DOCSLIB.ORG

The Butterfly Lovers Story in China and Korea

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Butterfly Lovers Story in China and Korea 2RPP Transforming Gender and Emotion 2RPP 2RPP Transforming Gender and Emotion The Butterfly Lovers Story in China and Korea Sookja Cho University of Michigan Press Ann Arbor 2RPP Copyright © 2018 by Sookja Cho All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid-fr ee paper 2021 2020 2019 2018 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Cho, Sookja, author. Title: Transforming gender and emotion : the Butterfly Lovers story in China and Korea / Sookja Cho. Description: Ann Arbor : University of Michigan Press, [2018] | Includes bibliographical references and index. Identifiers: LCCN 2017038272| ISBN 9780472130634 (hardcover : acid-fr ee paper) | ISBN 9780472123452 (e- book) Subjects: LCSH: Liang Shanbo yu Zhu Yingtai. | Folklore—China. | Folklore— Korea. Classification: LCC GR335.4.L53 C46 2018 | DDC 398.20951—dc23 LC record available at https://lccn.loc.gov/2017038272 2RPP Legend says that these [butterflies] are The transformations of the souls of the couple, The red one being Liang Shanbo and the black one being Zhu Yingtai. This kind of butterfly is ubiquitous, Still being called Liang Shanbo and Zhu Yingtai. Feng Menglong (17th- century China) On a hot midsummer day, a little girl is crying, Hiding under the shadow of flowers. A yellow butterfly is flying around her and trying to sit on the edge of her hair ribbon. The girl said, “I’m not a flower, I dislike the flower that is withered by the cold wind after sunset. I will not cry any more, and will fly like a butterfly.” Kim Sungon (1982, Korea) 2RPP 2RPP To my friend Park Chanyoung and her family 2RPP 2RPP Acknowledgments This book is a direct result of the wonderful support I have received through- out the research and writing of it. I only now realize how ambitious I was when I started this project and how fortunate I have been since. My deepest gratitude goes to my advisors Beata Grant and Robert E. Hegel at Washing- ton University in Saint Louis. They are my academic parents, heroes, and intellectual champions. They helped crystallize my interest in the cultural exchange between China and Korea and deserve any praise this study might earn. Without their limitless guidance and support this book could not have been completed. I am also grateful to Lingchei Letty Chen, Steven B. Miles, Lori Watt, and Jamie Newhard at Washington University, who served on my dissertation committee and offered many valuable suggestions for trans- forming my dissertation into a book. This project has its origins in a trip to Zhejiang, China that I made in 2000 with my friend Park Chanyoung, to whom this book is dedicated. Despite being ill during that trip, Chanyoung took care of many details so that I could focus solely on exploring places related to the Butterfly Lovers story. Her enduring support and friendship, which began when we first met in college, gave me the will to complete this project. I am also profoundly grateful to the two eminent Chinese scholars, Wang Zhaoqian and Cao Lin, who generously offered me their help but unfortunately left the world before they could hold this book in their hands. At Arizona State University, I am grateful first of all to Sally Kitch at the Institute of Humanities Research and to Juliane Schober at the Center for Asian Research. They saw the value of this book and extended their full sup- port for me to conduct extensive archival and field research in Asia and the US. This vote of expression of confidence from my own school, along with other invaluable support from the Association for Asian Studies, the Kyu- 2RPP x • acknowledgments janggak Institute at Seoul National University, and the Harvard Yenching Institute, were crucial to the completion of this project. My special thanks go also to Nina Berman, director of the School of International Letters and Cultures at Arizona State, and to Anthony Cham- bers, Cynthia Tompkins, David William Foster, Hoyt Cleveland Tillman, Helene Ossipov, Juliann Vitullo, Markus Cruse, Daniel Gilfillan, Hilde Hoogenboom, Alvaro Cerron-P alomino, Miko Foard, Tomoko Shimomura, Anne Feldhaus, Pori Park, Aaron Moore, Jennifer Quincy, Qian Liu, and Henry M. Stevens. Each of these colleagues provided unstinting guidance, assistance, and encouragement. I also would like to thank scholars at other universities, especially Allan H. Barr, Binbin Yang, Chan E. Park, Ji- Eun Lee, Jing Zhang, Joanna F. Han- dlin Smith, Kelly Yoojeong Jeong, Michael J. Pettid, Ross King, Richard D. McBride II, Ronald Egan, Sunyoung Park, Wilt L. Idema, Yanning Wang, and Zeng Yongyi. They provided valuable