ISSUE III Nature of Humor and Laughter in Genre and the fantastic mode Japanese in cinema fantastic the and Genre New role ways significant the of understanding of historical conflicts in Chinese history education history in Chinese conflicts historical Beyond Humiliations Historical Finnish-Chinese Negotiations Finnish-Chinese The Simple andthe Complex The Elephant-shaped Hole A literary analysis of Arundhati Roy’s of Arundhati analysis A literary A new face of orientalism in the Universe: the in The God of Small God The Things Oh the horror!Oh Wacky Japan: Wacky Japan: TROELS KJEMS PETERSEN KJEMS TROELS WESTER WAGENAAR WESTER LEENA EEROLAINEN LEENA INGVILD BADHWAR SANTA STOPNIECE

– – – – – SUMMER 2016 SUMMER ASIA IN FOCUS Editorial Committee Editorial Journal Website Graphic Design Graphic Copyright Publisher Contact ISSN New Zealand. countries fromAsian Central to excluding Asia Oceania Australia and the sciencesocial The geographical and the humanities. focus is the from viewed societies Asian thestandpointsthe journalismodern of and transnational forum to publishtheirfindings.Thefocal of point Ph.D. students affiliated to aNordic institution awidelyaccessible in FocusAsia was initiated by NIAS to provide Master students and and service institute focusing onAsia’s transformations. modern by NIAS -Nordic Institute NIAS isaNordic Studies. ofAsian research inFocusAsia isapeer-reviewed onlinetwice journalpublished ayear 3·2016 ISSUE www.nias.ku.dk [email protected] Denmark DK-1353 K Copenhagen FarimagsgadeØster 5 NIAS -Nordic Institute Studies ofAsian 2446-0001 www.asiainfocus.dk written from permission theauthors. Authors &NIAS. Allrights reserved. Nopartofthispublication may reproduced be withoutthe Müller Dennis NIAS -Nordic Institute Studies ofAsian rest solely with the authors. in articles published of the accuracy the facts and expressed for the opinions the responsibility of content in for Focus, Asia selection for the final responsible is While the editorial committee Aarhus University Corlin, Mai Lecturer Alexander at Ulfstjerne, AalborgMichael University of Copenhagen University Sareen, Siddharth of Copenhagen Emmanuel Raju, University of Copenhagen University Plinia Nielsen, Kitt of Copenhagen University Rakel Haslund-Gjerrild, Center Sino-Danish and School Business Copenhagen Grünberg, Nis NIASInga-Lill –Nordic Institute of Blomkvist, Studies Asian André Asplund, European Studies Institute of Japanese FoulkesNicol (Managing Editor), Savinetti NIAS –Nordic Institute of Studies Asian 2 ISSUE 3 1 SERENA DE MARCHI Book review Islands: Diaoyu/Senkaku the Over Dispute The the global and challenge order opinion narratives media public shape How – WROLDSENKIM JARLE Book review China: with Dialogue Rights Human EU’s The and limits its diplomacy Quiet – Oh horror! the Genre and the fantastic cinema in Japanese mode – LEENA EEROLAINEN Japan:Wacky orientalism of face A new – WESTER WAGENAAR Beyond Historical Humiliations Beyond of understanding of the significant ways role New historical conflicts Chinesein history education – TROELS KJEMS PETERSEN and Humor of Nature Complex the and Simple The Laughter in Finnish-Chinese Negotiations – STOPNIECE SANTA The Elephant-shaped Hole in the Universe: the in Hole Elephant-shaped The A literary analysis Things The Arundhati God Small of of Roy’s – BADHWAR INGVILD Editorial Introduction Editorial – SIDDHARTH SAREEN Contents 14 26 58 56 36 02 46 04 ASIA IN FOCUS Over the course of the past three we issues, have grown as ateam, learning about the the regular winter issue, for which acall for articles and book reviews is now open. endless complexity of the broached The issues. upcoming special issue is in addition to relevant to the study of Asia with its astonishing diversity, but also to plumb in-depth the a modest attempt by Asia in Focus to not only seek to capture the breadth of concerns first Special Issue, on the theme of family and gender in aglobalising India. This marks schoolchildren are taught aparticular version of history. In autumn, we shall publish our dian literature in English, to scrutiny of Japanese cinematic genres and how Chinese for instance, ranges from analyses of humour in Finnish-Chinese negotiations and In a valuable window into research on Asia to interested audiences worldwide. This issue, showcase their work on avariety of Asia-related topics, while simultaneously providing ing emerging researchers in the Nordic countries afreely accessible online platform to and discriminatory world. discriminatory and ties to engage as informed global citizens and fellow academics in astructurally unfair large number of people’s access to cutting-edge research and thereby their opportuni world increasingly defined by national borders and identity politics categorically limits a mobility within Europe. These conversations are asobering reminder of how living in a agooded deal of debate on potential implications for researchers’ access to funds and recent months, the prospect of a‘Brexit’ with the 23rd June EU referendum has prompt at atime when competition for research funding has reached unprecedented levels. In able forums that can hopefully create positive real impact but also further one’s career concerns of early-career scholars alike: well-established and tary to publish in respect ence has continued has ence to grow louder. puts resulting from largely publicly-funded research so that they can reach awider audi Elbakyan’s Sci-Hub, the call to free the hold that large publishing houses have over out such as academia.edu and researchgate.net. From Aaron Swartz’s efforts to Alexandra researchers increasingly offer versions of their work on peer-sharing oriented websites have begun to offer the option of paying to make one’s work freely available online, and publicly-funded prominent platforms, research to open-access published on journals be world of scholarly publishing? At atime when the EU is putting adeadline of 2020 for all What is the role of ajournal and indeed of academic production in the ever-changing Introduction Editorial

Now into its second year and third issue, Asia in Focus seeks to do its bit by provid As fledgling researchers, we at Asia in Focus are acutely aware of the complemen 2 ------ISSUE 3 - - 3 On behalf of the Editorial Team, Editorial the of On behalf Siddharth Sareen ins and outs of running a smooth ship, plagiarism checks and online presence, and refin and presence, online and checks plagiarism ship, a smooth running of outs and ins lending editors, founding the of most retained have we Happily, process. review our ing (geographically) on moved have A few collegiality. of sense a strong and continuity us to enough fortunate are We aboard. welcomed been have others and careers, their with for need the of a mark is which way, our coming articles quality of stream a steady have acquired Standardplatforms we this. an have International Serial like Notably, Number them like you hope – we fabulous are think we which layout and logo a new and (ISSN), substan and efficiently contributed have who reviewers, our to grateful remain We too! researchers. Nordic early-career by Asia on work fine some present to us enable to tially suggestions. and comments your to forward look we always, as and read, the Enjoy ASIA IN FOCUS analysis, narrative theory analysis, Keywords: to regain her voice in order to tell her own story. representations,knowledge, the and subaltern’s opportunity everydaymelodrama, language, skepticism, and innocence I discuss the relationship between post-colonial studies, incomprehensibility leaving and even her more isolated. herself—is forced to resort to melodramatics, bolstering her language of everyday life, yet desperately desiring to express I argue that the main character, Ammu—not speaking the location within both everyday life and the narrative of history. Spivak’s conception of the subaltern, her lack of voice and the subaltern and the world of everyday life. Idraw upon as amelodrama in order to explore the relationship between In this essay, Iread Arundhati Roy’s The God of Small Things BADHWARINGVILD Roy’s Arundhati of analysis literary A in the Universe: The Elephant-shaped Hole melodrama, postcolonial studies, subaltern studies, literary theory and The God of Small Things 4 ISSUE 3 - - - - Rahel leaves Kerala for school and silently drifts drifts silently and school for Kerala leaves Rahel white/ ‘not term, the coined has Bhabha Homi is in Chacko, limbo brother, Ammu’s Similarly, The God of Small Things explores the Small Things in in Things Small the explores Things Small God of The En Ammu’s Things. Big the between space hybrid the Big the to leads family the to visit Sophie’s niece glish Things, Small the to and drowning, Sophie’s little Thing, banishment the Velutha, untouchable the of murder the twins. the of separation the and Ammu, subaltern the of self; sense of twins lose their the separation, their After left is desolate Rahel and silence, into withdraws Estha home. mother’s late her in status of devoid and divorce. to marriage from and place to place from eyes “her that recognizes husband American Her belonged somebody they to as though behaved her, understand he can never that lamenting else,” worse (…), from came she country the “in because assumptions His 19). p. (ibid, happened.” had things some opposite: his of that to her reduce to serve and completely incomprehensible mystical, thing tohimself. different perpetual men’s Indian illustrate to quite’ not space hybrid the in identities own their for search has often led This to India. them post-colonial of find to attempt an in mannerisms Western adopting imperialism. cultural of context the within a locus not is identity else’s someone recite to However, own, their it make and experience to as same the quite’ ‘not and white’ ‘not remain they why is which (Prakash, 1992, p. 16). Ox at as a student between existence former his as the existence current and his University, ford is He Kerala. in business family local the of owner po his maintain to strives who a man as presented 5 - - - - s it true that “there is no space from which the the which from space no is “there that true s it speak” can (Spivak, subject subaltern sexed Ammu—ostra subaltern, The 1988, 307)? p. cized and rejected by her community—is no longer longer no community—is her by rejected and cized society, about knowledge obtain to position a in norspeak it understand neither can therefore and to desire desperate her In vernacular. common its herself. she begins over-expressing communicate, effectively is she understood, not still is she When respon the is it that I suggest isolation. into forced narrative, public the question to reader the of sibility circulat and by elaborated “stories as understood larger formations amonging social and institutional highlight to 33), 2006, p. (Baker, individual” the than voice. her absent God of The Roy’s Arundhati I read essay, this In the whether I discuss a melodrama. as Things Small in result inevitably will subaltern the of oppression every of world the towards skepticism of a position being not subject—while subaltern the if or life day world—can everyday fictive depicted the a part of the fill and story, her tell to voice her reacquire ever Universe. Hole the in Elephant-shaped

