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Chapter One Introduction
ICT1 21/8/00 6:44 PM Page 1 Chapter One Introduction The past is always altered for motives that reflect present needs. We reshape our heritage to make it attractive in modern terms; we seek to make it part of ourselves, and ourselves part of it; we confirm it to our self-images and aspirations. Rendered grand or homely, magnified or tarnished, history is continually altered in our private interests or on behalf of our community or country. —David Lowenthal, The Past Is a Foreign Country History connects past with present. This connection is established by and, generally, also for the present. Yet, the ways in which his- torians write history vary tremendously: History is and has been written differently for different purposes.1 In order to cast light on present events, for example, one can simply collect and preserve any available information about the past. What prompted Herodotus (484–424? B.C.E.) to write his Histories, as he professed at its outset, was to prevent the memory of the Greeks about their glorious victory over the Persians from falling into oblivion. In China where historical writing has long been an integral part of its civilization, there is a well-known adage, “to know the future in the mirror of the past” (jian wang zhi lai), that expresses a similar desire to remember past events for better understanding the present and 1 ICT1 21/8/00 6:44 PM Page 2 2 INTRODUCTION successfully speculating upon the future. While interest in the past of this sort is shown in many historical cultures, contributing to the development of historical study, it by no means addresses fully the complex relationship between past and present. -
ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media
ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation Yueqin Yang, M.A. Mentor: Douglas R. Ferdon, Jr., Ph.D. This thesis commits to highlighting major stereotypes concerning Asians and Asian Americans found in the U.S. media, the “Yellow Peril,” the perpetual foreigner, the model minority, and problematic representations of gender and sexuality. In the U.S. media, Asians and Asian Americans are greatly underrepresented. Acting roles that are granted to them in television series, films, and shows usually consist of stereotyped characters. It is unacceptable to socialize such stereotypes, for the media play a significant role of education and social networking which help people understand themselves and their relation with others. Within the limited pages of the thesis, I devote to exploring such labels as the “Yellow Peril,” perpetual foreigner, the model minority, the emasculated Asian male and the hyper-sexualized Asian female in the U.S. media. In doing so I hope to promote awareness of such typecasts by white dominant culture and society to ethnic minorities in the U.S. Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation by Yueqin Yang, B.A. A Thesis Approved by the Department of American Studies ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson ___________________________________ James M. SoRelle, Ph.D. ___________________________________ Xin Wang, Ph.D. -
Introduction
Notes Introduction 1. Hobsbawm 1990, 66. 2. Diamond 1998, 322–33. 3. Fairbank 1992, 44–45. 4. Fei Xiaotong 1989, 1–2. 5. Diamond 1998, 323, original emphasis. 6. Crossley 1999; Di Cosmo 1998; Purdue 2005a; Lavely and Wong 1998, 717. 7. Richards 2003, 112–47; Lattimore 1937; Pan Chia-lin and Taeuber 1952. 8. My usage of the term “geo-body” follows Thongchai 1994. 9. B. Anderson 1991, 86. 10. Purdue 2001, 304. 11. Dreyer 2006, 279–80; Fei Xiaotong 1981, 23–25. 12. Jiang Ping 1994, 16. 13. Morris-Suzuki 1998, 4; Duara 2003; Handler 1988, 6–9. 14. Duara 1995; Duara 2003. 15. Turner 1962, 3. 16. Adelman and Aron 1999, 816. 17. M. Anderson 1996, 4, Anderson’s italics. 18. Fitzgerald 1996a: 136. 19. Ibid., 107. 20. Tsu Jing 2005. 21. R. Wong 2006, 95. 22. Chatterjee (1986) was the first to theorize colonial nationalism as a “derivative discourse” of Western Orientalism. 