Mapping Global Racisms
Total Page:16
File Type:pdf, Size:1020Kb
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. -
A Selective Study on Chinese Art Songs After 1950
Graduate Theses, Dissertations, and Problem Reports 2021 A Selective Study on Chinese Art Songs after 1950 Gehui Zhu [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Zhu, Gehui, "A Selective Study on Chinese Art Songs after 1950" (2021). Graduate Theses, Dissertations, and Problem Reports. 8287. https://researchrepository.wvu.edu/etd/8287 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A Selective Study on Chinese Art Songs after 1950 Gehui Zhu A Doctoral Research Project Submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Voice Performance Hope Koehler, D.M.A, Committee Chair and Research Adviser William Koehler, D.M.A Matthew Heap, Ph.D. Victor Chow, Ph.D. School of Music Morgantown, West Virginia 2021 Keywords: Chinese Art Songs after 1950, Contemporary Chinese Art Songs, Chinese Poems, Chinese Art Songs for Classical Singers. -
Westernisation, Ideology and National Identity in 20Th-Century Chinese Music
Westernisation, Ideology and National Identity in 20th-Century Chinese Music Yiwen Ouyang PhD Thesis Royal Holloway, University of London DECLARATION OF AUTHORSHIP I, Yiwen Ouyang, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19 May 2012 I To my newly born baby II ABSTRACT The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China’s early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on. -
Performing Chinese Contemporary Art Song
Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library. -
China Pop Love, Patriotism and the State in China’S Music Sphere
115 CHINA POP LOVE, PATRIOTISM AND THE STATE IN CHINA’S MUSIC SPHERE ANDREAS STEEN Popular culture in China is highly dynamic, involving individuals and private companies, both local and international, as well as state-governed institutions. The mass media and new communication technologies naturally play an impor- tant role in production, selection and dissemination, while also increasing in- teraction with international trends and standards. Sheldon H. Lu underscores popular culture’s importance in today’s China by emphasizing that it is “a dein- ing characteristic of Chinese postmodernity”.1 To him, three factors are crucial, namely it’s potential to undermine the censorship and “hard-line” cultural he- gemony of the Chinese Communist Party (CCP), its rise as a “major player in the commodiication process,” and “its sugar-coated apoliticism, [which] paciies the masses and represses the memory of China’s political reality” (ibid.). Popular cul- ture, therefore, is the battleground of various ideologies, forces and interests. Its ambivalent and complex entanglement with politics, society and the musical in- dustry is also addressed in the work of other scholars, such as Kevin Latham, who expresses that “understanding Chinese popular culture very often requires care- ful attention to how precisely the state is involved in and related to forms of social and cultural activity and practices. Popular culture does not exist outside of or in contrast to the state but very often in a constant and evolving dialogue with it.”2 This article looks at both conlicts and dialogue in the realm of popular music and attempts to lay out the main contours of China’s current popular music scene. -
Afterlives of Chinese Communism: Political Concepts from Mao to Xi
AFTERLIVES OF CHINESE COMMUNISM AFTERLIVES OF CHINESE COMMUNISM POLITICAL CONCEPTS FROM MAO TO XI Edited by Christian Sorace, Ivan Franceschini, and Nicholas Loubere First published 2019 by ANU Press and Verso Books The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (hardback): 9781788734790 ISBN (paperback): 9781788734769 ISBN (online): 9781760462499 WorldCat (print): 1085370489 WorldCat (online): 1085370850 DOI: 10.22459/ACC.2019 This title is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Note on Visual Material All images in this publication have been fully accredited. As this is a non-commercial publication, certain images have been used under a Creative Commons licence. These images have been sourced from Flickr, Wikipedia Commons and the copyright owner of each original picture is acknowledged and indicated in the source information. Design concept and typesetting by Tommaso Facchin; Illustrations by Marc Verdugo Lopez. Cover design by No Ideas. Cover artwork by Marc Verdugo Lopez. Proofreading by Sharon Strange and Evyn Chesneau Papworth. This edition © 2019 ANU Press and Verso Books Table of Contents Introduction - Christian SORACE, Ivan FRANCESCHINI, and Nicholas LOUBERE 1 1. Aesthetics - Christian SORACE 11 2. Blood Lineage - YI Xiaocuo 17 3. Class Feeling - Haiyan LEE 23 4. Class Struggle - Alessandro RUSSO 29 5. Collectivism - GAO Mobo 37 6. Contradiction - Carlos ROJAS 43 7. Culture - DAI Jinhua 49 8. Cultural Revolution - Patricia M. -