Lack of Locus Standi Locus of Lack from herself free to chance only Ammu’s a woman, As - pos the in being from go to is grip father’s sinister her This another. of that in being to man one of session drives her an unhappy marriage into with an alcoholic Estha twins, her and her leads divorce the and Hindu, a to Kerala, in family callous their to back Rahel, and a female of that to her for depreciated has that status divorcee “from an intercommunity love marriage” (Roy, 46). p. 1997, I ASIA IN FOCUS proaches frequently argue that India’s narrative has ern academia (1997, p. 3). In fact, post-colonial ap that history has been institutionalized within West as unworthy of possessing her own voice. reinforcesshe own her inferiority, emphasizing herself by adopting these mannerisms in order to heard, be adopt their Appropriately, mannerisms from distance. a access to first-hand experiences with society, has to (Spivak, p. 244). 1985, Ammu, because she has no ‘not white/not quite’, but also as the ‘not quite/not male’ the absolute bottom of the hierarchy, not only as the phie Mol –Chacko’s daughter and Ammu’s niece. who in this story is present through the character So are defined from the perspective of the ‘white woman’, imperialism. Her character, her and needs, her desires only as the man’s other, but also as the other of cultural inferior sex of an inferior culture, she is oppressed not the dilemma of the subaltern woman; embodying the Spivak, cited in de Kock, 1992, p. 45). Her essay reveals ofspace difference” (Interview with Gayatri Chakravorty limited or no access to the cultural imperialism – a Spivak defines the subaltern as “everything that has The Public Narrative of History impossible for them to regain their voice to speak. location, from where they to hear and see, it seems spise ourselves” (ibid, p. 52-53). However, without a war […] has made us adore our conquerors and de we to try listen, all we hear is awhispering […]. A Chacko puts it, “[w]e belong nowhere [...]. And when a post-colony: India is in ahybrid position, or, as world. between Chacko’s real self and his make-believe misquotation to highlight serves the discrepancy and heard be before (locus court” standi, n.d.). This law is used to state “the right to of aparty appear ly misquoting the Latin term ‘locus standi’, which in Locusts Stand (Roy, I” 1997, p. 57), he is paradoxical When he tells “Rahel and Estha that Ammu ha[s] no sition as awell-read member of the English elite. This resonates with Ranajit Guha’s assertion In Spivak’s words, the subaltern woman at is left We can also apply this syndrome to India as - - - - - 6 and rip it (1988, apart p. 92). narrative we have learned; we should scrutinize it the ‘unlearning project’: Instead of maintaining the society and history. This is what she describes as subaltern, can illuminate her lack of location within vak suggests that we, rather than representing the subaltern voice seems highly improbable. Yet, Spi 1992, p. 9). With this in mind, the recovery of the “signifies the impossibility of autonomy” (Prakash, very definition of the subaltern, namely that she agencycess in order to heard be collides with the 11). p. (1997, tern’s need to an be active agent in her own story sented by someone else, Guha stresses the subal from their own perspective. Instead of being repre byfied somebody else’s attempt to represent her In other words, Ammu’s silence can only ampli be removed from the narrative of history (1988, p. 70). whatever of is left the subaltern will only further be ofity the Western perspective. to apublic narrative that presupposes the superior the subaltern position of India, and thus subscribes I contend that this argument effectively reinforces or position by subscribing to the public narrative, However, just as Ammu reinforces her own inferi the unknown, mysterious other (Prakash, 9). p. 1992, been represented from a‘universal’ perspective as tion, avoiding the unfamiliar incomprehensible. and common ground establishand a for communica read him, everyday language is away to negotiate sense of the unfamiliar” (Cavell, 1986, p. 100). As I Cavell states that “[t]he familiar is aproduct of a Ammu remains unable to express anything at all. desperately over-expressing herself, the subaltern unable to communicate (1996, p. 40). Ironically, by emotional responses founded on the fear of being theatrical and –extravagant expressions” ‘excessive’ Stanley Cavell defines the melodrama as a“locus of The Melodrama However, the demand of the subaltern to pro Spivak affirms that through representations, ------ISSUE 3 ------The twin’s mother tongue, Malayalam, is placed placed is Malayalam, tongue, mother twin’s The for not remembered is she death, Sophie’s After Mol Sophie of Loss “the hand, other On the when and isolation, into faded has Ammu life, In stood. In other words, there is no common ground ground common no is there words, other In stood. Sophie. and family the between communication for must and hierarchy, linguistic the of bottom the at So Upon vernacular. British the of favor in surrender “Indo-Brit an into forced are twins the arrival, phie’s are They 145). p. (ibid, Competition” Behaviors ish native own their speak to right the denied only not every their upon chastised also are they language; reinforcing language, English the exercise to attempt Under responses. immediate give to inability their they correction, constant and observation perpetual not them leads which insecure, and discouraged feel but abilities social their and themselves doubt to only language. of function very the doubt to also with be; to her wanted they who for but was, she who two of curve the blond), Nalmost (N… hair “redbrown bluegrey rosy), almost (Nnnn… cheeks freckled fat very the into squeezed is She 174). p. (ibid, eyes” blue sym family, the for that, everything of embodiment memory Sophie’s of treatment The West. the bolizes Ammu’s. of treatment the to contrast stark in stands several On bury Ammu. to refused church “[T]he […] voice Her smile. her skin, her hair, Her […] counts Re pot. clay a little into crammed her of whole The 162-163). p. (ibid, Q498673” No. ceipt 16). p. (ibid, there” always was It alive. and robust grew and dignity, ceremonial with filled is funeral Sophie’s the that immersive so is absence her memory in her “the While presence. its in vanishes Sophie original twins her and Ammu together”, huddled stood family would Nobody […]. separately stand to made “were 5). p. (ibid, them” at look same the in earth the from removed is she dies, she cockroach dead carried ants of platoon “a as manner what demonstrating door, the through sedately dispas beshould corpses” p. done 162), with (ibid, WhileAmmu is effectively. mechanically, sionately, construct the history, and society both from erased ability to communicate, understand and be under and understand communicate, to ability 7 ------The melodramatic expression of the family, family, the of expression melodramatic The Based on a fundamental sense of good, em good, of sense a fundamental on Based when around Sophie, serves to maintain their roles roles their maintain to serves Sophie, around when between distance and the and them assubalterns, in as a their consequence is increased Sophie of The family’s position as the subalterns is amplified amplified is subalterns the as position family’s The the “On Mol. Sophie English the of presence the by Our Home, Welcome came, Mol Sophie that day this In 164). p. 97, (Roy, performed” was Mol Sophie is reconstructed character performance,Sophie’s family’s the by shaped expectations the through “So empire. cultural the for adornment submitted Play the But [...]. Play the of out walked […] Mol phie stopped walked, she when Walked her. with went her” when she stopped. followed (ibid, smiles Fond 186). p. Reinforcing the Subaltern Status the Subaltern Reinforcing man emotions (1995, p. 5 and p. 16). In a rather sim rather a In 16). p. and 5 p. (1995, emotions man ilar vein, Ammu cannot adopt mannerisms Western can reader the However, be understood. to order in because her elabo of heracknowledge existence expressions. emotional rate reader the experiences, life own one’s and pathy, the with connect to a way find to be able should confirming on solely focusing not By subaltern. up brought been has one that narrative public the Ammu’s hear to be able even might one trust, to words, other In human. being of virtue by just voice, her with ground common find to inability Ammu’s subscribing her by be remedied can interlocutors even 112).Thus, p. 1986, (Cavell, melodrama the to the in audience her to unknown remains Ammu if reader the for a way is there that I suggest novel, ex her melodramatic her acknowledge through to pression. The problem is, though, that the subaltern, because subaltern, the is, problem that The though, everyday of world the to exposed been not has she remains thus and language, its speak cannot life, a as melodrama defines Brooks Peter voiceless. we which truth, of fragments up covering surface our activate we if only understand and detect can hu intuitive, our on rely and apparatus emotional ASIA IN FOCUS they have been socialized, by trusting that which everyday world. By trusting the narrative into which byed their innocent curiosity and their trust in the to recognition” (Brooks, p. 1995, 20). cence is “buried alive and unable to voice its claim gains the knowledge she fought for, and her inno life, making herself an outlaw. Besides, she never distance between herself and the world of everyday laws, Ammu has effectively further increased the leaves innocence her breaking behind. By these untouchable, she breaks the laws of society and the touchesknowledge about world. she When the subaltern, she has no other opportunity to gain forced to challenge her position, because as a In the process of acquiring knowledge, Ammu is cannot obtain further knowledge (ibid, p. 94). she cannot go back to the way things were, and she stops trusting that there is an external existence, never (just) the same” (1986, p.100). Thus, once she To quote Cavell, “what returns scepticism after is which makes question existence her its altogether. longer has areciprocal relationship with the world, has anyone to recognize her existence. Thus, she no everyone turns their back on her, Ammu no longer knowledge. When Velutha is murdered, and when to recognized, be to realize herself, and to gain new p.1996, 20). existence say known, is acknowledgeable” (Cavell, evidentlyis route a for knowing whether your own other’s existence by knowing what the other knows their shared enemy. In Cavell’s words, “to know an at least in because part of their similar status and Ammu finds refuge in her relationship with Velutha raged against” (Roy, 1997, p. 175 -6). Isuggest that againstger ordered the smug, world that so she of cheerfulness, he housed aliving, breathing an “[Ammu] hoped that under [Velutha’s] careful cloak Innocence & Knowledge inal Sophie ever was. of memory ed Sophie Mol is more alive than the orig Rahel and Estha, on the other hand, are shield In other words, Velutha is Ammu’s only chance - - - - - 8 in this reality. reality. this in were. Ammu, however, can never again participate remain included, or as included as they originally around them. Their characters remain safe, they their roles or the reality that has been arranged er questioning its truthfulness, by not challenging wrong, by following its laws and orders and by nev society has generated as parameters of right and ‘not white/not quite’. quite’. white/not ‘not tempt to adopt aWestern identity, only to remain ing themselves to on be apar with them. They at English manners to their superior visitors thus prov obligation their to demonstrate insecurities, family’s p. 40). This self-assigned requirement reflects the as actors of aself-perpetuated play (ibid, p. and 21 theirdistance between audience themselves and dramatic eruptions act to segregate and create acters and the spectator of the cultural empire. The structure of power between the post-colonial char p.1996, 40). inability to make themselves known to her (Cavell, their amplifies performance theatrical family’s the identities to her, and by resorting to melodramatics, differences. Furthermore, by not revealing their true connect with Sophie, their behavior bolsters their their English audience: rather than to able being allel with the family’s theatrics in the presence of possible for Rahel to relate to them. This runs par the mutual premise of everyday language, it is im 160). p. lous. She kept it at bay with her babble.” (Roy, 1997, never let her answer them […]. Fear made her garru talked incessantly. asked She Rahel but questions, Ammu morning whole “That changing: starts Ammu Ammu’s knowledge project is aborted. This is when existence. Velutha When imprisoned is killed, and another’s to one and acknowledge knowledge, guage offers one an opportunity betterto obtain Previously, Iargued that speaking everyday lan From Everyday to Language Skepticism This works as an unceasing reminder of the Because Ammu’s words are not grounded in ------ISSUE 3 ------After Rahel learns that Estha has returned to to returned has Estha that learns Rahel After - exis into back Estha bring to attempt her In The Public Narrative & the Storyteller Narrative Public The to came Mol Sophie when began it that say “So, to Equally, […]. it at look to way one only is Ayenemem years of thousands began it that be said could it re it That […]. Malabar took British the Before ago. the made, were Laws Love the day the began ally how. and be loved, should who down lay that laws belongs story The 33). p. 1997, (Roy, much” how And the of author the case, this – in storyteller the to what include, to who and what decides she novel; never is there words, other In omit. or emphasize to When the twins refuse to accept their separate their accept to refuse twins the When of means as language upon dependence ness and consequently are they one another, understanding merely them seeing bodies, physical their rejecting express. to want minds their what to a limitation as the distinction, bodily overcome to desire their In they when and one, to be claim effectively twins to retreat to but choice no have they separated, are because without existence and fade outsilence of they that knowing of way no have they other each all. at world the in exist her find to Kerala to goes she home, childhood their old of fragments the in brother twin and history lost Rahel’s of extension an As memories. and notebooks collect to attempt I)” stand Locusts No Plans, “(no p. 1997, (Roy, history family their of fragments the as brother her and herself sees purportedly she 231), one of personality. fragments inter sexual the identity, own her find to and tence, last, one as be understood can them between course Empti and “Quietness reunite. to desire desperate What […]. spoons stacked like together ness fitted hid but happiness, not was night that shared they Laws” Love the broke they again Once […]. grief eous their concludes Kerala to return Rahel’s 328). p. (ibid, ma very the becomes bedroom Ammu’s and history one end, the and beginning the both of terialization and themselves of knowledge obtain to attempt last other. each 9 - - - - In other words, when the twins discontinue words, when twins the other In discontinue implies reading mind of language private Their their use of everyday language, they are not only only not are they language, everyday of use their but betweenoneanother, difference the expunging wrote. never others. “Rahel from difference their also writing – like do can’t you that things are There Or hair. or feet your To yourself. a part of to letters - trans their with chorus In 164). p. 1997, heart” (Roy, play from changes language of use their mutation, an one from separation bodily of rejection a general Mindreading versus Everyday Language Language Everyday Mindreading versus twins the 320), p. out” (ibid, tiptoed “childhood After one mother: fading their as fate same the left to are within innocence of a state from digress they where and silence of a state to life everyday of world the language everyday speaking that I argue skepticism. one’s with terms to come to opportunity an entails involved people the that others; from separateness they what of meaning the negotiate to forced are not are they that realize therefore and saying are 43). 1996, p. (Cavell, person same the veal their true identities to their audience, and the the and audience, their to identities true their veal does that identity an on take to attempt they more resort to seem they more the them, to belong not as long as lines, same the Along melodramatics. to life, everyday of language the speak cannot Ammu hard how matter No voice. her recover cannot she position, isolated her from it, simulate to tries she memory. and existence of out fade only can she of expectation an to interaction, their in curiosity ful soon which one for another, understanding absolute a on founded silence, of language a into transforms reading. mind of conviction shared - phys their of rejection the also possibly and other, Cavell reference to This, world. the in presence ical a de as be understood can 43), p. and 42 p. (1996, only which from a language”, of a “publicness of nial - experi because private can follow inexpressiveness of framework the within be grounded only can ences a word of power the for searching like is “It society. lost”. been has language the when Curiously, the more they doubt their ability to re to ability their doubt they more the Curiously, ASIA IN FOCUS itably them into leads complete isolation sepa and others, and the physical world in general. This inev fectively expunging the separation between them, and the confidence of ashared conscience, are ef eryday language and relying start on mind reading mon ground. The twins, when they stop using ev compromise in order to meet one another on com sharing the same conscience, but that we have to differences from others, realizing that we are not its negotiating nature, we come to terms with our mon platform between its interlocutors; by virtue of melodramatics. guage, she grows desperate and eventually takes to world in which she lives. Devoid of acommon lan through inability her to obtain the knowledge about of location in the world of everyday life is manifested melodrama. Ihave argued that the subaltern’s lack language, the public narrative of history, and the tion in The of God Small Things through everyday In this essay, Ihave discussed the subaltern posi Conclusion eventually resort to melodramatic expressions. ing to befit the roles they have been assigned and to alife unknown to their audience, desperately try language. Along these lines, they are accustomed world of everyday life, are inhibited from speaking its altern positions and lack of knowledge about the done in novel. her tern’s lack of location, much like Arundhati Roy has (1988, p. 92) suggests that we illuminate the subal and intentions. Instead of speaking for her, Spivak with up coloring ourend own story experiences her sition, nor represent if her; we do, we will inevitably Spivak, we cannot intellectualize the subaltern po the subaltern’s version of the To story? rephrase coverable voice, how can we ever able be to hear skepticism,and skepticism and results in an unre from which the story can understood. be just one, public narrative, but several perspectives Everyday to language com establish a serves Ammu and her family, because of their sub So, if the subaltern is inevitably led to silence ------10 the Elephant-shaped in the Hole Universe. can address the elephant in the room and illuminate p.92): Even if we cannot clearly hear her voice, we Spivak refers to as the ‘the unlearning project’ (1988, the lost voice of the muted subaltern. This is what which we have been socialized, we can illuminate express, but by questioning the public narrative into what the melodramatic voice of Ammu is trying to readers, we might not able to be understand exactly However, we can fragment the public narrative: as self nor tell her own story, we cannot speak for her. quite/not male’. she is not only ‘not white/not quite’, but also ‘not of her community, and in the presence of Sophie, tive. Ammu has limited to no access to knowledge cultural empire as the producer of the public narra that between India as apost-colonial entity and the and their relationship can seen be as analogous to Ammufies and her family’s position as subalterns, history. of narrative gain her voice to tell her story, nor affect the public agency, no tern, possesses she and neither can re cannot heard, be and she cannot hear. As asubal of everyday life, she cannot recover her voice, she ry, and as long as she does not speak the language is subsequently wiped out of the narrative of histo self-isolation. Having turned away from society, she towards skepticism, which to her leads silence and ful of the function of language and drifting starts doubt both unknowing becomes unknown, she and return. cannot they ration from their community –asilence from which Although Ammu can neither speak for her The presence of the English ampli Sophie Mol - When Ammu is not understood and thus left ------ISSUE 3 11 - - [email protected] Email: hagen. Her primary research interests endan are and cultural conflict, in languages languages, gered rights. human andlinguistic heritage linguistic is an MA student student MA an is Valen-Sendstad Badhwar Ingvild Copen of University the at Studies Cross-Cultural of ASIA IN FOCUS Spivak, G. (1988). C. Can the Subaltern Speak? In Nelson C. (Eds.), Marxism and Interpre Roy, (1997). A. The of God Small things. New York, NY: Harper Perennial. Historiography. Indian Text, and Criticism (1992). Postcolonial Social G. Prakash, Third locus standi (n.d.). In The Collins English Dictionary, Retrieved from http://www.collins- Guha, (1997). R. The Small Voice in History. In Amin S. &D. Chakrabarty (Eds.), Subaltern de Kock, (1992). L. Interview With Gayatri Chakravorty Spivak: New Nation Writers Cavell, (1986). S. The Uncanniness of the Ordinary. In The Tanner Lectures on Human Cavell, (1996). S. Introduction. In Contesting Tears: The Hollywood Melodrama of the Brooks, P. (1995). Ch. 1: The Melodramatic imagination. In The Melodramatic Imagination: Baker, (2006). M. Translation and Conflict. A Narrative Account. New York, NY: Routledge. References Spivak, G. (1985). C. Three Women’s Text and aCritique of Imperialism. Race, Writing, and World Post-Colonial and 31/32, 8–18. no. Issues, dictionary.com/dictionary/english/locus-standi press. University Oxford Studies IX. Writings on South Asian History and Society (pp. 1–13). Oxford, England: cavell88.pdf Values, 83–117. Retrieved http://tannerlectures.utah.edu/_documents/a-to-z/c/ from Unknown Woman (pp. Chicago, 3–45). IL: University of Chicago Press. Difference, vol. no.1, 12, 243–261. tation of Culture (pp. 271–313). Illinois, IL: University of Illinois Press. 12 - ISSUE 3 13 ASIA IN FOCUS conflicts, classroom observation classroom conflicts, Keywords: ‘national humiliation’ to the students. anti-Western sentiment and presenting agrand narrative of past in Chinese history classes is about more than promoting Cultural Revolution –which indicates that the narration of the imperialism are emphasized in class –most notably the show that conflicts other than the struggle with Western textbook. Furthermore, Idemonstrate how my observations narration of the Chinese past in the classroom than in the conflicts play amuch larger and more profound role in the of classroom observations in China, Ipresent how historical reality of classroom sessions in China. Based on four months to befound between the content of the textbook and the refute this statement show that and there are differences education. In this article, Ipresent research results which textbook material in order to understand Chinese history by curriculum stipulations that it is sufficient to analyze the grounds that history classes in China are so heavily dictated include classroom observations as empirical data on the within this field of study there has been atendency not to examining history education in Mainland China. However, In recent years, various studies have taken on the task of PETERSEN KJEMS TROELS education history Chinese in flicts con historical of role significant waysNew of understanding the Beyond Historical Humiliations China, education, collective history memory, historical narratives, historical 14 - ISSUE 3