advice and criticism, and sent me any sources they thought might be helpful. In particular, the comments by Allan Barr, Joanna Smith, Kelly Jeong and Michael Pettid on earlier versions of this book and the sources provided by Wilt Idema and Jing Zhang were immensely helpful. I also appreciate the many friends who read parts of the book at various stages. Burton Zhenwei Pu helped proofread my translations from the Chi- nese, while my friend and former colleague Tarah Demant and her associ- ate Christine Bumpous critiqued the manuscript at its earliest stage. Molly Haight and Victoria R. M. Scott helped fine tune the later drafts, bringing to bear their long years of editing experience. I would also like to thank the two anonymous reviewers of my manuscript. Their intellectual acumen and constructive comments have been of great help. Finally, working with the Uni- versity of Michigan Press has been a sheer joy. The book benefited greatly from the considerate and meticulous work of Elizabeth Frazier and Mary Hashman, and I am especially grateful to Editor Christopher Dreyer, who gave me the best support an author could hope to receive. Last but not least, I’d like to thank my professors and colleagues in Korea for their support on my path as a scholar. My heartfelt gratitude goes to the famous Chinese classics scholar Na Kapchu, with whom I studied the ancient Chinese classics beginning in my freshman year of college. I miss him so much, particularly his harsh criticism of my laziness and sloppiness—I’ m still struggling with this—and his rare words of encouragement regarding my scholarly potential, both of which continue to echo in my ears decades 2RPP acknowledgments • xi after his passing. Next in my thoughts are the professors and colleagues from my undergraduate and graduate studies and other venues related to my research: Liu Jong-M ok, Jung Jae-seo, Yi Chaedon, Yi Chongjin, Oh Soo- kyung, Lee Chang-S ook, Jung Min, Kim Usŏk, An Sangbok, Yi Chŏngjae, Hong Yŏngnim, Kim Sunhŭi, Shin Jeongsoo, Jeong Wook-jin, and Kim Seong-K on (of the Literature Translation Institute of Korea). Though they were not directly involved in this project, their strong encouragement of my research only increased as time went by. In the same vein, I extend my spe- cial gratitude and profound respect to Liu Jong- Mok, my graduate advisor at Seoul National University, who showed me just how much a teacher can help a student. It was his infinite trust in my potential that laid the founda- tion for my studies and professional career in the United States. Words can never adequately express my gratitude to those mentioned here. My debt of love for them will remain forever, waiting for a chance to be paid off. 2RPP 2RPP Contents Introduction. Liang- Zhu: More Than Just a Love Story 1 1 Stories in Transit: From Local Legend to Butterfly Lovers 15 2 Adventures in a Male Space: Troubled Gender and Sexuality 53 3 Between Women and Men: Friendship vs. Love 79 4 From Sorrowful Separation to Convivial Excursion: The Aesthetics and Poetics of a Parting Journey 113 5 Transformation and Deification: Butterflies, Souls, and Cross-C ultural Incarnations 143 Epilogue. The Interconnected Worlds of Liang- Zhu 179 Notes 187 Bibliography 249 Index 287 2RPP Introduction Liang- Zhu: More Than Just a Love Story In China and Korea, the felicitous union between a man and a woman has often been represented by the image of flowers and butterflies on a fresh, warm spring day. To women, especially those confined to the inner quarters, butterflies embodied imagined male lovers while they themselves were like flowers, enticing but immobile.1 What many discussions of these themes overlook is that this common gender-specific imagery has evolved by way of a range of emotional stories that invert traditional notions of gender, continually morphing them to reflect the needs and desires of audiences in different eras and regions. In other words, against the back- drop of that single, eternal image of butterflies and flowers, multifarious narratives have arisen to address the reality of day-to-day emotions and relationships. Instead of an idealized romance, these themes are centered on the question of what constitutes an ordinary human life, specifically a happy and meaningful one. The popular folktale of Liang Shanbo 梁山伯 and Zhu Yingtai 祝 英台 (hereafter abbreviated to Liang-Zhu) weaves a tapestry of stories revolving around the romantic butterfly-and- flo wer image.2 In the nar- rative, a young girl and boy share their life paths like a pair of butter- flies. The butterfly no longer indicates only the male lover, but instead becomes the manifestation of the couple’s liberated souls, their trans- formed bodies.
