SINO-PLATONIC PAPERS Number 283 December, 2018 Language, Script, and Art in East Asia and Beyond: Past and Present edited by Victor H. Mair Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out for peer review, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. We do, however, strongly recommend that prospective authors consult our style guidelines at www.sino-platonic.org/stylesheet.doc. Manuscripts should be submitted as electronic files, preferably in Microsoft Word format. You may wish to use our sample document template, available here: www.sino-platonic.org/spp.dot. All issues of Sino-Platonic Papers are free in PDF form. Issues 1–170, however, will continue to be available in paper copies until our stock runs out. Please note: When the editor goes on an expedition or research trip, all operations may cease for up to three months at a time. Sino-Platonic Papers is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 2.5 License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc- nd/2.5/ or send a letter to Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA. Language, Script, and Art in East Asia and Beyond: Past and Present Edited by Victor H. Mair University of Pennsylvania Contents Preface vi Victor H. Mair The Chinese Script and Its Use in Art: The Works of Gu Wenda and Xu Bing 3 Rhosean Asmah The Sing-song Girls of Shanghai and Written Wu Topolect in the Late Qing Period 23 Yaoying Dai The Place of Hanja in Korea 46 Irene Do Tangut Script: Creation and Structure 59 Nikita Kuzmin China’s Confucius Institutes: Promoting Language or Reputation? 83 Susan Radov Avoiding Loss through Curation: An Examination of the Trajectory of Sinitic Languages in Singapore 98 Ben Roth SINO-PLATONIC PAPERS NO. 283 Divergence of Chinese Character-Based Vocabulary in East Asia: The Case of China, Korea, and Japan 111 Hyejin (Krista) Ryu Minority Communities in China: The Role and Prospects of the Non-Sinitic Languages 130 Shelley Shim Local Cinemas with Local Dialects: An Analysis of Jia Zhangke’s Dialect Films 141 Tao Tang Chinese Characters in Fashion: How Different Levels of Readability Affect the Characters’ Meanings 162 Julia Wang Chinese Internet Set Phrases and Their Potential 175 Zeyao Wu The Power of Language: Ha Jin’s Sensuous Representation of China’s Past in Waiting 215 Wanyue Yang iv Preface Victor H. Mair University of Pennsylvania This collection of papers, “Language, Script, and Art in East Asia and Beyond: Past and Present,” was selected from classwork submitted to my course called “Language, Script, and Society in China” in fall 2017. “China” in the title of the course is writ large, inasmuch as these papers, like the class, examine questions concerning written and spoken language in the entire Sinographic sphere and Sinophone realm, together with adjacent cultures and societies that have interacted with them. Thus, for example, we look at such diverse topics as an Inner Asian Sinoform script (Tangut), Korean attitudes toward Chinese characters, Sinitic languages in Singapore, and the English language oeuvre of a distinguished Chinese dissident living in America. Moreover, not only do these papers engage with language and writing directly as linguistic entities, they also are concerned with how Chinese characters may be used as design elements in art and in fashion. A unique emphasis of the course is the importance of topolects in the history of the Sinitic language family and right up to the present moment with their adoption in contemporary cinema. We also venture into politics with an investigation of the attempts by the Chinese government to increase Mandarin language instruction in schools, colleges, and universities around the world. On the one hand, we look at non-Sinitic (“minority”) languages inside China, while on the other we survey various aspects of comparative Sinographic vocabulary in China, Korea, and Japan. There is undoubtedly no more powerful driving force in linguistic change than that of the Internet. In this regard, we analyze the use of an entirely new kind of “set phrase” that has sprung up in digital discourse. Whereas traditional “set phrases” are based on historical and literary allusions, those today are created by “netizens” out of current discourse drawn from around the globe. SINO-PLATONIC PAPERS NO. 283 There is no better time than the present for studying the nature and development of the Sinitic languages and the scripts in which they have been written, as well as their mutual interactions with neighboring languages and scripts. We are delighted to offer this set of a dozen lively, illuminating essays by Penn undergrads and graduate students to all who share an interest in the Sinophone world. vi LANGUAGE, SCRIPT, AND ART IN EAST ASIA AND BEYOND The Chinese Script and Its Use in Art: The Works of Gu Wenda and Xu Bing Rhosean Asmah This paper examines and compares several artworks by Gu Wenda and Xu Bing. Their works often contain elements of or inspired by the Chinese script. There is a fair amount of scholarship written on both artists, and their works have often been studied and viewed in tandem because of the engaging yet different ways in which they wield the Chinese script. Both Gu and Xu are considered contemporary Chinese artists. Scholars generally agree that contemporary Chinese art began to be produced at the end of the Cultural Revolution, in 1976, and, of course, it continues to be created today.1 Gu and Xu emerged as notable figures of this movement in the early 1980s by challenging the paradigm and ideas of traditional Chinese art.2 There are many aspects of contemporary Chinese art, but here I will address only trends in the period that are particularly relevant to both Gu and Xu. First, many contemporary Chinese artists changed what they address with their art. These artists are moving away from overtly politicized topics that are directly related to China and increasingly approaching their art within a more global framework.3 This shift is related to another trend in contemporary Chinese art. In the 1980s and early 1990s, many Chinese artists decided to leave 1 Minglu Gao, “A Crisis of Contemporary Art in China?” Yishu: Journal of Contemporary Chinese Art 10 (n.d.): 11. 2 Wang Ying and Yan Sun, Reinventing Tradition in a New World: The Arts of Gu Wenda, Wang Mansheng, Xu Bing, and Zhang Hongtu (Gettysburg, PA: Penn State University Press, 2004), introduction. 3 Petya Andreeva, “From Xu Bing to Shu Yong: Linguistic Phenomena in Chinese Installation Art,” Sino-Platonic Papers no. 256 (April 2015), 64. SINO-PLATONIC PAPERS NO. 283 China and go abroad, where they believed they could create art with fewer restrictions.4 Gu moved to New York City in 1987, and in 1990 Xu also moved there. The works that resulted from this migration were hybrid and transnational artworks that contained juxtapositions between and attempted reconciliations of Chinese and Western cultural elements.5 Another development is that many contemporary Chinese artists, including both Gu and Xu, have demonstrated a strong interest in calligraphy, which they artistically reinterpret in the context of China’s various social and cultural transformations.6 Calligraphy and script, already so intimately connected to Chinese culture, become a means of commenting upon it. Though the two artists both frequently work with the Chinese script, they have different reasons for doing so. I will discuss various aspects of Gu’s and Xu’s lives that are relevant when examining their work. Gu Wenda was born in 1955 in China. Two major realizations during his life have influenced the course and development of his artwork. First, while at the Zhejiang Academy of Fine Arts, Gu realized that all his previous artwork, copied from tradition, was “wrong.”7 At that time he was studying and recreating Classical Chinese landscape paintings and calligraphy, but realized that the resulting works, though beautiful, were not at all original.8 As a result, Gu basically stopped painting and began reading many books on the philosophies of East Asia and of the West.9 He rebelled against the tradition in which he was being trained and absorbed influences from those philosophies that encouraged artistic experimentation and innovation.10 This is when Gu began to create the miswritten and modified Chinese characters that became a recurrent theme in his later works.