------The results I present in this article are based based are article this in I present results The my on school the at observations the all I did education. However, it is my belief that the exclusive exclusive the that belief my is it However, education. stipulations political and material textbook on focus suggests in a gap serious researchers previous by history education, Chinese of understanding our behind politics the into insight offer only they since deep a give than rather China, in education history within taught actually is what of understanding er I article this in Hence, classroom. the of reality the disserta master my of results research the present (Petersen, Copenhagen of University the from tion I offer so, do to researcher first the as and, 2014) taught is what of understanding our to insights new using by classes school high history Chinese in data. as empirical observations classroom a high at observations classroom of months four on ob I 2013, of fall the In Province. Zhejiang in school gaoyi different four of classes history the served per me gave school high The classes. year) (first the from slides PowerPoint the all use to mission interview to me allowed and I observed, that classes long as project, research my for teachers the of one were involved students and teachers school, the as keep to order in Thus, research. my in anonymous re is school high the intact, anonymity school’s the article. this in school” “the as to ferred as interpreter, or a translator of use the without own a high me given has Studies China in education my that aware I am Chinese. Mandarin in proficiency classes the in observer a foreign as presence my way teachers’ the affected have may school the at the of content the communicating and narrating of ob no was there however, students, the to classes 15 ------

The long-standing scholars of argument many

n recent years, history education in Mainland Mainland in education history years, recent n to interest major of subject a become has China Chinese examined Some have researchers. many is that in East Asia in general and in Mainland China China Mainland in and general in Asia East in that is classroomin particular, sessions dictat heavily are strument for political legitimation of the CCP lead CCP the of legitimation political for strument nationalist anti-Western of and promotion ership Hughes, 2005; Gries, 2004; (Callahan, sentiments have researchers Other 2008, 2012). Wang, 2006; ed history Chinese viewing with preoccupied been in issue political post-1945 the part as of ucation a common of misrepresentation mutual of Asia East Müller, 2005; Vickers, 1991; (Mash, region the in past dif their Despite 2013). Morris, 2011; Sneider, 2011; stud previous these all scope, and focus in ference a similar had have education history Chinese on ies as education history Chinese view only to tendency re previous Thus, socialization. political of a matter po on exclusively focus to tended have searchers litical stipulations, outlines curricula and textbook materials when Chinese examining history educa have classes history of observations actual and tion, before. a method as incorporated been never the analyzing thus and content, textbook the ed by a give to be sufficient should textbooks of content in history how is taught of understanding proper Vick 1991; (Mash, China throughout classrooms the observing of task the since Furthermore, ers, 2005). and difficult a very is China in education classroom it is - logi exercise, anthropological time-consuming - class in engaged not have studies previous that cal history Chinese analyzing when observations room history education since the 1990s as a political in a political as 1990s the since education history I ASIA IN FOCUS stipulations and textbook material, it is logical that Chinese history education on the basis of political Wang, 2012; 2008, Sneider, 2011; Morris, 2013). today (Callahan, 2004; Gries, 2005; Hughes, 2006; trauma and narrative in Chinese collective memory perialism between - 1949 1840 are the most central im foreign with conflicts China’s ‘humiliating’ that education, mainly because many researchers argue modern period as acentral period in Chinese history preoccupied with examining the teaching of the (xiandai) times times ancient times (gudai) tional history is divided into three broad periods: In Chinese history education today, Chinese na classroom narration The differencebetween textbookand porating observations. classroom ple of new insights that can achieved be by incor high schools. Rather, Ipresent amethodical exam generalize taught is how history about in Chinese results presented in this article do not offer a way to narration. It is also important to emphasize that the these differencesbetween textbook and classroom as well as excerpts from my interview, to underscore I use examples of PowerPoints slides used in class, logical order, historical themes and topics in class. school, despite the textbook dictating the chrono and classroom sessions during my time at the centralto observe differences between textbook material. school’s collective interpretation of the textbook and the history teachers observed, I oflesson the thus represent very well the exact content of each slides PowerPoint The slides. PowerPoint the of that to write up the same content on the blackboard as Even the few teachers using the blackboard tended Point slides for all their lessons on Chinese history. at the school used the same pre-produced Power vious sign of this. To the contrary, all of the teachers Given that previous studies have only analyzed In the following, Ipresent how it was possible (jindai) (jindai) (1949 - 2000). Previous studies have been (1840 - 1949) and contemporary times (2000 B.C. -1840), modern ------16 cient, modern and contemporary (see Table 2). historical period of the Chinese past –both an centralas to the historical development of each teachers focused on narrating historical conflicts and Western imperialism in modern times, the only focused on China’s conflicts with feudalism ent to that of the textbook. Where the textbook the school, the narrative structure was very differ Chinese society after China was ‘liberated’ in 1949. showing how well the CCP leadership developed epilogue to the modern period, with the purpose of the contemporary period only served as a narrative in the modern period (Zhu, 2013, p. 2-21). Likewise, sharp narrative contrast to the struggles and wars ful period with no real conflicts, which served as a was narrated as astable, progressive and peace (see Table 1). In the textbook, the ancient period al center in the narration of China’s national past foreign imperialism was very much the clear pivot in Mainland China (MOE, 2006), the conflict with outlines curriculum official the 2013), followed which structure of the textbooks used at the school (Zhu, Chinese history classes. If we look at the narrative and Japanese imperialism to the be main focus of many researchers see the conflicts with Western explained to the students why it was important to period. However, unlike the textbook, the teachers ment of the political system throughout the ancient taught the about constant, progressive develop the teachersod, followed the official guidelines, and When teaching the students about the ancient peri Table Narrative 1: structure of the content textbook However, in the classes that Iobserved at ------

ISSUE 3 Figure 2: PowerPoint slide from the class the slide from on ancient Chinese 2:Figure PowerPoint history to teachershow the emphasized slideNotes:The illustrates in political institutions of development the that students the each dynasty same “strengthening had purpose the both of the and weakening Empreror political the the power of Ministers” Prime political (Huangquan the power of Figure 1: PowerPoint slide from the class the slide from on ancient Chinese 1: PowerPoint Figure history teachers, how the slideNotes: The illustrates in contrast political all that textbook, students the the to explained to Chinese a result the was of rulersdevelopment attempt “to two fundamental the conflicts” solve liang (jiejue zhe fenquan) and jibenmaodun)“regionalism” (difang with “the ministers” (xiangquan). the power of (Petersen, 2014, Appendix I) 17 - - - - - Even though the textbook characterized the the characterized textbook the though Even the period, contemporary the at look we If Notes: Table 1 & 2 gives an overview of the difference the overview an of 1 & 2 gives in Notes: Table focus between textbook official the and narrative content classroom my observations. of content the Table 2: Narrative structure of the classroom the of content structure 2: Narrative Table develop the political system in ancient times. In the the In times. ancient in system political the develop teachers the history, Chinese lessons on ancient the political developing that emphasized heavily ‘two pairs solving of a way was autocracy of system maodun) jiben dui (liang conflicts’ fundamental of of pairs two These China. ancient in existed that Cen hand one the on were conflicts fundamental development of the political institutions as a means as a means institutions political the of development administrative and the centralism strengthen to China ancient in authorities central the of power mention not did textbook the 14-16), p. 2013, (Zhu, bureaucratic or regionalism solve to attempt the institu political for reason main the as corruption narra classroom and textbook between difference tralism vs. Regionalism, and on the other hand the the hand other the on and vs. Regionalism, tralism (see power Minister’s Prime vs. the power Emperor’s 2). 1 & Figure Figure the throughout developed being constantly tions - class the in focus explicit an placing by Yet, period. cor the and regionalism with conflicts the on room of name the them giving by and ministers, of ruption a deeper added teachers the conflicts, fundamental China. unified ancient, an of narration the to level rul different the all that underlining by so did They the throughout conflicts two same the fought ers period. whole ancient ASIA IN FOCUS the democratic institutions. 3) The establishment of insane personal cult of the Red Guards assaulted fundamental human rights of the citizens. 2) The 1) The reckless abuse of the Constitution and the CR destroyed the democratic legal system in China: festations went further than the textbook by listing four mani the textbook (Zhu, 2013, p. 71-72). The teachers also which was at no point mentioned or illustrated in of the event to the students; areality of suffering, still served the same purpose of showing the reality the pictures showing the war crimes of Japan, they errors and abuses of the CR were not as terrifying as grams or maps. Even if the pictures illustrating the when narrating the event, rather than tables, dia teachers relied vividon pictures and illustrations lesson on the war with Japan, in the way that the ways, the lesson on the CR was very similar to the the problems encountered during In many the CR. also used a lot of photos and pictures to illustrate Liu Shaoqi’s sufferings under the CR, the teachers the red guards. Besides telling the story martyr of during the CR as adirect result of physical abuse by People’s Republic of China Liu Shaoqi, who died ers telling the same story of former president of The many victims. This was reinforced by all the teach emphasize that the CR was a terrible period with ing about this war, the teachers did not hesitate to teach to Similar when War 1937-45. of no-Japanese given an equal amount of classroom time, the Si the contemporary period. sized to the students that it was apivotal event of the Cultural Revolution (CR), and clearly empha stead dedicated a whole lesson to teaching about mentioned the Cultural Revolution, the teachers in narrated the period as stable, and only very briefly tion was even more apparent. Where the textbook I) Appendix 2014, (Petersen, quanli xueruo. authorities”regional difang (Zhongyang quanli jiaqiang, the central authorities weakening and the“Strengthening buduan xiangquang jiaqiang, buduan xueruo), but also Only one other specific historical event was (biaoxian) that were examples of how the ------18 opment to perfection” (fazhan wanshan). ership were explained to in class represent “devel a since all of the post-1978 policies of the CCP-lead same time promote the current CCP government, PRC. Moreover, all critique of the CR would at the political foundation and political development of the teachers then narrated the CR as aviolation of the cy as areturn to “the rule of law” (yifa zhiguo) 1982 constitution and “Reform and Opening” poli stitutional rights, and at the same time narrating the explicitly. By criticizing the CR for violating the con students about the violence and errors of the CR so planation as to why the teachers could teach the nese society. This narrative focus is also the ex violation its in constitutional’ the CR was narrated in the classroom as being ‘un (Petersen,tions. 2014, Appendix I) consultation encountered violations destruc and National People’s the institutions and Congress of wards in the building of political organization. 4) The various revolutionary committees was astep back rated this point further: Thetheir teacher classes. that interviewed I elabo school still focused heavily on historical conflicts in national history. the Nonetheless, teachers at the teachers should focus “conflicts” on teaching when guidelines mention “conflicts” directly or that the book material, curriculum outline, nor the teaching interpreting the textbook material. Neither the text of some level of autonomy given to the teachers in er that it should instead seen be as an indication as discrepant from the textbook material, but rath ancient and contemporary period should seen be that the teachers’ focus on historical conflicts in the What is interesting about my observations is not historical development Conflicts ‘driving the as forces’ for It is clear from these four manifestations that it says like this (points in the guidelines). For have to know about these conflicts”. Instead, Well, this guideline does not tell us “hey, you (pohuai) of the Chi the of , the the , ------ISSUE 3 ------Now, this Western influence … From our nation nation our … From influence Western this Now, we view], of point [‘s state a sovereign … from so rights, sovereign our on a violation received aggression. an influence Western the call we devel civilization of aspect the from However, from progressively transformed we opment, to economy Chinese self-sufficient of a form awards modern industrial civilization. Petersen 2014, appendix II Based on this interview and my classroom observa classroom my and interview this on Based were conflicts historical the that argue I would tions, than narration classroom the to central more much em to wanted teachers the because textbook the were conflicts historical specific these that phasize de historical the for forces’ ‘driving underlying the Thus, history. Chinese in period each of velopment historical of dynamics the illustrated teachers the way detailed more a in period each in development the in apparent even was This textbook. the than conflicts the where period, modern the on lessons with imperialism Western as narrated were more they since classroom, the in humiliation tragic than historical the to connected being as narrated were teach the though Even period. the of development students the showing time of deal a great spend ers and Japanese of crimes war the of depictions vivid textbook, the unlike teachers, the soldiers, Western the reasons behind different the also explained powers, foreign the with conflicts and wars many shaped conflicts these how addressed also and Chinese society: interpre an is here at hinting was teacher the What as imperialism with conflict historical the of tation and threatened that force antagonizing an just not a necessary as conflict also but China, humiliated moderni into China propelling to key the was that as imperialism with conflict the of narration This ty. something difficult and hard, but something which devel to order in solve and endure to had China conflicts the of description the to similar is itself, op 19 ------example here, when describing “lesson three” three” “lesson describing when here, example political Chinese Ancient on chapter the [in “3 secre the mentions guideline the history] and Dynasty Tang the of 6 ministries” taries, the of power” ministerial the of “partition the of development the of illustration an as Song in system political the of characteristics the these teach to have we When China. ancient mea take we students, the to characteristics about actually was this that explain to sures emper the of reinforcement continuous the the of weakening a continuous and power or’s power. minister’s prime II Appendix 2014, Petersen, characteristics these that this like is it Well, the of interpretation our on be based might you like, be just might It material. teaching dif how event an viewing to regards in know, view. of points different have people ferent Petersen, 2014, Appendix II themselves, in important not are conflicts The the to explain to is intention the rather but on focusing [of method this with students things the of context social the conflicts] the to connected are things Many happened. that conflicts. these II Appendix 2014, Petersen This supports my observation of the difference be difference the of observation my supports This emphasize to tended all they then why When asked ex teacher the period, each in conflicts historical tween the classroom and textbook narration of the the of narration textbook and classroom the tween explained further teacher the and period, ancient liberty to the had least at teachers history the that themselves: textbooks the interpret plained: ASIA IN FOCUS (Petersen, 2014, Appendix I) Appendix 2014, (Petersen, (daoluis bright” quzhe shi qiantu de). guangming shi de, characterized the path but future iscomplicated, by “the (minzhupolitics” zhenzhi jianshe) being were as viewed ofwanshan), democratic the how also “establishment but symbolizedbeing by “development (fazhan to perfection” 1978 after as everything described thehow teachers to This both students overview illustrates by the teachers. given development period political inthe contemporary to conclusion the and The is an overview Notes: slide history Chinese Figure PowerPoint 3: contemporary on from slide the class velopment of each period. narrative role as ‘driving forces’ for the historical de torical conflicts should understood be as having a each period, and that it is through this that the his- er future was central to the classroom narration of ‘walk acomplicated path’ in order to reach abright qiantu guangmingquzhe, de). shi is complicated, but the future is bright” (daolu shi democratic politics was characterized by: “The path and at the bottom, it is stated that the building of political development in the contemporary period, ers used a graph to illustrate to the students the in the contemporary period. In Figure the 3, teach I would argue that this idea of the necessity to - - - 20 reestablish the thesis-stage. (Lincoln, 1992, p. 158-159) p. 1992, (Lincoln, the thesis-stage. reestablish merely it Instead, a novel from different stage the thesis. the by synthesis-stage not dialectics seeing as Hegelian to note important classical from that differs Lincoln’s theory within their narrative process dialectic same structure. It is the had period contemporary and both modern the ancient, developmentdialectic innarratives, Table how 3presents of With Lincoln’sNotes: inspirations from Bruce theory of Zhonghuarebirth minzu in the narration period of each Table and of the decline of process the dialectic Overview 3: classroom narration of each period. nance of minzu Zhonghua it was always the unity, progress and good gover with conflict contemporary the Cultural Revolution, ple’s modern conflict with foreign imperialism and with regionalism and corruption to the Chinese peo ernance. From the ancient Chinese struggle rulers’ the good values of unity, progress and good gov timeless Chinese that essence was symbolized by and represented the imagined idea of an eternal, minzu national myth was a discursive vision of myth of decline and rebirth. At the center of this class, which seemed to formed be around anational od represented adialectical narrative-structure in historical conflicts as ‘driving forces’ in each peri and Bruce Lincoln (1992), Iargue that the role of Inspired by the theories of Anthony D. Smith (1993) minzu ofrebirth Zhonghua The national myth of and decline the , which translates as ‘Chinese nation/people’ that was at stake in the Zhonghua Zhonghua - - - - ISSUE 3 ------. This .’(MOE, is clear . Similarly, the pur . Similarly, Zhonghuaminzu .’ (Lü, 2013, p. 6); ‘[The students students ‘[The 6); p. 2013, (Lü, .’ , which I found to be central in the the in be central to I found , which .’ (Lü, 2013, p. 4); ‘[The students should] should] students ‘[The 4); p. 2013, (Lü, .’ pose of history was no longer to save socialism, or or socialism, save to longer no was history of pose Zhonghua minzu save to but values, Confucian and guidelines teaching the by supported further is curriculum outlines where Zhonghua minzu national the of narration the to central as visible ly [the clan-system, the of study the ‘Through past: Zhonfor love of affections realize should] students ghuaminzu of fighting-spirit unyielding and heroic the realize Zhonghua minzu the that significances great the understand should] unifica complete motherland’s the of achievement of revival the for had tion Necessary conflicts or Western Western or Necessary conflicts humiliations? offer article this in presented results research The of understanding the for insights new important - his Chinese in narrated is past national the how historical of role the particular, in and, classes tory I believe past. national the of narration in conflicts of rebirth and decline the of myth national the that Zhonghua minzu a adds conflicts, historical on teacher each of focus Jones Alisa like scholars of works the to aspect new histo the in that argued has Jones 2005). (2002, conception the China memory in ry collective of a total to connected been always has past the of and eternal one as China of vision discursive ized would I 2005, 2002). Jones (see nation inviolable in itself canonized vision totalized this that argue spired by both traditional Chinese historiography historiography Chinese traditional both by spired tradi the both that Given materialism. Marxist and tional cyclical view of the past and the linear view view linear the and past the of view cyclical tional part of integrated an is materialism historical from nat only seems it tradition, historiographic Chinese in take would school the at teachers the that ural Chinese when teaching views both from spirations the of heroes the classroom, the in However, history. of or class, a given of members longer no were past and ethnic the of members but entity a Confucian national entity of Zhonghua minzu 4). 2006, p. 21