Load more

Recommended publications
  • Performing Shakespeare in Contemporary Taiwan
    Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare.
    [Show full text]
  • The Eurasian Transformation of the 10Th to 13Th Centuries: the View from Song China, 906-1279
    Haverford College Haverford Scholarship Faculty Publications History 2004 The Eurasian Transformation of the 10th to 13th centuries: The View from Song China, 906-1279 Paul Jakov Smith Haverford College, [email protected] Follow this and additional works at: https://scholarship.haverford.edu/history_facpubs Repository Citation Smith, Paul Jakov. “The Eurasian Transformation of the 10th to 13th centuries: The View from the Song.” In Johann Arneson and Bjorn Wittrock, eds., “Eurasian transformations, tenth to thirteenth centuries: Crystallizations, divergences, renaissances,” a special edition of the journal Medieval Encounters (December 2004). This Journal Article is brought to you for free and open access by the History at Haverford Scholarship. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Haverford Scholarship. For more information, please contact [email protected]. Medieval 10,1-3_f12_279-308 11/4/04 2:47 PM Page 279 EURASIAN TRANSFORMATIONS OF THE TENTH TO THIRTEENTH CENTURIES: THE VIEW FROM SONG CHINA, 960-1279 PAUL JAKOV SMITH ABSTRACT This essay addresses the nature of the medieval transformation of Eurasia from the perspective of China during the Song dynasty (960-1279). Out of the many facets of the wholesale metamorphosis of Chinese society that characterized this era, I focus on the development of an increasingly bureaucratic and autocratic state, the emergence of a semi-autonomous local elite, and the impact on both trends of the rise of the great steppe empires that encircled and, under the Mongols ultimately extinguished the Song. The rapid evolution of Inner Asian state formation in the tenth through the thirteenth centuries not only swayed the development of the Chinese state, by putting questions of war and peace at the forefront of the court’s attention; it also influenced the evolution of China’s socio-political elite, by shap- ing the context within which elite families forged their sense of coorporate identity and calibrated their commitment to the court.
    [Show full text]
  • Preliminary Pages
    UNIVERSITY OF CALIFORNIA Los Angeles Ascending the Hall of Great Elegance: the Emergence of Drama Research in Modern China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Hsiao-Chun Wu 2016 © Copyright by Hsiao-Chun Wu 2016 ABSTRACT OF THE DISSERTATION Ascending the Hall of Great Elegance: the Emergence of Drama Research in Modern China by Hsiao-Chun Wu Doctor of Philosophy in History University of California, Los Angeles, 2016, Professor Andrea Sue Goldman, Chair This dissertation captures a critical moment in China’s history when the interest in opera transformed from literati divertissement into an emerging field of scholarly inquiry. Centering around the activities and writings of Qi Rushan (1870-1962), who played a key role both in reshaping the modes of elite involvement in opera and in systematic knowledge production about opera, this dissertation explores this transformation from a transitional generation of theatrical connoisseurs and researchers in early twentieth-century China. It examines the many conditions and contexts in the making of opera—and especially Peking opera—as a discipline of modern humanistic research in China: the transnational emergence of Sinology, the vibrant urban entertainment market, the literary and material resources from the past, and the bodies and !ii identities of performers. This dissertation presents a critical chronology of the early history of drama study in modern China, beginning from the emerging terminology of genre to the theorization and the making of a formal academic discipline. Chapter One examines the genre-making of Peking Opera in three overlapping but not identical categories: temporal, geographical-political, and aesthetic.