Script Crisis and Literary Modernity in China, 1916-1958 Zhong Yurou
Script Crisis and Literary Modernity in China, 1916-1958 Zhong Yurou Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Yurou Zhong All rights reserved ABSTRACT Script Crisis and Literary Modernity in China, 1916-1958 Yurou Zhong This dissertation examines the modern Chinese script crisis in twentieth-century China. It situates the Chinese script crisis within the modern phenomenon of phonocentrism – the systematic privileging of speech over writing. It depicts the Chinese experience as an integral part of a worldwide crisis of non-alphabetic scripts in the nineteenth and twentieth centuries. It places the crisis of Chinese characters at the center of the making of modern Chinese language, literature, and culture. It investigates how the script crisis and the ensuing script revolution intersect with significant historical processes such as the Chinese engagement in the two World Wars, national and international education movements, the Communist revolution, and national salvation. Since the late nineteenth century, the Chinese writing system began to be targeted as the roadblock to literacy, science and democracy. Chinese and foreign scholars took the abolition of Chinese script to be the condition of modernity. A script revolution was launched as the Chinese response to the script crisis. This dissertation traces the beginning of the crisis to 1916, when Chao Yuen Ren published his English article “The Problem of the Chinese Language,” sweeping away all theoretical oppositions to alphabetizing the Chinese script. This was followed by two major movements dedicated to the task of eradicating Chinese characters: First, the Chinese Romanization Movement spearheaded by a group of Chinese and international scholars which was quickly endorsed by the Guomingdang (GMD) Nationalist government in the 1920s; Second, the dissident Chinese Latinization Movement initiated in the Soviet Union and championed by the Chinese Communist Party (CCP) in the 1930s. -
China, Indonesia and the Cold War, 1945-1967 A
DIASPORA AND DIPLOMACY: CHINA, INDONESIA AND THE COLD WAR, 1945-1967 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Taomo Zhou August 2015 © 2015 Taomo Zhou DIASPORA AND DIPLOMACY: CHINA, INDONESIA AND THE COLD WAR, 1945-1967 Taomo Zhou, Ph. D. Cornell University 2015 Grounded in multilingual governmental and private sources, this dissertation redefines twentieth- century China beyond the territorial boundary of the Chinese nation-state. Even though China and Indonesia are not neighboring countries with geographic borderlines, the existence of approximately 2.5 million ethnic Chinese in Indonesia gave rise to an invisible and porous social frontier that could be transgressed more easily and oftentimes accidentally, especially during a period when the Chinese Communist Party’s regime legitimacy was challenged by its Nationalist rival. At the level of the Chinese state’s relationship to the overseas Chinese, Chinese political elites used transnational migrant networks and the global circulation of media to rally popular support and affirm political legitimacy. At the level of the overseas Chinese’s relationship to the Chinese state, the ethnic Chinese were active participants in civic campaigns launched by the pro- Chinese Communist and pro-Chinese Nationalist factions in Indonesia. Both sides claimed that all ethnic Chinese owed their loyalty to China’s sole legitimate center—Beijing according to the Communists or Taipei according to the Nationalists. At the level of state-to-state diplomacy, this continuous politicization of the ethnic Chinese shook the foundation of the Sino-Indonesian strategic partnership. -
Chinese Television As a Medium of National Interpellation: Diasporic Responses to the CCTV Production of the Spring Festival Gala
Chinese Television as a Medium of National Interpellation: Diasporic Responses to the CCTV Production of the Spring Festival Gala by Yawei Cui A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education of the University of Toronto © Copyright by Yawei Cui 2009 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-60941-5 Our file Notre référence ISBN: 978-0-494-60941-5 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Performing the Chinese Nation