------. in each pe each in Zhonghuaminzu struggling against the internal I argue that this grand narrative had a narra a had narrative grand this that I argue In addition, the teachers’ focus on the strug the on focus teachers’ the addition, In particular this at taught classes history The Zhonghua minzu would go through the same socio-political process process socio-political same the through go would be then status, hegemonic a stable having first of finally and conflict, period’s the by threatened ing reso the after re-established hegemony its having the thesis, is, the that conflict, period’s the of lution Ta in exemplified as synthesis the and anti-thesis a heavy shown have which 3. observations, ble My teacher history each by conflicts historical on focus the of period each narrated they when school the at the or story overall the that indicate past, Chinese at history Chinese when teaching narrative’ ‘grand pro continuous the of a narrative was school this Zhonghua minzu the of rebirth and decline cess of traditional of aspects resembles that structure tion a of repetition cyclical the historiography: Chinese of rebirth and decline In the narration of each period, Zhonghua minzu period, each of narration the In Chinese high school anno 2013 were clearly in clearly were 2013 anno school high Chinese riod resembled the dynastic cycles of decline and and decline of cycles dynastic the resembled riod Chi traditional in Heaven of Mandate the of rebirth nese historiography. the as forces impersonal conflicting between gles resembled development historical of force’ ‘driving according which materialism, aspects historical of Chinese defined (2002) Jones Alisa historian to 1976. to 1949 from period the in education history and peasant class struggle materialism, historical In histor of force’ ‘driving the as seen were uprisings the school, the at classes the In development. ical con between struggles the narrated still teacher of force’ ‘driving the as forces impersonal flicting history the edu but unlike development, historical forces conflicting these era, Maoist the of cation struggling peasant-class no heroic longer the were socialist the or landlord-class, villainous the against the Instead, capitalism. against people struggling of people united heroic the were forces conflicting the stag disunity, of forces antagonizing andexternal and corruption. nation ASIA IN FOCUS and as such violated the hegemony of Zhonghua central government and the hegemony of the CCP, tional”, and that the Cultural Revolution violated the taught that the Cultural Revolution was “unconstitu In the classes that Iobserved, the students were minzu ghua were emphasized in class as being athreat to Zhon than the struggle modern with Western imperialism more, my research has shown that conflicts other nese nation, not just as tragic humiliations. Further rated as significant to the development of the Chi classes that Iobserved, historical conflicts were nar terpretation of the role of historical conflicts. In the national humiliation” (Wang, p. 2008, 792). na since the as simply 1990s, being “education on furthermore characterizes history education in Chi ation” ation” day with the phrase: “never forget national humili Wang even sums up Chinese collective to memory order to promote anti-Western sentiments. Zheng as traumatic humiliations in the history classes in are narratedmiliation’, conflicts that historical and tion is shaped by a grand narrative of ‘national hu scholars have argued that Chinese history educa 2005; Hughes, 2006; Wang, 2012). 2008, These its nature (see for example Callahan, 2004; Gries, educationhistory primarily being as anti-Western in a critique of some scholars’ interpretation of Chinese historiography. Chinese Confucian essence in traditional dynastic Heaven represented ashared imagined idea of a the same way as the concept of the Mandate of sence in today’s Chinese collective identity in much represent ashared imagined idea of aChinese- es concept of ‘One China’ and that of minzu Zhonghua threatened its hegemony. Iwould argue that Jones’ cle of decline and rebirth as each historical conflict historical essence of China that went through acy at the school, the minzu Zhonghua of the concept of minzu Zhonghua thatthe with lessons observed the I teachers’ use However, my research different a suggests in The research results can furthermore serve as (wuwang guochi) , most notably the Cultural Revolution. (see Wang, 2012 p. 3), and represented the . In the lessons ------22 promote national sentiments to the students. rely solely on anti-Western narratives in order to tion of the past in Chinese history classes does not minzu is being taught in Chinese history classes. data when attempting to define or understand what inclusion of classroom observations empirical as the textbook. Consequently, Iargue strongly for the could emphasis things place on not mentioned in in interpretingerty the textbook material, and thus the textbook. The teachers clearly lib had some significant role in the classroom narration than in of historical conflicts: the latter played amuch more content of the national textbook in terms of the role at the school in Zhejiang Province differed from the have shown that the content of the history classes corporating the method of classroom observation, I in different ways in Chinese history By classes. in understanding of how the national past is narrated observations in order to achieve amore profound nese history education to incorporate classroom it is relevant and in necessary the research on Chi The research presented that in this suggests article Conclusion Email: ucation and collective in memory Mainland China. gen. His primary research interests are history ed tory and China Studies from University of Copenha Troels Kjems Petersen has an MA degree in His- . Thus, my research indicates that the narra [email protected] ------ISSUE 3 - New London: London: . New York: . New York: 23 , 30, 545-566., 30, DOI:10.1016/S0883- London: Routledge. London: New York: Oxford University Press. Press. University Oxford York: New , 29, 199-218. DOI: 10.1177/030437540402900204 DOI: 199-218. , 29, Discourse and the construction of society, comparative studies of studies Discourseof comparative and society, of the construction Alternatives . London: Routledge. Routledge. . London: Journal Research of Educational

memories politics and transnational aspirations. Publisher Blackwell gaozhong lishi kecheng biaozhun (shiyan) [History curriculum criteria for normal (shiyan) lishigaozhong kecheng biaozhun chubanshe. Renmin Beijing: secondarysenior schools (experimental)]. Available school history classes Thesis). in Republic the People’s (Master China of No. (Thesis Service. Library University Copenhagen and Library Royal The from 4727-1110-4). London: Routledge. Routledge. London: culture. popular and schooling [Guidelines for teaching courses at Zhejiang Province’s normal senior secondary senior normal Province’s Zhejiang at courses teaching for [Guidelines Zhejiang Province: Zhejiang Hangzhou, Print. Second Edition. 2012 History]. schools, jiaoyu chubanshe. Mainland China. In Edward Vickers et al. (Ed.), History and Education National (Ed.), al. et Vickers Edward In China. Mainland Routledge. York: New Identity Asia in 65-100). East (pp. myth, ritual and classification. national 0355(03)00050-8 University of California Press. California of University Routledge. Nationalism. Nationalism. York: Routledge. York:

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Memory, patriotic education campaign in China. International Studies , 783-806. DOI: 10.1111/j.1468-2478.2008.00526.x, 783-806. New York: Columbia University Press. 24 ISSUE 3 25 ASIA IN FOCUS Keywords: asserted. in some situations, power positioning and autonomy are also humorous expressions for the sake of co-operation. However, the interviews, both nationalities make adjustments in their the use of humor during negotiations difficult. According to of humor and the complexities of Chinese ‘face’ may render meetings. At the same time, perceived differences in the sense finding common ground and improving the atmosphere at seen as integral to co-operation and at times can assist in between the Finns and the Chinese. Humor and laughter are and Levinson (1987) when analyzing expressions of humor theory by Harré (1991) and politeness theory by Brown for attracting foreign investment. The study uses positioning for local government or one of the state agencies responsible obtained by interviewing individuals who work in Finland either of Finnish-Chinese co-operation. It is mainly based on data for common ground and power positioning in the context This article explores humor and laughter as sites of the search STOPNIECE SANTA Negotiations Finnish-Chinese in LaughterNature and of Humor Complex the and The Simple Humor, China, Finland, co-operation, common ground, power 26 ISSUE 3 ------There are only a few studies focusing on na on focusing studies a few only are There Theoretical framework and method framework Theoretical based is study the of framework theoretical The ad which (1991), Harré by theory positioning on dresses power, positioning and accommodation in in accommodation and positioning power, dresses communication. An individualhas nu intercultural stereotype is that Finns are not good at small talk, talk, small at good not are Finns that is stereotype talking or talk small a part of normally is humor and make aspects these All circumstances. lessformal in co-opera Finnish-Chinese in and laughter humor understand. to area interesting an tion interactions. face-to-face in humor of styles tional almost from a continuum on be seen can Jokes 1997). (Grindsted, culture-specific very to universal in role a significant play to appear strategies Joking to relate strategies such and negotiations, business ways various in talk of sequencing and structure the & Barge (Harris cultures and languages different in la-Chiappini, on this 1997). research Pivoting gap, analyze and explore to is paper this of purpose the com for a search of sites as laughter and humor Finnish-Chi in positioning power and ground mon topic the approaches study This co-operation. nese as side Finnish the of perspective the from mostly and author the to accessible easily more were they author The Finland. in obtained was data the of most While Finland. and Latvia of citizenship dual holds a when bias approach involve may citizenship my Chi of knowledge in-depth have I subject, the ing being years, three for there lived having through na having through and national, Chinese a to married 2006. since subjects related China studied 27 ------he importance of co-operation with China China with co-operation of importance he other and Finland in increasing been has growing the of light in countries European Humor and laughter are integral parts of these these parts of integral are laughter and Humor visits, as is evident in the observations and inter and observations the in evident is as visits, tional scene and lists the priority areas for co-oper for areas priority the lists and scene tional agencies has established government Finland ation. tofacilitate Chinese investment in Finland and has local and regional of co-operation the ensured also town as such activities framework in governments of position the take frequently more Finns twinning. or Chinese to targets investment offering by a seller mar Chinese huge the in a foothold gain to trying and facilitation investment part of important An ket. delegation co-operationwider comprises reciprocal visits nations. both by building in assist can Humor study. this of views complex is it time same the at but ground, common humor in differences cultural of result a as enact to may humor ways, some In sensitivities. possible and in exploration of field new be a comparatively also Chi the and Finns the both for affairs international it before curtain” a “bamboo behind was China nese. the While 1978. in investment foreign to up opened offi on smiles Jinping Xi China of President current Fin did. ever hardly predecessors his occasions, cial Europe, in marginal somewhat been has turn, in land, processes internationalization dynamic more with A common decades. few last the in happening only