    [Show full text]
  • The Colloquial Text Collection of the Finnish Sinologist Hugo Lund
    pp' Renora Relala Studia Orientalia 97, Helsinki 2003, 127-l4O The Colloquial Text Collection of the Finnish Sinologist Hugo Lund Stefan Kuzay Some time after Hugo Lund-a young man in his late twenties, with his wife Saima, having narrowly survived the Boxer Rebellion and the besiege of the Legation Quarter in Peking-disembarked from the Dutch battleship that brought them back to Shanghai, he went to a photographic studio to have his Picture taken. The person iooking out of the photo straight into the eyes of the beholder seems well aware of his future role in the world of science, most at the University of Helsinki. He knows that it is 'ttirprobably as a professor tu.t to bring back from the East the time-honoured scriptures of chinese Antiquity, not unlike his Tang dynasty predecessor, monk Xuanzang who took off for India to fetch scriptures from the west. By no means was he aware that over one hundred years later he would be known in the small circle of researchers of Chinese theatre and music, even though his fame was not due to any actual scientific accomplishments in that iield, nor to the fact that he was among the first Finns ever to set foot on the <<Pearl of the Easb. Hugo Lund (2.9.1872-11.12.1915), born in Hämeenlinna, was meant to becõme the first scholar of Chinese Studies in Finland. After being trained in both Classical and Modem Chinese at the Humboldt University in Berlin he was sent 1898 by the Finno-ugrian society to china to deepen his studies.
    [Show full text]
  • An Empirical Study on the Cognitive Attitude of Rural
    An empirical study on the cognitive attitude of rural children using mobile phones (based on the example of children from rural areas in Northern Suzhou) An empirical study on the cognitive attitude of rural children using mobile phones (based on the example of children from rural areas in Northern Suzhou) Xinlei Li Qiang Zhu Wen Li1 Nanjing Normal University, China DOI: 10.30547/worldofmedia.4.2019.1 Abstract The small-screen era has created a new life scene for China’s ‘Internet generation’. With the increase in mobile phone penetration among rural children, entertainment has become the biggest goal of rural children using mobile phones. The mobile phone usage of rural children is mostly concentrated on short videos, WeChat and other information apps. The method of direct prohibition adopted by parents and school is not effective in correcting the child’s attitude towards using the phone. The simple living environment of rural children and the left-behind phenomenon leads to the lack of parental supervision. Systematic analysis of rural children’s attitude towards the use of mobile phones and finding factors affecting their use of mobile phones can effectively guide them to obtain knowledge and achieve anti-sinking purpose. Based on the ABC attitude model combined with face-to-face interviews, this paper firstly determines the influencing variables and designs the questionnaire for collecting the data in the rural schools. With fitting of structural equation model, the attitude model affecting rural children’s use of mobile phones is established. The factors influencing rural children’s mobile phone use are analyzed to improve the essential understanding of the problem.
    [Show full text]
  • An Investigation of the Huangmei Opera Film Genre Through the Documentary Film Medium
    Yeong-Rury Chen A Fantasy China: An Investigation of the Huangmei Opera Film Genre through the Documentary Film Medium DDes 2006 Swinburne A Fantasy China: An Investigation of the Huangmei Opera Film Genre through the Documentary Film Medium A Doctoral Research Project Presented to the National Institute of Design Research Swinburne University of Technology In Partial Fulfilment of the Requirements for the Degree of Doctor of Design by Yeong-Rury Chen August 2006 Declaration I declare that this doctoral research project contains no material previously submitted for a degree at any university or other educational institution. To the best of my knowledge, it contains no material previously published or written by another person, except where due reference is made in the text of the project. Yeong-Rury Chen A B S T R A C T This doctoral research project intends to institute the study of the unique and significant Huangmei Opera film genre by pioneering in making a series of documentaries and writing an academic text. The combination of a documentary series and academic writing not only explores the relationship between the distinctive characteristics of the Huangmei Opera film genre and its enduring popularity for its fans, but also advances a film research mode grounded in practitioner research, where the activity of filmmaking and the study of film theory support and reflect on each other. The documentary series, which incorporates three interrelated subjects – Classic Beauty: Le Di, Scenic Writing Director: Li Han Hsiang and Brother Lian: Ling Po – explores the remarkable film careers of each figure while discussing the social and cultural context in which they worked.