PERFORMING THE CHINESE NATION The Politics of Identity in China Central Television’s Music-Entertainment Programs LAUREN GORFINKEL (高睿) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy International Studies Faculty of Arts and Social Sciences University of Technology, Sydney 2011 CERTIFICATE OF AUTHORSHIP/ORIGINALITY I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student ______________________ LAUREN GORFINKEL i Acknowledgements This study would not have come to fruition without my expert team of supervisors. Professor Louise Edwards with her infectious enthusiasm first got me on track to begin a PhD and saw it all the way to completion. Along the road, she provided valuable feedback on drafts and encouraged me to partake in a variety of activities that benefited not just the project but my understanding of broader issues surrounding it. When Louise moved to Hong Kong, I was exceptionally fortunate to have on board the equally expert and energetic professor, Wanning Sun, who had just arrived at UTS. Wanning‘s expertise in Chinese media and identity was vital in helping me form the theoretical and analytical framework that became the backbone of this work. -
Yuwen) Curriculum from 1980-2010 in China
Control, Conformity and Contradiction: Changes in Chinese Language and Literacy (Yuwen) Curriculum from 1980-2010 in China Min Tao A thesis submitted to the University of Sydney in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences The University of Sydney August 2016 ACKNOWLEDGEMENTS I need to sincerely thank a great many people for their wonderful support and encouragement. Without them, this project would not have been completed at all or finished on time. First and foremost, I would like to express my appreciation and gratitude to my primary supervisor Dr Wei Wang. Looking back, it was hard to imagine or estimate how heavy the workload for the supervision work is: it is not just reading and commenting on your drafts which already involves a huge amount of time and energy. It is more an epistemological training or mind-shaping process, particularly in my case: equipping a literature-mind teacher of Chinese language and literature who had been trained and taught in China with the perspectives and methodologies of social sciences necessary for a researcher. My supervisor gave me invaluable learning and training experience. I am also appreciative of his insightful advice concerning writing in academic English. I thank my co-supervisor Associate Professor Linda Tsung. Linda was concerned with my thesis from the time when the thesis proposal was put forward as early as in 2009. As an expert scholar in language teaching and learning and Chinese education, Linda provided insightful comments and guidance for the structure of the thesis, the data collection and data analysis. -
IREW/Cgrin201 3 International Council for Traditional Music
INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC (ICTM) WORLD CONFERENCE(SHANGHAI 2013) WORLD CONFERENCE SHANGHAI 2013 ICTM IREW/cgrIN201 3 International Council for Traditional Music 42nd World Conference Shanghai Conservatory of Music July 11 – 17, 2013 CONFERENCE PROGRAM Study Group and other ICTM Meetings July 11, 13:30 Performing Arts of Southeast Asia July 12, 10:15 Mediterranean Music Studies July 12, 14:00 Music and Dance in Southeastern Europe July 12, 16:00 Applied Ethnomusicology July 13, 12:15 Musics of East Asia July 13, 14:00 East Asian Historical Musical Sources July 13, 14:00 Assembly of the National and Regional Representatives July 13, 16:00 Multipart Music July 13, 18:00 Maqām and Music in the Arab World July 15, 10:15 Iconography of the Performing Arts July 15, 13:30 Music of the Turkic-Speaking World July 15, 13:30 African Music July 15, 16:00 Music and Dance of Oceania July 16, 10:15 Iconography of the Performing Arts July 16, 18:00 Music and Minorities Thursday, July 11 IA Opening Ceremony (9:00 - 10:00). Welcome by ICTM President Adrienne KAEPPLER (Smithsonian Institution) and representatives from the Shanghai Conservatory of Music 10:00 - 10:15 Tea and Coffee Break IB Paper Sessions (10:15 - 12:15) IB1 Performing Musical Pasts for Identity Formation among Chinese Individuals. Tasaw Hsin-Chun LU (Institute of Ethnology, Academia Sinica), chair. 10:15 Nostalgia in Guoyue: Zi-Ming Gao as Diasporic Individual after 1949 in Taiwan. TSAI Ho-ju (National Chiao Tung University) 10:45 Coming Out in the Closet: Girls’ Generation and Sexual Politics in Gay Bars in Taiwan.