importance of China and the interest in attracting attracting in interest the and China of importance Affairs Foreign of Ministry The investments. Chinese 2010, in Plan Action China the released Finland in interna the on China of role the recognizes which T ASIA IN FOCUS city close to Shanghai, in May 2014. most populous city in Northern Finland, to Suzhou, a also during aFinnish delegation’s visit from Oulu, the southwest coast of Finland, in October 2013, and city in northeastern China, to Turku, acity on the Chinese delegation’s visit from Tianjin, amajor port tion. Observations were taken over six days during a study were interviewing and participant observa of autonomy working ‘face’ against it. possibly the ‘face’ of affiliationbeing in favour of it, and the impact needs the search‘face’ for common ground; with one another (Garber, 2006). Thus, two different erating sides are making an attempt to work closely pect of collaborative management when the co-op in the context of this paper is understood as one as- a particular culture. The concept of common ground need for affiliation, one of which maybe stronger in ent ‘face’ needs –the need for autonomy and the theory, humor involves accommodating two differ ing the aspect of ‘face’ in humor. According to this Levinson (1987), will also used be when consider relations (Dyer,power 1991). can atool be that helps to discover organizational and the contesting of these, thus humor analysis Humor can seen be as aproduct of power relations ity-based and psychological functions (Hay, 2000). of the functions of humor, the others being solidar lations are being actively negotiated. Power is one context of co-operation with China, where power re able resource for addressing humor in the dynamic ofpart apower play, and positioning theory is asuit by another speaker (Davies &Harre, 1990). Humor is person thus can said be to ‘have been positioned’ including those taking in part the conversation. A scribed, both to themselves and to other people, er assigns and parts characters in the episodes de telling ajoke, whether explicitly or implicitly, aspeak and adjust their position (Davies &Harré, 1990). In in response to an unfolding narrative and to change merous choices about how to position themselves The main methodological tools used in the Politeness theory, as proposed by Brown and ------28 views seeks to manifest meanings; therefore, asmall In a qualitative framework, research based on inter istics in specific cultural contexts (Nikander, 2012). in providing insight into topics and their character flective of use interview materials clear has benefits their concernscircumstances. and momentary Re However, their stories do provide insights about peoples’ behavior in naturally occurring situations. areresponses not always consistently related with sinki, Turku and Lahti in the autumn of 2013. terviews were conducted in the Finnish cities of Hel to provide afuller sense of the context. The nine in intercultural naturally and occurring communication, was also conducted in meetings to get access to provided in Table Some 1. participant observation conducted. Information about the interviewees is IV according 1-9 to the sequence in which they were sake of comprehension. The interviews were coded rect citations, and some have been modified for the The interview quotations used in this paper are di conducted in English and recorded and transcribed. the remaining two over The Skype. interviews were the interviewees’ workplaces, two in cafeterias and 2006; Briggs, 1986). Five interviews were held at (Silverman, activities of particular definitions own tation and to encourage interviewees to offer their Chinese investment, co-operation and trade facili themes regarding communication in the setting of ing the experiences of working with the Chinese. broadly questions, addresssisted of open-ended con interviews The Finland. in working interpreters vestment attraction agency, were and two Chinese ernment; three were team members of astate in wereees representatives of local or regional gov for between 5and 20 years. Four of the interview worked Finland in and lived had participants anese Theand Chinese Japanese one person. and Jap representatives included Finns, three five Chinese opportunities at the local and the state level. The tated Chinese investment, co-operation and trade I interviewed representatives of Finland who facili Silverman (2006, p. 39) notes that interview The purpose of the interviews was to discover ------ISSUE 3 - - - - During the interviews, Finnish representatives representatives Finnish interviews, the During with meetings the in much quite laugh often We somebody certain In delegations. situations, a problem. not it’s and laughs, and a joke makes understand not do we that so not it’s I think least at things, similar at laugh we humor; their been. (IV6) I have that situations in ommended that he sit down because some people people some because down sit he that ommended person the and reactions had strong had previously re they if balance their lose might out them trying expressed delegate junior the When standing. main the of members other ride, the about excitement his the Turku, in lunch during Later laughed. delegation the liked hosts Finnish the whether asked Chinese that replied Finns The Tianjin. visited they when food a bit were dishes some but much, very it liked they be (perhaps laughed also Chinese the that, To spicy. spicy). notoriously is food Tianjin cause be re may humor that indicated interviewee One during relax and relief find to necessity the to lated negotiations: counts as a joke if it is 1) spontaneous, 2) intentional, intentional, 2) spontaneous, 1) is it if a joke as counts p. 1997, (Grindsted, laughter by accompanied 3) and and stress reduce can workplace the in Humor 164). cohesivenessand communication group enhance 2006). & Cruthirds, (Romero and laughing interactions humorous having of spoke the improving in helpful was which Chinese, the with Mutual ground. common finding in and atmosphere humor: through be achieved can understanding see to possible also was it observations, the During a humorous in situation some seeing or laughter that communication, and visits part of integral an is light when instance for situations, less formal in especially a When Chinese demonstrations. and meals having glasses reality virtual the to introduced was group group Chinese junior a Turku, to visit their during ride virtual exciting an try out to agreed member rec person them The assisting rollercoaster. onthe 29 ------During the analysis stage, the interview and ob and interview the stage, analysis the During ing. It can be interpreted as training for the unex the for training as be interpreted can It ing. or balance losing of risk at oneself placing pected, catch as and recover, to learning while dominance risk simulate that ways in guard off another one ing may Humor 2004). (Boyd, recovery stimulate and ourselves ridding relief, seeking to be connected nervous of and a release energy accumulated of a shift to The 1988). (Porteus, emotion suppressed strengthening for a need imply may mode playful speakers. the between relationship interpersonal the while however, universal; are laughter and Humor is more humor and audible, visible is clearly laughter re exclusive an not is Laughter analyze. to difficult a and important an is it however humor, to action joking, of a in definition include one to convenient In humor. of aspect important an itself in is which utterance the joking, to approach a conversational Humor as common and ground laughter play to a connection have to believed is Humor number of cases facilitate the researcher’s close as close researcher’s the cases of facilitate number sociation with the respondents and inquiry in natu in inquiry and respondents the with sociation 2006). (Crouch, settings ralistic sub- to according systematized were servation data description a thick for combined then and themes the in dynamics communication intercultural the of of One Geertz, 1980; 1973). (Spradley, context given role the was data the from emerged that themes the co-operation. in laughter and humor of Table 1. Interviewee codes and basic data Table ASIA IN FOCUS ground: ground: tatives to try use humor as away to build common One participant implied that the Chinese represen ter results in more humor: more common ground and knowing each other bet for creating common ground, and vice versa; having Thus, in some situations, humor is seen as useful atmosphere: the improve can humor as central for finding common ground, but it Another interviewee implied that he does not see Westerners. (IV3). Westerners. think Chinese are really trying to one be with joking will away be to find acommon task. I culture and if in our culture we have jokes, then they understand that we are from adifferent When the Chinese make jokes, I think possibly well.discussion as (IV8) can abit be informal and bring humor into the well and get into acloser relationship, then you first meeting. But when you know the person ing jokes -that doesn’t usually happen in the In governmental meetings, the humor and tell (IV9) situation. Whether you get humor or not depends on the tive attitude and leads to the happy moments. However, it sometimes helps to get aposi paying so much attention from that point. It is not joke business, it is work, so Iam not people –to tell ajoke (IV3). to share with them. That is also a way to relax so funny joke, but at least that is something toness laugh about some, Iwould say, not so clear why. It is more like ahabit or polite laugh together with the Chinese, but it is not When there are negotiations, of course, we - - - - - 30 a type ofa type text that may violate the principle of co communicative nature of jokes, which are defined as 180). Attardo (1993) has explored the paradox of the patterning of laughter may vary (Grindsted, 1997, p. culturally specific, and also that the sequencing and nized that both that which counts as ajoke may be In the field of humor studies it has long been recog interactive contexts business clearly also is apparent. eficial, the complex nature of joking and laughter in While using humor in negotiations can often ben be of faceconcept the Differencesand in humor nese cooperation. nature and experienced be as such in Finnish-Chi the spicy food in China. Humor can have a universal other side have, such as the coldness in Finland or may make use of the common knowledge that the as an adjustment strategy to the Finnish side. Jokes suggestion that the Chinese may have tried to joke favorable for building common ground. There a is the atmosphere, and being polite. Thus, it can be the purposes of feeling more relaxed, improving seen as an integral of part the visits that served away from Santa Claus. vaniemi in May, and that Oulu was only three hours was noted that there was still plenty of snow in Ro about the cold weather in Finland, and after that it visit from Oulu to Suzhou. There were afew jokes A similar situation was also observed during the shared further: joke about in these situations, the interviewee Turning to the specifics of what the Chinese would To sum up, humor, joking and laughter are (IV3) trying. are really pushing themselves, they are really sometimes make this kind of jokes, then they about snow, or how cold it Ithink is. they can related to something they know about Finland, From what Iremember, their jokes are maybe - - - - - ISSUE 3 - - - and my facial and body language is more may more is language body and facial my and it sense can they and style, be US-American limit to practicing I am course of But away. right Chinese much be as try to I can that so myself It’s people. Chinese the of front in possible as (IV7) actually. fun, much that not humor, their understand I also somehow Maybe I maybe but understand, not do I really which is It that. about something understand can about culture about more their understanding sig the from behavior my change to how and (IV3) behave. they how on get I can that nals Considering some dynamics the complex of laughing are they but humor, have they Surely, Chinese Westerners; than things different at the in humor the from different very is humor have we world, Western the In world. Western in irony about think don’t Chinese irony; of a lot for laugh can’t of kind they because sense, that (IV3) ‘face.’ their losing of because themselves is it - humor slap-stick of kind that like They but others, to happened what about direct very can’t Chinese that I say If themselves. to not right, I am if know I don’t themselves, at laugh so. (IV5) I felt sometimes but Humor as a message may not get through: “There “There through: get not may a message as Humor they ok, – maybe I felt when situations been have par one However, (IV3) all.” at joke the get didn’t takes process adjustment gradual that said ticipant subtle reading and humor understanding in place signs: of knowledge the that said interviewee another Also when sometimes “I think important: is side other the humor, for even prepare to need you right, is situation bit.” a little counterpart your know to need you and (IV9) in co-operation, Finnish-Chinese in humor using of particular participants spoke of the sensitivities they ‘face’: Chinese surrounding recognized 31 ------There is no black humor about death or some orsome death about humor is no black There I – about laugh Finns] [the we that things “dirty” about laughing are Chinese the if know don’t for funny are that things absurd some Also that. un really not I have them. for funny not are us un to have you So itself. art an in it’s Humor… The participants of this study revealed their their revealed study this of participants The (IV3) them. for funny is what derstood make to if and jokes, make to when derstand better. less is say, I would be safe, To all. at joke culture Finnish-Western the in up grown I have views on the differences between the Finnish and and Finnish the between differences the on views some expressed and humor sense of Chinese the laughed one culture that about topics puzzlement to: not seemed side other the and about using about cautious feeling reported Interviewees style communication perceived if as times, at humor to usehumor reluctant one make would differences for building common ground: ferent face needs – the need for autonomy and the the and autonomy for need – the needs face ferent a in stronger be may which of one affiliation, for need way One 1987). & Levinson, (Brown culture particular we theory: superiority with deals humor explain to enhance they because others of errors the at laugh is Boasting 1988). (Porteus, superiority of feeling our be can which self-presentation, of form a particular 1983). & Scollon, (Scollon way humorous a in done 1991), (Harre, theory positioning to reference With gain to tries a speaker ways, these in joking when and position interaction ongoing the in power more a at laugh to easy is It favorably. more him/herself affiliated of but disparagement item, disassociated at pay to has also One insult. cause may objects the of work face the and members team to tention a in dilem joking, one is involved While whole group. autonomy. personal for need the violates it as ma, autono person’s another on intrude to wanting Not (Grindsted, joking self-ridicule more in result may my 172). p. 1997, operation. Humor involves accommodating two dif two accommodating involves Humor operation. ASIA IN FOCUS common ground and in improving the negotiation area.ed If humor goes well, it can assist in building tions can seen be as both asimple and acomplicat humor in Finnish-Chinese co-operation negotia From the participants’ responses it emerged that Discussion Chinese. ulations were reported as topics of laughter for the ical weaknesses of drinking and having small pop about themselves at times. The Finnish stereotyp laugh at themselves, but they might joke boastfully said that generally, it was difficult for the Chinese to area of sensitivity, where the Finnish interviewees to make such adjustments. Chinese ‘face’ was one to know the Chinese representatives well in order resentatives reported that it was important to get and adjusted to, to some degree. The Finnish rep of which, however, can gradually be understood jokes, and even body language during joking, all differences in the sense of humor, the topic of the perienced by the interviewees were related to the organizations, and the size of China” (IV6). themselves: “they make jokes [about] the size of their said that Chinese like to joke rather boastfully about ing use of acontrast with China, aFinnish respondent mented that it is “the smallest city in the world.” Mak son had studied in Oulu previously and had com the visit, the delegation met aChinese man whose bers associated with the Finnish population. During nese laughed when learning about the small num delegation to Suzhou, on several occasions the Chi the power play. During my observation of the Oulu power position can interpreted be as involvement in self and others in away that enhances one’s own when one makes sure to assign certain roles to one jokes on us about drinking too much.” (IV6). the Finnish stereotypical weakness: “they make also said that the Chinese would like to laugh about not enjoy laughing about themselves much, it was While these Finnish participants said the Chinese do To sum up, the difficulties in using humor ex Referring to positioning theory (Harre, 1991), ------32 was also reported and observed. observed. and was reported also small numbers of people in the Finnish population Finnish weakness of drinking agreat deal, and at the context of their own boastful jokes. Laughing at the that the Chinese laugh can at themselves in the implied However, participants Finnish interviewees. of difference and difficultydescribed in detail by the The sensitivity of Chinese ‘face’ was aconcrete area that English is not the native language of either side. joke is not understood may have to do with the fact common ground. In addition, the probability that a may make it complicated to use humor for building are, however, differences in sense of humor, which Finland. in havior may reflect their belief of what humor is like adjust to the local ways of negotiating, and their be rived as visitors, they may think that they need to with the location of the visit: if the Chinese had ar mon ground. The adjustment may also have to do demonstrates efforts to use humor to create com sense of humor and to try adjust to that. This also and Finns learned about the specifics of the Chinese nese may force themselves to joke while negotiating, the other side’s expectations. For example, the Chi their ways of joking according to their perception of ground. effort to build a bridge and create some common know about the other side and, as such, can an be a purpose of self-introduction or show what you drinking too much in Finland. These jokes may serve large China, cold Finland, spicy food in China, and stereotypes and comparison of contrasts, such as tainty. Jokes at times appear to draw from national utilizedbe in the context of agreat deal of uncer and humor can seen be as auniversal language to ing sides feel abit nervous for example. Laughing the atmosphere when, upon meeting, the participat acceptable topics ways and styles, of joking. and at times difficult areas, and draw upon different climate. However, humor can also touch on sensitive Referring to the participants of the study, there The data suggest that both sides to try adjust Simply laughing alittle can seen be as easing ------ISSUE 3 ------is a doctoral student of Intercul of student a doctoral is [email protected] Returning to the fact that humor is believed to to believed is humor that fact the to Returning Santa Stopniece Santa Communication at the Universitytural Jyväskylä, of business on focus interests research Her Finland. workplaces.communication in multicultural Email: tion with China elsewhere in the world. Chinese ad Chinese world. the in elsewhere China with tion humor of style Western perceived the to justments be an could negotiations in it of imitation the and as research, future in consider to topic interesting percep nationalities’ other and Chinese the might humor. of sense Finnish the of tions conclu a 2004), (Boyd, playing to a connection have with deal may humor that also is study this of sion posi power involves it power; of expressions playful up be taken to tend Positions way. a playful in tioning upon depending narrative unfolding an to according 1990). & Harré, (Davies generate they outcomes the reaping of hopes in occur humor in Adjustments but ground, common finding in found benefits the also may power and autonomy situations, certain in be asserted. have similarities with what is happening in co-opera in happening is what with similarities have 33 - - - - - This paper explored humor in the context of of context the in humor explored paper This Finnish-Chinese co-operation, at a time when there there when a time at co-operation, Finnish-Chinese invest of sellers as Finns of dynamic emerging an is mor as a site of a search for common ground, they they ground, common for search a of a site as mor representatives Chinese occasionally also see that With play. power a humorous in involved get may be can it (1987), Levinson and Brown to reference ‘face’ autonomous the sometimes assumed that power the asserting be accommodated, to needs ground. common for search the over positioning in be found could ‘face’ of autonomy the of Hints aboutjoking and others,reluc boastinghumorously ‘face’ the time, same the At oneself. at laugh to tance and adjust to attempts in manifest may affiliation of forcing of point the to even negotiations, during joke find to endeavor be a complex to appears It oneself. affili and autonomy of needs between balance the expression. of a means as humor using when ation newly This investors. as Chinese and targets ment may context communication intercultural developing Conclusion see mostly hu representatives Finnish the Although ever, it is one window to reality and to achieving a a achieving to and reality to window one is it ever, A humor. of area the about understanding nuanced for allow would data observation of amount larger between interaction in humor about claims stronger the two groups. The primary contribution of this study has been been has study this of contribution primary The to attribute Finns that meanings the document to obvious An Chinese. the with co-operation their interview to possible not was it that is limitation on perceptions and views whose visitors, Chinese important and interesting be equally would humor more gives study this Consequently, consider. to with humor of interpretation Finnish the to voice the in imbalance power a also is There Chinese. the being participants some of spite in representation, Stereotyping side. Finnish the for work who Chinese The out. be ruled cannot interpretations these in be subjective may participants the of perceptions as be seen themselves in can expressions their and how time, same the At positioning. power a part of ASIA IN FOCUS Boyd, (2004). B. Laughter and Literature: APlay Theory of Humor. Liter and Philosophy Briggs, Charles (1986). 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McKinney (Eds.). Handbook of interview research: The complexity of of Management Perspectives, 20 (2), 58-69. tional Journal of Humor research, 1(1), 63-80. 1-18. 1-18. The interpretation of cultures: selected essays (pp. 3-30). New York: Basic 1-22. (pp. 159-183). Edinburgh: Edinburgh University Press. Press. Edinburgh: 159-183). Edinburgh University (pp. (pp. 1-18). Edinburgh: Edinburgh University Press. 1-18). Press. (pp. Edinburgh: Edinburgh University , 483-499. 483-499. , 34 Amherst: Human Amherst: , 1-19. , - - - - - ISSUE 3 - - - TheMinistry (pp. 156-191). Routledge: Lon Routledge: 156-191). (pp. 35 New York: Harcourt Brace CollegeBraceHarcourt Pub York: New Available from http://formin.finland.fi/public/download. Languageand Communication Participantobservation. London: Sage Publications. Sage Publications. London: lishers. of Foreign Affairsof Finland. aspx?ID=59931&GUID={8DC32937-07D8-4AD7-B442-57EF7F17F2F8} interaction. ards, R. W. Schmidt, Schmidt, R. W. ards, don. The Ministry of Foreign Affairs of Finland. (2010, July). China Action Plan. Plan. Action China July). (2010, Finland. of Affairs Foreign of Ministry The Spradley, J. P. (1980). (1980). P. J. Spradley, Interpreting qualitative data: Methods data: qualitative Silverman, Interpreting (2006). D. for analysing talk, text and Scollon, R. and Scollon, S. B. K. (1983). Face in interethnic communication. In J. C. Rich J. In communication. interethnic in Face S. B. K. R. Scollon, (1983). and Scollon, ASIA IN FOCUS Keywords: works as interesting analyzable content. offering a new approach to old works and introducing new fantastic representations in Japanese (popular) culture, both horror cinema as one element within the long tradition of including but not limited to, horror. This will position Japanese of the fantastic, which I see as a mode visible in various genres suggest we approach the subject matter from the viewpoint to propose that we take an alternative outlook altogether. I various contradictions and differing opinions and, ultimately, horror actually My is. aim in this essay is to point out the of confusion related to the general understanding of what well on adetailed case-study level, there are many moments While manyphenomenon. previous studies work extremely to observe and analyze the popularity and roots of the Researchers, critics and film directors alike have been keen has been astaple of both Japanese studies and film studies. late 1990s and early 21st century, Japanese horror cinema Ever since the emergence of the so-called J-horror in the EEROLAINEN LEENA Japanesein cinema theGenre and fantastic mode horror! the Oh Japan, horror, fantastic, film, genre horror, film, Japan, fantastic, 36 ISSUE 3 - - - - - In addition, the fantastic is not a genre but but a genre not is fantastic the addition, In gory na a more of works some that true is It the fantastic “exists as a site of difference, one that that one difference, of a site as “exists fantastic the irrational the and illusory, the alien, the privileges subsumes that modernity of a vision to contrast in homogeneity, of rubric bland a under difference all be seen to is it that and rationality”, and materialism, - consensus reali from departure conscious as “any quote the part of latter The 223). p. ty” 9, p. (1996, defini Hume’s Kathryn of a modification as comes consensus from departure as “fantasy any of tion reality’ ‘consensus these In 21). p. (1984, reality” Fur upon. agreed generally is that a reality means offi an often is reality this that I suggest thermore, a partic of reality constructed and hegemonic cial, fantastic, The time. particular a during society ular alternatives. negotiating about all is thus, fantastic “the Jackson: by suggested as a mode forms” generic different assumes that a mode is relation in Faris and Zamora 35); by p. (1981/1988, – exploring to suited mode “a as realism magical to 6); p. (1995/2003, – boundaries” transgressing and these of “all that realization her in Bowers by and one of terms in consider to difficult are concepts as be seen should they that and genre unifying p. (2004, modes” narrative particular constituting and not does horror where exist might Strange 3). versa. vice Also, context. this in unavailable become might ture general the for best way be the still might genres that clear discuss films. to audience is, It however, the from free is that mode fantastic the utilizing a yields only not genre existing an of restrictions 37 - - - , which could be defined as ‘suspicious and be and could , defined which as ‘suspicious apan is a country with a long tradition of of tradition a long with a country is apan a Be they narratives. mysterious and weird art, religious a stage tale, folk a text, written I am primarily interested in the difficulties of of difficulties the in interested primarily am I the of meaning and nature the on Theories kaiki categorization one is bound to encounter when when encounter one is bound to categorization es- this in aim My cinema. horror Japanese studying contradictions out various point is two-fold: to say research previous to relation in emerged have that for framework new a offer to that, on based and, cinema, Japanese in horrific the of analysis further - fantas the that I argue fantastic. the of that namely - a pos as but a genre as not works films these in tic generic crossing mode narrational subversive sibly moni Japanese its by mode this I call boundaries. works influential starting with plenty, are fantastic analysis structural (1975) Todorov’s Tzvetan as such or Rosemary psychoanalyti (1981/1988) Jackson’s

