnam precisely because I barely knew anything about the art history of my country. Having exposed to the studies of Design Cultures and Histories, I set out to fnd how Vietnamese art history is chronicled by putting it in a complex relationship with the sociocultural and political background. Identifying and locating art from a place like Vietnam that rarely fgures in art history cannot be done overnight as I am thousand miles away from the happenings. This essay, thus, is my humble attempt to look at Vietnam’s contemporary art scene through an afar-ethnographic approach mainly by fexible design methods such as interview, survey, case study, discourse analysis and participant observation. Given how little experience in the real-world research and history learning that I possess, my fndings are based on personal analysis, percep-on and hence, do not necessarily reflect other’s views on the same topic. Entrance to contemporary art scene: tracing the Vietnamese art history In order to investigate the Vietnamese reform in 1986, where restriction on contemporary art scene, I am essentially artistic creativity were steadily relaxed asking the question of how it is and hence allowed artist greater freedom constructed and perceived within the art of expression and facilitating exposure to community and the stream of Vietnamese contemporary trends in both Asian and history of art. While world contemporary Western art. However, unlike the world art had started and risen to prominence contemporary art with its rich outline of since the 1950s - 1960s, its Vietnamese artistic movements in term of quantity, counterpart only came into existence in the diversity and quality, Vietnamese latter decades of the twentieth century; contemporary art scene has barely seen therefore, it is relatively new to the public.
    [Show full text]
  • WHY-NEW-YORK-Artworks-List.Pdf
    “Why New York” 是陈丹青、马可鲁、冯良鸿三人组合的第四次展览。这三位在中国当代艺术的不同阶 段各领风骚的画家在1990年代的纽约聚首，在曼哈顿和布鲁克林既丰饶又严酷的环境中白手起家，互 相温暖呵护，切磋技艺。到了新世纪，三人不约而同地回到中国，他们不忘艺术的初心，以难忘的纽约 岁月为缘由，频频举办联展。他们的组合是出于情谊，是在相互对照和印证中发现和发展各自的面目， 也是对艺术本心的坚守和砥砺。 不同于前几次带有回顾性的展览，这一次三位艺术家呈现了他们阶段性的新作。陈丹青带来了对毕加 索等西方艺术家以及中国山水及书法的研究，他呈现“画册”的绘画颇具观念性，背后有复杂的摹写、转 译、造型信息与图像意义的更替演化等话题。马可鲁的《Ada》系列在“无意识”中蕴含着规律，呈现出 书写性，在超越表面的技巧和情感因素的画面中触及“真实的自然”。冯良鸿呈现了2012年以来不同的 几种方向，在纯色色域的覆盖与黑白意境的推敲中展现视觉空间的质感。 在为展览撰写的文章中，陈丹青讲述了在归国十余年后三人作品中留有的纽约印记。这三位出生于上海 的画家此次回归家乡，又一次的聚首凝聚了岁月的光华，也映照着他们努力前行的年轻姿态。 “Why New York” marks the fourth exhibition of the artists trio, Chen Danqing, Ma Kelu and Feng Lianghong. Being the forerunners at the various stages in the progress of Chinese contemporary art, these artists first met in New York in the 1990s. In that culturally rich yet unrelenting environment of Manhattan and Brooklyn, they single-handedly launched their artistic practice, provided camaraderie to each other and exchanged ideas about art. In the new millennium, they’ve returned to China respectively. Bearing in mind their artistic ideals, their friendship and experiences of New York reunite them to hold frequent exhibitions together. With this collaboration built on friendship, they continue to discover and develop one’s own potential through the mirror of the others, as they persevere and temper in reaching their ideals in art. Unlike the previous retrospective exhibitions, the artists present their most recent works. Chen Danqing’s study on Picasso and other Western artists along with Chinese landscape painting and calligraphy is revealed in his conceptual painting “Catalogue”, a work that addresses the complex notions of drawing, translation, compositional lexicon and pictorial transformation. Ma Kelu’s “Ada” series embodies a principle of the “unconscious”, whose cursive and hyper expressive techniques adroitly integrates with the emotional elements of the painting to render “true nature”.