23. Gladney 1994, 92–95; Harrell 1995a; Schein 2000. 24. Fei Xiaotong 1989, 1. 25. Cohen 1991, 114–25; Schwarcz 1986; Tu Wei-ming 1994. 26. Harrison 2000, 240–43, 83–85; Harrison 2001. 27. Harrison 2000, 83–85; Cohen 1991, 126. 186 • Notes 28. Duara 2003, 9–40. 29. See, for example, Lattimore 1940 and 1962; Forbes 1986; Goldstein 1989; Benson 1990; Lipman 1998; Millward 1998; Purdue 2005a; Mitter 2000; Atwood 2002; Tighe 2005; Reardon-Anderson 2005; Giersch 2006; Crossley, Siu, and Sutton 2006; Gladney 1991, 1994, and 1996; Harrell 1995a and 2001; Brown 1996 and 2004; Cheung Siu-woo 1995 and 2003; Schein 2000; Kulp 2000; Bulag 2002 and 2006; Rossabi 2004. -
China Perspectives, 51 | January-February 2004 David Pollard, the True Story of Lu Xun 2
China Perspectives 51 | january-february 2004 Varia David Pollard, The True Story of Lu Xun Hong Kong, The Chinese University Press, 2002, 242 p. Sebastian Veg Édition électronique URL : http://journals.openedition.org/chinaperspectives/794 DOI : 10.4000/chinaperspectives.794 ISSN : 1996-4617 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 1 février 2004 ISSN : 2070-3449 Référence électronique Sebastian Veg, « David Pollard, The True Story of Lu Xun », China Perspectives [En ligne], 51 | january- february 2004, mis en ligne le 23 avril 2007, consulté le 21 septembre 2020. URL : http:// journals.openedition.org/chinaperspectives/794 ; DOI : https://doi.org/10.4000/chinaperspectives. 794 Ce document a été généré automatiquement le 21 septembre 2020. © All rights reserved David Pollard, The True Story of Lu Xun 1 David Pollard, The True Story of Lu Xun Hong Kong, The Chinese University Press, 2002, 242 p. Sebastian Veg NOTE DE L’ÉDITEUR Translated from the French original by Philip Liddell 1 David Pollard’s book, the first reliable biography of Lu Xun in a Western language, fulfils a real need, so closely is the subject’s life linked with the great events of the first third of the twentieth century in China. Aimed at the uninformed reader, the biography is written in a pleasant style, free of notes and detailed references to ideological or literary issues in which Lu Xun was involved. It presents a balanced synthesis of Chinese sources, such as Lu Xun’s diary and the memoirs published about him (by his brothers Zhou Zuoren and Zhou Jianren, by his wife Xu Guangping, and by his friends), or of more recent research into various episodes of his life. -
Towards a Psychobiographical Study of Lin Yutang
What Maketh the Man? Towards a Psychobiographical Study of Lin Yutang Roslyn Joy Ricci School of Social Science/Centre for Asian Studies University of Adelaide November 2013 Abstract Dr Lin Yutang, philologist, philosopher, novelist and inventor was America’s most influential native informant on Chinese culture from the mid-1930s to the mid-1950s. Theoretical analysis of Lin’s accomplishments is an ongoing focus of research on both sides of the North Pacific: this study suggests why he made particular choices and reacted in specific ways during his lifetime. Psychobiographical theory forms the framework for this research because it provides a structure for searching within texts to understand why Lin made choices that led to his lasting contribution to transcultural literature. It looks at foundational beliefs established in his childhood and youth, at why significant events in adulthood either reinforced or altered these and why some circumstances initiated new beliefs. Lin’s life is viewed through thematic lenses: foundational factors; scholarship and vocation; the influence of women; peer input; and religion, philosophy and humour. Most of his empirical life journey is already documented: this thesis suggests why he felt compelled to act and write as he did. In doing so, it offers possible scenarios of why Lin’s talents developed and why his life journey evolved in a particular manner, place and time. For example, it shows the way in which basic beliefs—formed during Lin’s childhood and youth and later specific events in adulthood—affected his life’s journey. It analyses how his exposure to the theories of Taoism, Confucianism and Buddhism affected his early childhood basic belief—Christianity—and argues that he accommodated traditional Chinese beliefs within Christianity. -