belief or a film, these narratives have permeated the the permeated have narratives these a film, or belief this In tropes. cultural central as years for society fan dark Japanese the of world the I explore essay, I horror. as to referred commonly is what in tastic a as both used is ‘horror’ of concept the how discuss research, academic for means a and tool marketing clear. but anything is notion very the though even ker shape eerie and ‘uncanny being’, or thing strange what these, apart from But ‘grotesque’. or form’ and fantastic? is the then tracing in that I propose framework. inclined cally Japanese the of understanding and definition the Napier J. Susan by provided framework the weird, that suggests Napier valid. most the seems (1996) J ASIA IN FOCUS their way into early cinema. from folklore, like the avenging female motif, make p. 10). It was thus only natural to see famous tropes during the early periods of film (Uchiyama, 2008, motion and such continued to surprise spectators pernatural overlapping phenomena: stop figures, the techniques used were such as to portray su worlds previously unseen to the human eye. Even of the theater, the spectator was whisked away to superstitious beliefs. According to him, in the dark a link between modern rationality and traditional ki Uchiyama (2008) argues that film was actually pan’s modernity and technological prowess. Kazu cinema too was utilized as arepresentation of Ja 452-453). During this period of rapid modernization, p. (Napier,ilization Enlightenment’” and 1995/2003, by the country’s own leaders under the slogan ‘Civ power,ist new, a ‘modern’, identity was implemented game by transforming Japan into afirst rate capital to Napier, “in adesire to beat the West at its own two hundred years of national isolation. According ration in when 1868, Japan opened its borders after this new form art overlapped with the Meiji Resto (Miyao, 2014, p. 1). Furthermore, the introduction of national cinemas both historically and theoretically ema has been one of the world’s most important in the west. Given its long history, Japanese cin 19th century, very soon after its initial introduction Cinema emerged in Japan towards the end of the Navigating conceptual the jungle cial (=consensus) point of view (=reality). alternatives that can quite be terrifying from an offi Ultimatelyserved. the fantastic providing about is shape-shifting and mysterious forms can ob be through which the subject matter in all its horrific, ties as portrayed in film. It is aviable new approach tastic actually helps to us understand these reali ysis. Through its departure from ‘the real’, the fan the category of horror as suitable targets for anal motes previously films in considered an uneasy fit new understanding of material, old pro also but ------38 it motif can also understood be not as a subgenre ghost stories that incorporate the avenging spir ( sistently point out that they are special effectsfilms claim that monster films are horror; rather they con audiences, the Japanese are quick to debunk the genre. Based on my discussions with Japanese in relation to the audience’s understanding of the ductive one. not only asimplified model, but also as a fairly re monster films (2008, p. 6). This division presents and the disaster narrative, exemplifiedbest by giant two dominant genres: the vengeful spirit narrative that postwar horror films generally conformed to or apocalypse films. McRoy, for example, suggests ily identifiable in the west, such as ghost, slasher horror is often analyzed in relation to genres eas- 2014). However, in many of these works Japanese & Choi, 2009; Lacefield, 2010; Ōshima, 2010; Wee, 2008; Balmain, 2008; Harper, 2008; Wada-Marciano ror cinema (see for example McRoy, 2005; McRoy, newly-founda scholarly interest in Japanese hor was there films, horror Japanese contemporary Ringu “horror”. cause it is difficult to Gegegeclassify no Kitarō as rarely put together in Western studies, maybe be (Nakata, 1998). Notable here is that these two are created by Shigeru Mizuki in the 1960s) or Ringu Kitarōno itselfed in the form of films or series like Gegege ral storylines, Japanese cinema, too, has manifest the richness of their own fantastic and supernatu esting counterpoint. In these countries, known for inter an provides Thailand and Malaysia Indonesia, Yasujirō Ozu. Inuhiko Yomota’s (2010) fieldwork in ters, such as Akira Kurosawa, Kenji Mizoguchi and concentrate altogether on different genres mas or search in both Japan and the west has tended to the fantastic in Japanese cinema, much of the re However, despite the prevalence and popularity of Gojira Gojira Furthermore, plethora a of problems emerge In the wake of the success of the original and the various Hollywood adaptations of [Honda, 1954] being an exception). Kaidan (originally yōkai a [spectre] manga series, ------

ISSUE 3 ------, but As the above attests, filmmakers themselves themselves attests, filmmakers above As the has suggested (2009) Fuji Dario Scriptwriter per se per a genre not is J-horror Japanese. in historical a definable with works of a body rather be de may it concerns; thematic and background 1990s late the from movement a local as scribed critique film and TV films, series, of comprised that from filmmakers, and which places particular em 2009, (Kinoshita, media and life everyday on phasis the to similar is it latter, the to regard With p.103). Wave) New The Vague, (Nouvelle boogu nuuberu created directors where 1960s the of movement thematically like-minded films that were informed studio film and society Japanese changing both by group a to refers “specifically too, J-horror, policies. “con which films” horror low-budget relatively of of production low-key the on aesthetically centrate atmospheric andcapitalizing on psychological fear, mass media and through legends proliferated urban 104). p. 2009, (Kinoshita, culture” popular Sim phenomenon. new the analyze to keen were writ the and them between be found can ilarities “gathered who fiction, pulp Japanese modern of ers only not pulp ‘lowly’ supposedly of space the within exchange to also but opinions own their express to ideas with subversive and potentially sophisticated however, not, is It 119). 2005, p. (Kawana, others” have that filmmakers the of observations the solely provided boundaries for research. Japanese hor to notion a folkloric from metamorphosed has ror is profitability which in commodity, a multicultural of understanding accurate an than important more and research where a site is It things. of nature the a becoming J-horror discursive with mix capitalism cate a distribution and strategy marketing viable researchers providing thus Extreme’, ‘Asia gory of Asia is borders horror. what considered with for re the for used Tartan from label a DVD Extreme, is audiences, foreign to films (cult) Asian of lease include to order in designated “loosely purposefully exportable” seems that cinema Asian of a range and films Cult 5). p. 2009, & Choi, (Wada-Marciano same. the not are however, films, horror 39 ------‘Japanese horror’ often appears to be synon to appears often horror’ ‘Japanese As the J-horror boom took off at the turn of the 21st 21st the of turn the at off took boom J-horror the As a bid in horror as labeled were films many century, beanalyzed could that body a common create to like I would profitably. marketed and academically analysis the sharp how matter no that highlight to sense a vague is there work, the influential how or How horror. considered is what of arbitrariness of Ghosts, and WWII: monsters roots The horror? Japanese of anese horror, if not the vast field of the subject mat subject the of field vast the not if horror, anese make to nothing does Culture-specificity itself. ter and thus, transcending simpler categorization the would a mode of form the in a genre of notion the analysis. for departure of point a beneficial provide can was body works acceptable of once this ever, in interested been have studies few a only onized, terms. different in matter subject the approaching howev not, should two The ‘J-horror’. with ymous to come commonly has J-horror be confused. er, to mid-1990s the films from horror Japanese mean definitions narrow more even and mid-2000s, the has (2000) Asada Akira Critic available. readily are an to helps “J” letter the of use the that argued Jap of time a certain into it including anything chor so- the of He sees emergence the anese history. postmodern the to response a as J-culture called the during 1980s the of capitalism cosmopolitan 1990s. the of Decade Lost unstable economically sever for around been has horror Japanese While roots its has J-horror centuries, even decades, al - sys studio the of collapse the of aftermath the in J-horror of explanation 1980s. A good the in tem it discusses who (2009) Kinoshita by provided is writings Kurosawa’s Kiyoshi director to according of horror, but rather that of period drama (Shimura, (Shimura, drama period of that rather but horror, of Japanese prominent most the of one is which 2014), monsters both that possible also is It genres. film as fantastic, the of realm the to belong ghosts and clear is it Thus, 95). p. (1996, Napier by suggested which in framework a offers division McRoy’s that Jap on research earlier the of much locate can one ASIA IN FOCUS Henshin ningen ningen Henshin the Interestingly, omitted. 1958-1960),Fukuda, completely are almost WWII, such ningen as the Henshin interestingly, works some explicitly with concerned is seen to manifest itself in aplethora of works but, tims of the A-bomb]” (2008, p. 7). National trauma prevalence of the discourse of the 1950s onwards, as demonstrated through the underlies many, if not all, Japanese horror films from subsequent Allied Occupation, the trauma of which experiences during the Second World War and the too, suggests that “perhaps most crucial are Japan’s apocalyptic closure” (2008, p. 10). Colette Balmain, militaristic build-up to the Second World War and its and society national hence nese self-image by the decodes “the traumatic changes wrought to Japa Gore Verbinski’s Hollywood remake, stating that it both the classics of postwar Japanese horror and alyzes alyzes 1964) as allegorical to Hiroshima; Linnie Blake an ademics: Lowenstein (2005) sees Onibaba the creation of horror in Japan. the horror genre and emphasizes the role of WWII in ment runs the risk of trivializing pre-war products of lypse” (2008, p. 6). Although accurate, this state for avirtual explosion of tales of terror and apoca nese film culture of the 1950s and 1960s was “a site isted in Japan prior to the end of WWII, the Japa McRoy emphasizes that although horror cinema ex 159). Almost as an answer to Carroll’s assertion, Jay tion and national confusion” (Carroll, 1981/1999, p. times of depression, recession […] galloping infla of powerlessness and anxiety that correlates with because they allow the expression of the “sense ate during times of economic and political anxiety Carroll contends that horror and sci-fi films prolifer for the production of these films. By contrast, Noël downturnseconomic provide also opportunity an ror but, as horror films are often cheap to make, the horizon people are able to enjoy fictional hor riods of time: with no imminent crises looming on that horror booms tend to appear within certain pe McRoy’s approach is internalized is McRoy’s by approach many ac Ringu as set against and read in the light of hibakusha trilogy (Nakata & films have even even have films [the vic [the (Shindō, ------40 women, not because of the emergence of aghost. of its unfair and totally horrible treatment of its ghost. If we want to call Ugetsu that reality is actually much more horrible than any are both present but in the case of Ugetsu aristocratic lady. Benevolent malevolent and spirits in the city. He is seduced by abeautiful ghost of an a potter leaves his wife and child in order to work Kenji Mizoguchi’s classic monogatari Ugetsu that of horror but that of mystery and nostalgia. In olent entity, but the overall tone of the film is not his time with benevolent There malev a is ghosts. to no natsu (1988), the protagonist spends most of considered horror. In Nobuhiko Ōbayashi’s Ijintachi Takashi Miike’s Audition spirit appears both in Kurosawa’s real woman incorporating the motif of avengeful analyzed as horror even though aspirit appears. A Akira Kurosawa’s masterpiece Rashōmon not automatically make afilm horror. Iam yet to see ence of aghost might horrific be indeed, but it does to provide an instant symbol for horror. The pres - invisibility. relative their behind reason not as ‘Asia Extreme’. This simple fact may the be been distributed in the but as U.S., science fiction, Ōshima’s Ōshima’s Imamura’s Yasuzōsuch as Masumura’s Mojū (2009, 37). p. 33, She explains that to analyze works the conceptualization many spectators have of it tortion of both the analysis of Japanese horror and as precursors to J-horror, which has led to adis- has been to repack non-horror films of the 1960s media and history. For her the most blatant strategy the DVD market, it ultimately led to ashuffling of market and constructed as pragmatic categories in treme and J-horror were imported to the Western Mitsuyo Wada-Marciano argues that as Asia Ex Does genre deliver? knowledge connections among a text, its historical its text, a among connections knowledge a matter of genre categorization, but a“failure to ac In addition to war and apocalypse, ghosts seem Ai no koriida no Ai Fukushū wa ware ni ari (1979) and Nagisa (1976) as horror is not solely (1999), but only the latter is horror, it is because (1969), Shōhei Ran (1985) and and (1985) it is clear is it (1953) (1953) (1950) (1950) - - - ISSUE 3