    [Show full text]
  • The Daoist Tradition Also Available from Bloomsbury
    The Daoist Tradition Also available from Bloomsbury Chinese Religion, Xinzhong Yao and Yanxia Zhao Confucius: A Guide for the Perplexed, Yong Huang The Daoist Tradition An Introduction LOUIS KOMJATHY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 175 Fifth Avenue London New York WC1B 3DP NY 10010 UK USA www.bloomsbury.com First published 2013 © Louis Komjathy, 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Louis Komjathy has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author. Permissions Cover: Kate Townsend Ch. 10: Chart 10: Livia Kohn Ch. 11: Chart 11: Harold Roth Ch. 13: Fig. 20: Michael Saso Ch. 15: Fig. 22: Wu’s Healing Art Ch. 16: Fig. 25: British Taoist Association British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 9781472508942 Library of Congress Cataloging-in-Publication Data Komjathy, Louis, 1971- The Daoist tradition : an introduction / Louis Komjathy. pages cm Includes bibliographical references and index. ISBN 978-1-4411-1669-7 (hardback) -- ISBN 978-1-4411-6873-3 (pbk.) -- ISBN 978-1-4411-9645-3 (epub) 1.
    [Show full text]
  • Chińskie Kalendarze
    PISMO PG 35 Podró¿e w przestrzeni i w czasie Chiñskie kalendarze radycyjny chiñski kalendarz jest bar- cy wyliczyli d³ugoæ roku na 365 dni Tdzo star¹ metod¹ liczenia czasu, siê- i 6 godzin, a miesi¹c ksiê¿ycowy na 29 gaj¹c¹ odleg³ych czasów i dynastii. Lata dni i 12 godzin. W kalendarzu wówczas liczono zawsze w powi¹zaniu z panuj¹cym u¿ywanym by³y dok³adnie wyliczone pory w³adc¹. Kalendarz by³ wówczas wiêtym roku i fazy ksiê¿yca. Jaki by³ wiêc ten dokumentem, sponsorowanym i zatwier- najstarszy kalendarz? Sami Chiñczycy dzanym przez cesarza. Obecny, 4700 rok nazywali go Yin-Yang Li, gdy¿ by³ on jed- jest sum¹ lat panowania wszystkich cesa- noczenie ksiê¿ycowy i s³oneczny. Kalen- rzy, oraz czasów Republiki Chiñskiej i darz ten powstawa³ zawsze na bazie bar- Chiñskiej Republiki Ludowej. Rozpocz¹³ dzo dok³adnych astronomicznych obser- wacji s³oñca, uk³adu gwiazd i faz ksiê¿y- siê w lutym. Wed³ug chiñskiej astrologii Fragment chiñskiego kalendarza [w:] L. Too bêdzie to Rok Wodnej Owcy, Kwei Wei (lub ca. Znacznie siê te¿ ró¿ni³ od znanego nam Chiñska wiedza tajemna. Duchowa magia na Czarnej Owcy, gdy¿ czarny jest kolorem kalendarza gregoriañskiego. Podobnie jak co dzieñ W-wa, KDC, 2002 wody). Znawcy tematu utrzymuj¹, ¿e po- hebrajski, chiñski kalendarz jest kombi- cz¹tki kalendarza chiñskiego nale¿y wi¹- nowanym kalendarzem s³onecznym i ksiê- wo³u, tygrysa, królika, smoka, wê¿a, ko- zaæ z tak zwanym ¯ó³tym Cesarzem, mi- ¿ycowym. S¹ te¿ i inne podobieñstwa: 12 nia, owcy, ma³py, koguta, psa i wini).