The Politics of Celebrity in Madame Chiang Kai-Shek's
China’s Prima Donna: The Politics of Celebrity in Madame Chiang Kai-shek’s 1943 U.S. Tour By Dana Ter Columbia University |London School of Economics International and World History |Dual Master’s Dissertation May 1, 2013 | 14,999 words 1 Top: Madame Chiang speaking at a New Life Movement rally, taken by the author at Sun Yat-sen Memorial Hall, Taipei, Taiwan, June 2012. Front cover: Left: Allene Talmey, “People and Ideas: May Ling Soong Chiang,” Vogue 101(8), (April 15, 1943), 34. Right: front page of the Kansas City Star, February 23, 1943, Stanford University Hoover Institution (SUHI), Henry S. Evans papers (HSE), scrapbook. 2 Introduction: It is the last day of March 1943 and the sun is beaming into the window of your humble apartment on Macy Street in Los Angeles’ “Old Chinatown”.1 The day had arrived, Madame Chiang Kai-shek’s debut in Southern California. You hurry outside and push your way through a sea of black haired-people, finding an opening just in time to catch a glimpse of China’s First Lady. There she was! In a sleek black cheongsam, with her hair pulled back in a bun, she smiled graciously as her limousine slid through the adoring crowd, en route to City Hall. The split second in which you saw her was enough because for the first time in your life you were proud to be Chinese in America.2 As the wife of the Generalissimo Chiang Kai-shek, from February-April 1943, Madame Chiang, also known by her maiden name, Soong Mayling, embarked on a carefully- crafted and well-publicized tour to rally American material and moral support for China’s war effort against the Japanese. -
People of Chinatown Word Search
People of Chinatown Visit laconservancy.org to learn more about L.A.'s Chinatown. Anna May Wong Philippe Mathieu Fung Chow Chan Soong Mei-ling Mabel Hong Tyrus Wong Mama Quon Y.C. Hong Peter Soohoo 1 Anna May Wong Anna May Wong was the first Asian American movie star and style icon in Hollywood. Wong grew up near Los Angeles’s Old Chinatown, located where Union Station is today. Despite facing racial discrimination and being cast in minor roles in her early career, Wong persevered and starred in nearly sixty films, making her a well- known actress all over the world. When New Chinatown, now referred to as Chinatown, opened in 1938, Wong dedicated the Seven Star Cavern Wishing Well in the Central Plaza. Fung Chow Chan Fung Chow Chan founded two businesses in Chinatown: Phoenix Bakery and East West Bank. Opened in 1938, Phoenix Bakery provided a space for a growing Chinese community to gather and eat delicious Chinese pastries and cookies. Today, the bakery is managed by third-generation family members. People visit Phoenix Bakery year-round to eat their delicious pastries, including their famous fresh strawberry and whipped cream cake! Chan was also one of the founders of East West Bank, which provided banking services for Chinese immigrants who were often denied access to other banks. East West Bank helped many residents of Chinatown receive loans so they could start small businesses and purchase homes, thereby investing in the growth of the Chinatown community. Peter Soohoo Peter Soohoo was a businessman and engineer who pioneered the development of New Chinatown. -
Ideology of Power and Power of Ideology in Early China