    [Show full text]
  • “China Factor” in Contemporary Hong Kong Genre Cinema
    Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨，我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city.
    [Show full text]
  • EAST353 Approaches to Chinese-Language Cinema Autumn 2020 Friday 1:35-5:25Pm Remote Delivery Tentative Syllabus
    EAST353 Approaches to Chinese-language Cinema Autumn 2020 Friday 1:35-5:25pm Remote Delivery Tentative Syllabus Instructor: Prof. Xinyu Dong ([email protected]) Office Hours: TBA Course Description and Objectives This course examines the history of Chinese-language cinema from the 1920s to the 2000s. The course material is organized both chronologically and thematically, moving from early popular and political films in the Republican era, to local productions in mainland China, Hong Kong and Taiwan in the Cold War era, to New Wave and genre films from the 1980s onward. The course familiarizes the students with major critical paradigms for the study of Chinese-language cinema and trains the student to develop skills in theoretical and formal film analyses. All film subtitles and readings in English. Course Delivery Guide The class will meet through live Zoom sessions at the scheduled class time. There will be a combination of lectures (with PowerPoint slide show), discussions, and group activities. The lecture component will be recorded. Professor will hold Zoom office hours each week. Students will be able use the discussion boards to post responses and questions and to communicate with each other. Course Materials All readings will be available on MyCourses. Students will receive information on viewing option (s) for the required films listed as screenings. Course Requirements 1. Discussion Board Posts 30% 2. Open-book Quizzes 30% 3. Take-home Exam 40% NOTE: (1) McGill University values academic integrity. Therefore, all students must understand the meaning and consequences of cheating, plagiarism and other academic offences under the Code of Student Conduct and Disciplinary Procedures (see www.mcgill.ca/students/srr/honest/ for more information).
    [Show full text]
  • The Saxophone in China: Historical Performance and Development
    THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
    [Show full text]
  • The Neolithic Ofsouthern China-Origin, Development, and Dispersal
    The Neolithic ofSouthern China-Origin, Development, and Dispersal ZHANG CHI AND HSIAO-CHUN HUNG INTRODUCTION SANDWICHED BETWEEN THE YELLOW RIVER and Mainland Southeast Asia, southern China1 lies centrally within eastern Asia. This geographical area can be divided into three geomorphological terrains: the middle and lower Yangtze allu­ vial plain, the Lingnan (southern Nanling Mountains)-Fujian region,2 and the Yungui Plateau3 (Fig. 1). During the past 30 years, abundant archaeological dis­ coveries have stimulated a rethinking of the role ofsouthern China in the prehis­ tory of China and Southeast Asia. This article aims to outline briefly the Neolithic cultural developments in the middle and lower Yangtze alluvial plain, to discuss cultural influences over adjacent regions and, most importantly, to examine the issue of southward population dispersal during this time period. First, we give an overview of some significant prehistoric discoveries in south­ ern China. With the discovery of Hemudu in the mid-1970s as the divide, the history of archaeology in this region can be divided into two phases. The first phase (c. 1920s-1970s) involved extensive discovery, when archaeologists un­ earthed Pleistocene human remains at Yuanmou, Ziyang, Liujiang, Maba, and Changyang, and Palaeolithic industries in many caves. The major Neolithic cul­ tures, including Daxi, Qujialing, Shijiahe, Majiabang, Songze, Liangzhu, and Beiyinyangying in the middle and lower Yangtze, and several shell midden sites in Lingnan, were also discovered in this phase. During the systematic research phase (1970s to the present), ongoing major ex­ cavation at many sites contributed significantly to our understanding of prehis­ toric southern China. Additional early human remains at Wushan, Jianshi, Yun­ xian, Nanjing, and Hexian were recovered together with Palaeolithic assemblages from Yuanmou, the Baise basin, Jianshi Longgu cave, Hanzhong, the Li and Yuan valleys, Dadong and Jigongshan.