    [Show full text]
  • PACIFIC WORLD Journal of the Institute of Buddhist Studies
    PACIFIC WORLD Journal of the Institute of Buddhist Studies Third Series Number 17 2015 Special Issue: Fiftieth Anniversary of the Bukkyō Dendō Kyōkai A Commentary on The Upadeśa on the Sutras of Limitless Life with Gāthās on the Resolution to Be Born Composed by the Bodhisattva Vasubandhu: Expository Commentary by the Monk Tanluan Trans. by Roger Corless† Trans. revised and updated by Takahiko Kameyama Ed. by Richard K. Payne ABBREVIATIONS AND NOTES Vasubandhu’s gāthās and upadeśa appear in italics Footnotes and bracketed material by Roger Corless, unless noted RKP = Richard K. Payne TK = Takahiko Kameyama T. = Taishō Shinshū Daizōkyō K. = Kashiwabara Yūgi, Shinshū Tsūge Zensho, cited by page number and (sometimes) note number in the jige sections of vol. 1 S.B.E. = Sacred Books of the East. Cited by volume, part (if applicable), and page Morohashi = Morohashi Tetsuji, Dai Kan-Wa Jiten, cited by entry number The Comma = Vasubandhu’s text v.l. = varia lectio, variant reading: a character that appears in the Apparatus (T. footnote) rather than the text 69 70 Pacific World [FIRST JUAN, T. 40:826A–834C] [INTRODUCTION, 826A28–827A1] [General Purport and Authenticity of the Work, 826a28–b28] I respectfully refer to the Explanation of the Ten Stages of the Bodhisattva Path (Daśabhūmikavibhāṣā śāstra)1 written by the Bodhisattva Nāgārjuna,2 who tells us that there are two ways in which a bodhisattva may attain to the stage from which one never regresses (avaivartika, apibazhi 阿毘跋致).3 The first is the path of difficult practice (nanxing dao 難行道) and the second is the path of easy practice (yixing dao 易 行道).
    [Show full text]
  • Class, Gender, and Mediated Labor Activism in Globalizing China
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses October 2019 CLASS, GENDER, AND MEDIATED LABOR ACTIVISM IN GLOBALIZING CHINA Siyuan Yin University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Communication Technology and New Media Commons, Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Communication Commons Recommended Citation Yin, Siyuan, "CLASS, GENDER, AND MEDIATED LABOR ACTIVISM IN GLOBALIZING CHINA" (2019). Doctoral Dissertations. 1783. https://doi.org/10.7275/14720934 https://scholarworks.umass.edu/dissertations_2/1783 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. CLASS, GENDER, AND MEDIATED LABOR ACTIVISM IN GLOBALIZING CHINA A Dissertation Presented by SIYUAN YIN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2019 Department of Communication © Copyright by Siyuan Yin 2019 All Rights Reserved CLASS, GENDER, AND MEDIATED LABOR ACTIVISM IN GLOBALIZING CHINA A Dissertation Presented by SIYUAN YIN Approved as to style and content by: ____________________________________ Jonathan Corpus Ong, Chair ____________________________________ Martha Fuentes-Bautista, Co-Chair ____________________________________ Lisa Henderson, Member ___________________________________ Cara Wallis, Member ____________________________________ Sut Jhally, Department Head Department of Communication ACKNOWLEDGMENTS I would like to express my sincere appreciation to my dissertation committee, Dr. Martha Fuentes-Bautista, Dr.
    [Show full text]
  • Reimagining Revolutionary Labor in the People's Commune
    Reimagining Revolutionary Labor in the People’s Commune: Amateurism and Social Reproduction in the Maoist Countryside by Angie Baecker A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Asian Languages and Cultures) in the University of Michigan 2020 Doctoral Committee: Professor Xiaobing Tang, Co-Chair, Chinese University of Hong Kong Associate Professor Emily Wilcox, Co-Chair Professor Geoff Eley Professor Rebecca Karl, New York University Associate Professor Youngju Ryu Angie Baecker [email protected] ORCID iD: 0000-0003-0182-0257 © Angie Baecker 2020 Dedication This dissertation is dedicated to my grandmother, Chang-chang Feng 馮張章 (1921– 2016). In her life, she chose for herself the penname Zhang Yuhuan 張宇寰. She remains my guiding star. ii Acknowledgements Nobody writes a dissertation alone, and many people’s labor has facilitated my own. My scholarship has been borne by a great many networks of support, both formal and informal, and indeed it would go against the principles of my work to believe that I have been able to come this far all on my own. Many of the people and systems that have enabled me to complete my dissertation remain invisible to me, and I will only ever be able to make a partial account of all of the support I have received, which is as follows: Thanks go first to the members of my committee. To Xiaobing Tang, I am grateful above all for believing in me. Texts that we have read together in numerous courses and conversations remain cornerstones of my thinking. He has always greeted my most ambitious arguments with enthusiasm, and has pushed me to reach for higher levels of achievement.
    [Show full text]