- - - - - Japanese horror has been much analyzed but, but, analyzed much been has horror Japanese (2003) has weirdly multiplying medusas, but but medusas, multiplying weirdly has (2003) Conclusions work genres essay, this in highlighted I have As monsters, like are They ways. mysterious in are They move. the on always and shape-shifting used often and knowledge everyday our a part of - clas of kind this does but purposes, marketing for deeper for best results the provide really sification concerns thematic and narrative on the discussion audience? the satisfy even Does it films? in present lure the to yield academics as we should addition, In a on based is that categorization ready-made the of sales? maximize to created category marketing mirai Doppelgänger horrific. film a make not does that of battle the when a farce becomes almost (2003) ego alter his and protagonist the between minds the gets chased or protagonist when the accelerates, a is here have we What ball. disco enormous an by a and promise a both is Genre sword. double-edged you let only will it and lure its for easily too fall curse: expectations. of set a false with down be may studies case interesting shown, I have as - his to attention lack they because compromised false emphasize We toricity intertextuality. and/or the understand us help will that a concept need The manifestations. various its in matter subject (Alt pinpoint to difficult so is a genre of location it from away turn to willing am I that 2005) man, that a mode as fantastic the introduce rather and the of All genres. various across works in present is incorpo to be argued can above mentioned films be ap may thus and two or element a fantastic rate quote To fantastic. the lens of the through proached becom ideas avoid to order “in Söderman, Laeticia mat subject the approach to need we stagnant ing angle, original and a fresh from research our of ter questions the on light more shed to us enables that a more that clear is It 105). p. (2014, us” interest that takes category which or framework, comprehensive well as films the of historicity the both account into needed. is matter subject true their as 41

------(2015) in the terms of of terms the in (2015) were being made in the 1910s, early early 1910s, the in made being were “Why so many studies so far have delimited delimited have far so studies many so “Why torture erotic-grotesque Indeed, violent the an canon, instant an as used often is Horror . Also, discussing Zan’e. discussing Also, (J-)horror (see Schilling, 2016) does not give justice justice give not does 2016) Schilling, (see (J-)horror is Horror film. the in mystery of sense terrific the to Kuro Kiyoshi of what Further, product. end an but the subject by looking at ‘the origins, themes and and themes origins, ‘the at looking by subject the 1950 from cinema Japanese of horror conventions as such kaidan the on based works when date’ to kaidan Yotsuya making were […] genre the to precursors German releases, domestic their of years within Japan to it like writers by led genre literary ero-guro the and oh why, And 1920s. the in thrived Rampo Edogawa Ro Nikkatsu at looking on insist many so do why, less to had 1970s and 1960s the in released films catering with do to more and horrors war with do re their of time the during that audience the for works of body a random include to category easy for Sono, Sion aspects. horrific some contains that his before director a horror branded was example, to drama artistic from ranges which output, recent el faint are there though musicals. Even splatter no, 2009, p. 34). Jasper Sharp (2009) speaks of a a of speaks (2009) Sharp Jasper 34). p. 2009, no, similar feeling of frustration: horror the for made being as […] films Porno man market?” who men young namely TVs, afford not could lease a job. finding of hope the in cities large to moved can that structure the within deep buried ements it films, supernatural from derived have to be said (Calderini, horror as films Sono’s label to difficult is them of many hand, other On the 103-104). p. 2012, narra and setting their in fantastic explicitly are Gekijōrei Nakata’s Hideo concerns. Recently, tional scriptwrit as but, J-horror as marketed was (2015) out, points it belongs (2015) Takahashi erHiroshi fantastic, and strange the of category the to more kaiki direc film horror ‘a called often is Kurosawa sawa? this by delivered expectations the of light in but tor’, Akarui disappoint: to sure are films these moniker, context, and the discursive subject” (Wada-Marcia subject” discursive the and context, ASIA IN FOCUS connections between previouslyconnections between unrelated times, Studying the fantastic in Japanese cinema provides reality consensus about in the guise of the fantastic. directors to express their possibly subversive ideas pan fares no better. Cinema acts as a platform for The contemporary, post-postwar, postmodern Ja variety of interior grotesques (Napier, 2003, p. 453). self into acountry where outside harmony hides a enlightened but only at the cost of transforming it contemporary human existence. are horrific, some of which only vaguely lament the present in an array of cultural works, some of which sus reality calls for the intervention of the fantastic aspects behind the official state of things, consen times in certain cultures. To negotiate the hidden and socialization. Certain topics arise during certain according to one’s cultural background knowledge these biological experiences can said be to change of monstrosity on screen. However, the meaning of our preference to experience and see expressions out, there are basic biological factors that affect duced from China. As Torben Grodal (2009) points “Japanese” ghost story genre was originally intro tives and motifs throughout the times, and even the ema has been heavily influenced by western narra with arich fantastic tradition. Japanese fantastic cin Japan is by no means the only country in the world ism, it is absolutely to necessary bear in mind that that never new challenges. faces reductionist picture of asociety that never changes, changed for hundreds of years. This would paint a ever, to argue that these motifs have remained un Tanizaki and Natsume Sōseki. My aim is not, how the works of respected authors such as Junichirō manifest various grotesques do fantasies, and as and media. In Japan, myths, legends and folklore culturalbetween products across different eras postwar Japanese society and instead draw a line ble to transcend the current focus of research on By utilizing the notion of the fantastic, it is possi Modern Japan may have become civilized and In addition, in order to avoid cultural essential ------42 seemingly peaceful everyday life. used to discuss what lies beneath the surface of the line of popular culture products that have been than reality itself and cinema is but one in the long spaces and authors. Fantasy at is, times, more real Email: popular culture, gender. and society, Japanese contemporary cinema, Japanese Women.ty Leena’s primary research interests are support from Japanese Association of Universi nese Studies. Her essay has been written with the the University of Helsinki who is majoring in Japa Leena Eerolainen is aFinnish PhD Candidate at [email protected] - - ISSUE 3 - (pp. 1-14). 1-14). (pp. JapaneseHorror Cinema 43 Hereford: Noir Publishing. Retrieved from http://www.kojinkaratani.com/critical Retrieved New York: Columbia University Press. University Columbia York: New (pp. 103-122). Hong Kong: Hong Kong University Press. University Hong Kong Hong Kong: (pp. 103-122). (pp. 159-172). Berkeley: University of California Press. Retrieved from from Retrieved Press. California of University Berkeley: 159-172). (pp. [1981] 34(3), 16–25. 34(3), [1981] Manchester: Manchester University Press. (pp. 88-112). Japan: Firumu aatoasha, 2012. 2012. aatoasha, Firumu Japan: 88-112). (pp.

& New York: Rodopi. Rodopi. York: & New University Edinburgh Edinburgh: Press. and the Modern Horror Film. Ashgate. Ashgate. Choi, J. & Wada-Marciano, M. (Eds.), Horror the to Extreme: Changing M. Boundaries (Eds.), in & Wada-Marciano, J. Choi, Asian Cinema 89-120. 31(1), Studies, Japanese of Interwar Japan. Journal The Routledge. (Originally published in 1981) in published (Originally Routledge. Horror the to Extreme: Changing Boundaries Hong Kong: in Asian Cinema (pp. 1-12). Press. University Hong Kong Methuen,York: Inc. Identity. Shion - A Forty Years Quarterly: Film A. B., & Martin, Henderson, (Eds.), in Beings”, Selection http://publishing.cdlib.org/ucpressebooks/view?docId=ft5h4nb36j&chunk. id=d0e3725&toc.depth=1&toc.id=d0e3725&brand=ucpress. Reprinted from Film Quarterly Press. space/old/special/asada/voice0003.html