    [Show full text]
  • Rupture Movement) Melinda Pirazzoli Alma Mater Studiorum, Università Di Bologna, Italia
    e-ISSN 2385-3042 ISSN 1125-3789 Annali di Ca’ Foscari. Serie orientale Vol. 55 – Giugno 2019 Breaking Up From What? The Corporeal Politics of Values in the Duanlie yundong (Rupture Movement) Melinda Pirazzoli Alma Mater Studiorum, Università di Bologna, Italia Abstract This study, which provides close readings of short stories written by 朱文 (1967-), Han Dong 韩东 (1961-) and Dong Xi 东西 (1966-), major exponents of a Nanjing- based group of writers called Duanlie 断裂 (Rupture), suggests that for these writers the body is represented in terms of human capital (suzhi 素质) in a way that resonates well with what the political scientist Crawford Brough Macpherson has defined as “posses- sive individualism”. In fact, their characters’ individual private body is for them the most important capital as well as the primary object of self-investment; they owe nothing to society; they regard personal relations as market relations breaking free from traditional kinship bonds and, finally, they regard themselves as ‘proprietors of themselves’. What these middle-class intellectuals introduce in their writings is the newly-born middle- class consumer willing to celebrate, as Paterson says, “carnivalesque consuming bodies celebrating popular pleasures, not of the mind, but of the body” (2005, 105). Keywords Body. Rupture Movement. Possessive Individualism. Chinese Values. Chi- nese Middle-class Consumers. Summary 1 The Duanlie 断裂 (Rupture)Movement and the Question of Values. – 2 Zhu Wen: Dollars, Renminbi, and the Trans-lation of Values. – 3 Han Dong’s Meiyuan yingguo renminbi 美元硬过人民币(Dollars are Harder than Renminbi). – 4 Dong Xi’s Shangpin 商 品 (The Commodity). – 5 Conclusion.
    [Show full text]
  • Tiff Bell Lightbox Celebrates a Century of Chinese Cinema with Unprecedented Film Series, Exhibitions and Special Guests
    May 6, 2013 .NEWS RELEASE. TIFF BELL LIGHTBOX CELEBRATES A CENTURY OF CHINESE CINEMA WITH UNPRECEDENTED FILM SERIES, EXHIBITIONS AND SPECIAL GUESTS - Programme features 80 films, free exhibitions and guests including Chen Kaige, Johnnie To and Jackie Chan - -Tickets on sale May 21 at 10 a.m. for TIFF Members, May 27 at 10 a.m. for non-members - Toronto – Noah Cowan, Artistic Director, TIFF Bell Lightbox, announced today details for a comprehensive exploration of Chinese film, art and culture. A Century of Chinese Cinema features a major film retrospective of over 80 titles, sessions with some of the biggest names in Chinese cinema, and a free exhibition featuring two internationally acclaimed visual artists. The flagship programme of the summer season, A Century of Chinese Cinema runs from June 5 to August 11, 2013. “A Century of Chinese Cinema exemplifies TIFF’s vision to foster new relationships and build bridges of cultural exchange,” said Piers Handling, Director and CEO of TIFF. “If we are, indeed, living in the Chinese Century, it is essential that we attempt to understand what that entails. There is no better way to do so than through film, which encourages cross-cultural understanding in our city and beyond.” “The history, legacy and trajectory of Chinese film has been underrepresented in the global cinematic story, and as a leader in creative and cultural discovery through film, TIFF Bell Lightbox is the perfect setting for A Century of Chinese Cinema,” said Noah Cowan, Artistic Director, TIFF Bell Lightbox. “With Chinese cinema in the international spotlight, an examination of the history and development of the region’s amazing artistic output is long overdue.
    [Show full text]