iii Ideology of Power and Power of Ideology in Early China Edited by Yuri Pines Paul R. Goldin Martin Kern LEIDEN | BOSTON For use by the Author only | © 2015 Koninklijke Brill NV ContentsContents v Contents Contents v Acknowledgments vii List of Contributors viii Introduction Ideology and Power in Early China 1 Yuri Pines Part One The Foundations: Unity, Heaven, and Ancestral Models 1 Representations of Regional Diversity during the Eastern Zhou Dynasty 31 Paul R. Goldin 2 Omens and Politics: The Zhou Concept of the Mandate of Heaven as Seen in the Chengwu 程寤 Manuscript 49 Luo Xinhui 羅新慧 3 Long Live The King! The Ideology of Power between Ritual and Morality in the Gongyang zhuan 公羊傳 69 Joachim Gentz 4 Language and the Ideology of Kingship in the “Canon of Yao” 118 Martin Kern Part Two Textual Battles: Rulers, Ministers, and the People 5 Monarch and Minister: The Problematic Partnership in the Building of Absolute Monarchy in the Han Feizi 韓非子 155 Romain Graziani 6 The Changing Role of the Minister in the Warring States: Evidence from the Yanzi chunqiu 晏子春秋 181 Scott Cook 7 Ideologies of the Peasant and Merchant in Warring States China 211 Roel Sterckx 8 Population Records from Liye: Ideology in Practice 249 Charles Sanft For use by the Author only | © 2015 Koninklijke Brill NV vi Contents Epilogue Ideological Authority in China: Past and Present 9 Political and Intellectual Authority: The Concept of the “Sage-Monarch” and Its Modern Fate 273 Liu Zehua 劉澤華 Bibliography 301 Index 337 Contents Contents v Acknowledgments vii List of Contributors -
Encountering Miao Shamanism
EPILOGUE: “GHOST MASTER” AT LANGDE: ENCOUNTERING MIAO SHAMANISM The previous chapters have examined the construction of the national- ist ideology in modern China, the research and investigation of southern Chinese minority nationalities, the concerned intellectual debates and polit- ical tensions, as well as the public representation of minority culture. In the epilogue, I will shift my focus to the village-level minority communal life and power relations to illustrate the continuity of shamanism in China and the symbiotic relationship between the shamanistic authority and political power. The main players here are the retired CCP Party secretary of a Miao I want to point out that the use of the terms “shaman” and “shamanism” is due to the convenience of understanding and the fact that Langde “ghost master” (guishi in Han Chinese) share the functional roles as the shaman in Manchuria and northeast Asia of being spiritual medium and communicator to the dead. Yet there are also two differences: one is linguistic, the word “shaman” has very probable Tungstic origin, and the other is gender. While North Asian shamans have traditional women, at Langde, the Miao ghost masters are usually men, and other ethnographic accounts about southern Chinese minority groups depict male shamans more than female shamans. For discussion of Manchu/northeast Asian shamanism, see Mark C. Elliott, The Manchu Way: The Eight Banners and Ethnic Identity in Late Imperial China (Stanford: Stanford University Press, 2001), 235–241. © The Editor(s) (if applicable) and The Author(s) 2019 187 G. Wu, Narrating Southern Chinese Minority Nationalities, New Directions in East Asian History, https://doi.org/10.1007/978-981-13-6022-0 188 EPILOGUE: “GHOST MASTER” AT LANGDE … village, and a practicing shaman, “ghost master,” in that village. -
New Book Announcement: American and Chinese-Language Cinemas
H-Film New Book Announcement: American and Chinese-Language Cinemas Discussion published by Lisa Funnell on Friday, October 17, 2014 New Book Announcement American and Chinese-Language Cinemas: Examining Cultural Flows Edited by Lisa Funnell and Man-fung Yip Publication Details: Routledge (October 10, 2014) Advances in Film Studies Series 242 Pages ISBN-10: 0415731828 ISBN-13: 978-0415731829 Abstract: Critics frequently describe the influence of "America," through Hollywood and other cultural industries, as a form of cultural imperialism. This unidirectional model of interaction does not address, however, the counter-flows of Chinese-language films into the American film market or the influence of Chinese filmmakers, film stars, and aesthetics in Hollywood. This collection (re)considers the complex dynamics of transnational cultural flows between American and Chinese-language film industries. The goal is to bring a more historical perspective to the subject, focusing as much on the Hollywood influence on early Shanghai or postwar Hong Kong films as on the intensifying flows between American and Chinese-language cinemas in recent decades. Contributors emphasize the processes of appropriation and reception involved in transnational cultural practices, examining film production, distribution, and reception. Table of Contents: Introduction: Examining Cultural Flows -Lisa Funnell and Man-Fung Yip Section 1: Style, Narrative, Form 1. For Better or Worse, Don’t Change Your Husband!: Remake and Appropriation of American Films in Republican China, 1911-49 -Zhiwei Xiao 2. A Tale of Two Cinemas: Embracing and Rejecting Hollywood’s Influence in 1930s Shanghai -Alison Hulme 3. Sounding Glocal: Synthesizer Scores in Hong Kong Action Cinema -Katherine Spring Citation: Lisa Funnell. -
Three Debates on the Historicity of the Xia Dynasty
Journal of chinese humanities 5 (2019) 78-104 brill.com/joch Faithful History or Unreliable History: Three Debates on the Historicity of the Xia Dynasty Chen Minzhen 陳民鎮 Assistant Researcher, Beijing Language and Culture University, China [email protected] Translated by Carl Gene Fordham Abstract Three debates on the historicity of the Xia dynasty [ca. 2100-1600 BCE] have occurred, spanning the 1920s and 1930s, the late 1900s and early 2000s, and recent years. In the first debate, Gu Jiegang 顧頡剛 [1893-1980], Wang Guowei 王國維 [1877-1927], and Xu Xusheng 徐旭生 [1888-1976] pioneered three avenues for exploring the history of the Xia period. The second debate unfolded in the context of the Doubting Antiquity School [Yigupai 疑古派] and the Believing Antiquity School [Zouchu yigu 走出疑古] and can be considered a continuation of the first debate. The third debate, which is steadily increasing in influence, features the introduction of new materials, methods, and perspectives and is informed by research into the origins of Chinese civilization, a field that is now in a phase of integration. Keywords doubting antiquity – faithful history – unreliable history – Xia dynasty The question of the historicity of the Xia dynasty [ca. 2100-1600 BCE] may be considered from two perspectives. First, did the Xia dynasty exist? Second, on the whole, are the accounts relating to the Xia dynasty as recorded in ancient texts reliable? This perspective tends to center upon the veracity of the his- torical events involving Yu the Great 大禹. Different people at different -
See the Stars in Hollywood
7 DTLV RUNREBS DAILYFIASCO SEARCH SEVEN Next in Seven HOME THE LATEST COLUMNS NIGHTLIFE A&E DINING FEATURES PHOTOS SUMMER GETAWAYS See the Stars in Hollywood By Lissa Townsend Rodgers 5/14 6:01am 8 10 Google + 0 0 0 This town has always embodied glamor and fame. Unfortunately, in 2015, glamor and fame usually mean plastic surgery and half a season of reality TV. That’s not to say the Hollywood of Marlene Dietrich and Cary Grant, of Gilda and Casablanca, is forever gone. Enter your email for updates Indeed, it still lingers … if you know where to look. Sure, the fabled Walk of Fame is a A film screening at the Hollywood Forever Cemetery. | Photo cliché of vaguely familiar names, SUBSCRIBE TWITTER FACEBOOK to RSS Feed Follow Us Like Us courtesy Cinespia but there’s always a moment when one looms up out of the array—someone who actually meant something to you, like Lon Chaney or Lena Horne. Or Leslie Nielsen. Savor a moment of pensive silence in their honor—and move on before one of the fake Spider-Men starts hassling you. A mandatory stop is Musso & Frank Grill, the oldest restaurant in Hollywood. Through the years, it has been the hangout of Greta Garbo, Orson Welles and Raymond Chandler—and, Excellence in Las Vegas Real more recently, George Clooney, David Lynch and Charles Bukowski. The dining rooms seem Estate bathed in a perpetual “magic hour” golden glow, and Peggy Lee purrs through vintage wood- veneer speakers. The waiters and bartenders are old-school pros in jacket and tie who can Seven Questions for Levon shake a martini and spin a story.