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Asada, A. (2000). J-kaiki no yukue. A.Asada, (2000). References ASIA IN FOCUS Zamora Parkinson, &Faris, L. W. (2003). B. Introduction. In Parkinson Zamora, &Faris, L. Yomota, (2010). I. kaiki sakihokoru wa no eiga Ajia Higashi Japanese Contemporary on Media’s Impact New (2009). M. J-horror: Wada-Marciano, Sharp, J. (2009). Film. Horror to Japanese Introduction master Yoshihiro (2016). J-horror M. Nakamura returnsSchilling, to form. (2010). K. J-horaa no yūrei 2010.Ōshima, kenkyū. shoten, Akiyama Japan: Napier, J. (2003). S. The Magic of Identity: Magic Realism in Modern Japanese Fiction. Napier, J. (1996). S. The Fantastic in Modern Japanese Literature. London: Routledge. Nakata, Shimizu, H., T., & Takahashi, (2015, H. October). of J-horror. Masters Wee, V. Remakes. (2014). American Their and Cinema Horror Japanese Uchiyama, (Ed.) K. (2008). e. kairo: no Kaidan kara e J-horaa Kaiki to gensō Todorov, T. (1975). The Fantastic: AStructural Approach to Literary Genre. Cornell USA: Söderman, (2014). L. Medieval Buddhist Textuality –Kyōgyōshinshō as Literature. In Shimura (2015). M. Hōrō suru fukuinhei –Kurosawa Akira eiga no yūrei ochūshin ni. In London: Duke University Press. (Originally published in 1995). W.B. (Eds.) Theory, History, Realism: (pp. Magical 1-14). Community Durham & 1-18. symposium, Press. University 103-122). (pp. Cinema Kong: Asian Hong in Kong Hong Boundaries Changing Horror Cinema. In Choi, J. &Wada-Marciano, (Eds.). M. Extreme: the to Horror Routledge. kamura-returns-form/#.VqidPVlrtz8 http://www.japantimes.co.jp/culture/2016/01/20/films/j-horror-master-yoshihiro-na 1995). in published Community In Parkinson Zamora, &Faris, L. W.B. (Eds.) Theory, History, Realism: Magical Shinjuku Piccadilly organized by Tokyo International Film Festival. Cinema Shinwasha. Paperbacks. Studies. Japanese for Center Research tional ”Japanese studies” from practices in the Nordic Region (pp. 105-118). Kyoto: Interna Rethinking kara = jissen Sano, (Eds.). no &Ryū K. M. Hokuō saikō – kenkyū Nihon Studies. Japanese International for Center Research Komatsu Kazuhiko (Ed.) Kaii, yōkai bunka no dentō to zōsoku (pp. 219-232). Kyoto: midnighteye.com/books/introduction-to-japanese-horror-film/ (pp. 1-10). Oxford: Oxford University Press. (pp. 451-476). Durham &London: Duke University Press. (Originally 44 . Japan: Fukuoka kokusai bunka Retrieved from http://www. from Retrieved Retrieved from from Retrieved Talk show at New York: New Japan: Japan: - - ISSUE 3 45 [Film]. Shōchiku. [Film]. [Film]. Tōhō. Tōhō. [Film]. [Film]. Mirovision. [Film]. [Film]. Uplink Company. [Film]. [Film]. Daiei. [Film]. [Film]. Argos Films. [Film]. [Film]. Shōchiku. [Film]. [Film]. Tōhō. [Film]. [Film]. Daiei. [Film]. [Film]. Art Port.[Film]. [Film]. Tōhō. [Film]. [Film]. Tōhō. [Film]. [Film]. Tōhō. [Film]. Honda, I. (Director). (1960). Gasu ningen Tōhō. dai-ichi-gō[Film]. (1960). I. (Director). Honda, Gojira (1954). I. (Director). Honda, Imamura Productions, [Film]. ari ni Shōchiku. ware wa Fukushū (1979). S.(Director). Imamura, Ran (1985). A. (Director). Kurosawa, Rashōmon (1950). A. (Director). Kurosawa, Akarui mirai (2003). K. (Director). Kurosawa, Doppelgänger (2003). K. (Director). Kurosawa, Mojū (1969). (Director). Y. Masumura, Audition (1999). (Director). T. Miike, Daiei. Ugetsu [Film]. monogatari (1953). K. (Director). Mizoguchi, Shōchiku. [Film]. heya ikenai wa – sunde Zan’e (2015). (Director). Y. Nakamura, Gekijōrei (2015). H. (Director). Nakata, Ringu (1998). H. (Director). Nakata, Ijintachi no natsu (1988). N. (Director). Ōbayashi, [Film]. Tōhō. Densō Tōhō. ningen [Film]. (1958). (Director). J. Fukuda, Bijo ekitai to ningen (1958). I. (Director). Honda, Filmography Filmography Ai no koriida (1976). N. (Director). Ōshima, Onibaba (1964). K. (Director). Shindō, ASIA IN FOCUS West confirms what is normal. West what is confirms orientalism. By using this framework of Japan as bizarre, the phenomenon can beunderstood with athird model: wacky increasingly judges Japan and its people as weird and this most notably in popular culture and the media. The West there is anew framework through which Japan is perceived, first century, these two models are still applicable but that techno-orientalism. This claims paper that in the twenty- of orientalism:are models two traditional orientalism and case of Japan, academics have tended to agree that there understand how these kinds of representations work. In the concept of orientalism has been used by scholars to better wacky Japan wacky Keywords: (1978) and Japan is set aside as the Other. Since Edward Said’s has been problematic, the West is considered the norm, The way that Japan has been represented in the West WAGENAAR WESTER A new face of orientalism Wacky Japan: Orientalism Orientalism; popular culture; techno-orientalism; traditional orientalism; was published in the late seventies, the 46 ISSUE 3 - - - - - When observing a foreign country, it is natural natural is it country, foreign a observing When article relatively servesThis this understand to to the onlooker’s own culture. By framing Japan and and Japan framing By culture. own onlooker’s the to nor its confirms thus West the weird, as people its malcy. sense, this as, in value face at strangeness find to Yet, different. are another and country own one’s a popular As further. goes it Japan of case the in in a meme practically “[i]t’s states: article media know, you But, insane. are Japanese The West: the vend liquor and squid-penises all - insane loveably One 2012). M., & Yosomono, (Davis, machines” ing perception this of prevalence the of manifestation an became PSY artist Korean South when that is Gangnam phenomenon with internet international were clip video and dance song, the (2012), Style not was strangeness but this as strange, perceived before a year when Yet, Korea. South to attributed single major first Pamyu’s Pamyu Kyary J-pop star (WarnerPonPonPon Music Japan, went viral, 2011) under to seemed video the on commenters many was it and Japan weird of lens the through it stand sup the of example another just as perceived thus people its and country the of strangeness posed (Michel, 2012). ori an within it explaining by Japan of image new of concept the and establishing framework entalist wacky orientalism. I touch upon the scholarly works on traditional orientalism and techno-orientalism, West the models common most and known two the two these out lays essay This Japan. at gaze to uses how depicting examples and provides conceptions practice, in work orientalism of these embodiments 47 ------as a new Nowadays, popular articles on Japan often often Japan on articles popular Nowadays, apan, the country of samurai, robots and … … and robots samurai, of country the apan, per been long has Japan porn? tentacle ceived by the West as a traditional society society a traditional as West the by ceived

nological progressiveness. In academia these two two these academia In progressiveness. nological tra as understood are country the of perceptions respec and techno-orientalism orientalism ditional academics by used still are models both and tively, of representations Western common understand to Marchart, 2014; Holt, 2015; Goto-Jones, (e.g. Japan seduc of images of power The 2013). McLeod, 1998; cutting-edge warriors, geisha, fierce samurai tive thus, are, salarymen hard-working and technology ori of mode a third yet scholars, by understood well been has not established yet. entalism weird supposed its by country the characterize vending panty used of myth the ness, discussing Tele The 2016; (Ashcraft, cafes cuddle or machines “WTF as such Ja captions addition, In 2016). graph, phrase crude rather the for abbreviation (an pan” “What The Japan”) Fuck regularly accompany im English-speaking the in strange ages considered the in that argues paper This internet. the part of per West, the of media and discourse popular that and prevalent are weird as Japan of ceptions I orientalism. of form a as be understood can these wacky for case orientalism the make thus the by at gazed is Japan which through framework of act the is orientalism here, understood As West. a such in different radically as cultures perceiving respect in pejoratively them hierarchizes it that way

filled with geisha and samurai, until this image got got image this until samurai, and geisha with filled tech of symbols other and robots with entwined J ASIA IN FOCUS until the beginning of the Second World War, the of isolation. As Jenny Holt remarks, from the 1850s of most Western countries when it ended its policy Japan became an orientalist object in the discourse Traditional orientalism techno-orientalism. and orientalism traditional on two of types orientalism when referring to Japan: statedAs above, reached has academia consensus the West’s Others (Morley &Robins, p. 1995, 147). about five centuries now, Japan has been among There is not just one Other for the West though; for inferior Other without allowing it to speak for itself. supposedly superior West creates its identity of the orientalism an uneven is power balance, where the ining of the Other. Embedded in the framework of of its identity by mirroring itself against its imag matter of Us and Them, where the Us shapes parts West and not an actual place (Said, 1978). It is a As such, the Orient is atextual construction of the ofty the West differentiating itself from the East. made and exist as away to strengthen the identi the Orient and Occident are to considered be man- course, as both geographical and cultural regions, ded in supposedly objective texts on the Orient. Of usually not consciously, done instead is but embed their understanding of the East (the Orient). This is for the West (the Occident) to shape and impose thority over the Orient”. In other words, it is away for dominating,style restructuring, having and au As Said (1978, p. 3) states, orientalism is a“Western Orientalism two and of Japan models Japan. on Western media in dominant used by everyone, but that these can said be to be the frameworks of orientalism are discussed not centric view of Japan. It is important to note that pan and Ithus purposefully lean towards aWestern the essay is limited to Western perceptions of Ja problematize this form of orientalism. of The scope Lastly, I media. different and culture popular from entalism. develop I the concept through examples providing the framework for what Icall wacky ori ------48 and admiration,and this but usually is centered around is and should There be. is also room for fascination what is beautiful and what is not, and what Japan writers who decide what Japan’s characteristics are, decides the identity of the country. It is Western mechanism where the West dominates Japan and is understood as aesthetic yet menacing conceals a (Benedict, 1946, p. 2). timid, conservative hospitable and to new ways” around,pushed loyal treacherous, and brave and and adaptable, submissive and resentful of being taristic and aesthetic, both insolent and polite, rigid gree, both aggressive and unaggressive, both mili to Benedict, “[t]he Japanese are, to the highest de ‘chrysanthemum’, as well as the ‘sword’. According and ended up writing in binaries: Japan was the Japanese behavior in order to predict their actions to understand Japanese the and Japan search Sword in 1946 in the and her book The Chrysanthemum and popularized by anthropologist Ruth Benedict exotic. and mysterious more Japan rai. This perceived ambiguity only served to make against violent terms like kamikaze, ninja and samu ceremony, woodblock prints and zen can pitted be As such, exotic keywords like geisha, kimono, tea elegant qualities, or through the martial culture. characterizedbe either in terms of its aesthetic, pan focused on two approaches: the country could Japan. of nowadays consider to the traditional be orientalism ture and fetishized its people. This is the context we cul traditional its aestheticized and exotic features observers tended to focus on Japan’s perceived usually connected to non-western Western others, of attributing many of the negative characteristics works of Lafcadio Hearn (Holt, 2014, p. 37). Instead (1898)Luther Long’s and the Butterfly Madame texts on every aspect of Japan, among which John Anglophone literary marketplace with got flooded The dichotomy notably was most emphasized . She was tasked by the US military to re The stereotypical framework in which Japan Japan which in framework stereotypical The In general, the Western imagination of Ja ------ISSUE 3 ------Japanesetechnological prowess has increas techno-orientalism,Through theWest man with Europe and the United States in terms of tech of terms in States United the and Europe with emerged. Since orientalism of a form new nology, condescendingJapan of image traditional the apply not did society lessbackward or more a as p. (1995, Robins Kevin and Morley David anymore, be is techno-mythology new “a that argued 168) has become synonymous “Japan wherein spun”, ing screens, future—with the of technologies the with networks, cybernetics, robotics, artificial intelli discourse, new this describing In simulation”. gence, techno-orientalism. term coined the they and identity, Japanese with associated been ingly Japa exotic of a form embody also technologies its rac and a resentful is there Yet particularism. nese West, the of eyes the In discourse. this to side ist in artificial with obsession an has only not Japan “dehu is itself society the robotics, and telligence Techno-oriental 259). p. 2013, (McLeod, manised” society, a cold as Japan of idea the reinforces ism efficient soulless, like are themselves people where machines serving under anauthoritarian, bureau The 169). 1995, p. & Robins, (Morley culture cratic as the Japan presents discourse techno-orientalist anx is there so, Even capitalism. of future dystopian the Robins, and Morley to According envy. and iety are “Japanese the where image possesses an West replicants. and cyborgs are they aliens; unfeeling are mutants these that sense the also is there But (Morley future” the in survive to adapted better now 170). 1995, p. & Robins, over supremacy cultural and assert moral to ages country the of a conception enforcing by Japan humanity. lacking and robot-like as people its and own our of a mirror is Japan perhaps suggested, As projections, techno-orientalist Through anxieties. Where stereotypes. fortifies and creates West the be dichotomy the concerns usually as orientalism here civilized, as Us and barbaric as Them tween (Morley human” remain ‘we’ while robots “‘they’ are 172). 1995, p. & Robins, 49 ------(2003) patroniz (2013) brought (2013) the Despite the name, traditional orientalism Despite orientalism the name, traditional (Golden, 1997; Marshall, Marshall, 1997; (Golden, a Geisha of Memoirs

Against the backdrop of the 1980s, with the rise of of rise the 1980s, with the of backdrop the Against up catching Japan and power economic Japanese Techno-orientalism tween Japan and the West is traditionally framed as as framed traditionally is West the and Japan tween process a of instead West, the of absorption Japan’s an was Japonism of style The ways. both goes that rare is this but aesthetic, Japanese the of imitation and adoption imitation, ly described, Japan’s while and ideas technologies Western of reinterpretation 18). p. 1991, (Holborn explicitly mentioned often is di equal no was there that argue can we Therefore, Jap that and West the and Japan between alogue the to a threat considered not was culture anese & Robins, Morley 2001; (Lie, West the of integrity 148). 1995, p. blossom, cherry of Images today. itself manifests still Jap “uniquely supposedly other and kimono in girls anese” symbols still deemed are an essential part of the Japanese (Goldstein-Gidoni, culture material is imagery similar culture popular Western In 2001). and novel geisha escapist and exotic The evoked. movie example serves asexcellent an example, for 2005), 2001). (Allison, practice in orientalism traditional of The Samurai Last Zwick’s Edward moderniz teaching Westerner a white depicts ingly recently More traditions. its honor to how Japan ing The Wolverine James Mangold’s American superhero movie genre Japan. to Besides fight scenes locales in and Japa as such temples are we fashion, nese typical in gardens, orientalist who girl Japanese a beautiful Mariko, to introduced father dying her succeeding for choice first the is cre her movie the In company. tech their to heir as leader or businesswoman as a competent dentials a of role the plays she instead and shown not are Amer the by rescued get to only distress, in damsel (2013, Napier J. Susan Japanologist As Logan. ican, American is it clear: is message “The notes, 8) para. safe”. woman Japanese the keeps that masculinity decaying traditions. In addition, the dialogue be dialogue the addition, In traditions. decaying ASIA IN FOCUS through imposing its stereotypical images of the attempts by Western countries to dominate Japan talism techno-orientalism and considered be can endeavors bothConscious traditional not, or orien Wacky orientalism: athird model masked characters, is enforced” (original in Dutch). an anonymous emotionless mass, robots or exotic (2015, para. 8) notes, the notion of the “Japanese as ing of the 2011 Triple Disaster, Jocelyn van Alphen in entertainment. In the photos used in the report ited to the depictions of Japan and the Japanese of her American creator. These views are not lim she is repeatedly humiliated and follows the whims by Japanese actress Sonoya Mizuno. In the movie, (2015), the robot most devoid of humanity is played Machina Ex thriller fiction science Alex Garland’s such conceptions of Japan still persist today. In lence of techno-orientalist views in the but 1980s, takers of society” (DeYoung, para. 1983c, 2). signed to work cheaply and endlessly, are the care future where Japanese manufactured robots, de 2) and album liner notes stating the “present a ...is pan, Iam the modern man” (DeYoung, 1983b, para. am, machine or mannequin, with made parts in Ja society through lyrics like “you’re wondering who I Japan’s dehumanizing and technology Japanese The song quite literally criticizes the prevalence of boto), which became a catchphrase in the eighties. arigatō, Mr. Roboto” (thank you very much, Mr. Ro the iconic electronically produced phrase “dōmo track 1). The chorus of the song is characterized by Mr. Roboto by the rock (DeYoung, band Styx 1983a, conception of techno-orientalism the is hit song Ken McLeod (2013) points out, another prevalent formity against afuturistic Japanese backdrop. As McLeod, 2013). Both play on fears of hyper-con vid Morley & Kevin Robins, 1995; Goto-Jones, 2015; liam Gibson’s novel Neuromancer are Ridley Scott’s Runner film Blade subject of Western imagining of techno-orientalism The examples usually provided by academics on the

The examples above point to the preva (1984) (e.g. Da (1982) and Wil ------

50 and slices of bread with eyes float mid-air. Before comes out of her ear before ending in her hands, surreal images dominate the screen. Kyary’s cane ing in aplayroom with heaps of colorful props, while 2011), Japan, Kyary Music PonPon stand (Warner is Inseas. the video clip of her first major single Pon image without appealing directly to audiences over it. J-Pop star Kyary Pamyu Pamyu catered to this actively looking for it, it is natural to seeing start for this side ‘wacky’ of Japan, but when you start is aconfirmation bias at work. Some tourists search sists. central a is orientalism element of how wacky per Thisrate understanding superfluous. then becomes knowledge”,enough striving and more for a accu culture or anation, they will believe that they have argues that “[o]nce people form an impression of a discourse in the West. Chikako Nihei (2009, p. 89) lus-shaped goods to normal be is not of apart the might also nese not consider the purchasable phal as weird is enforced as aresult. That some Japa the background and the stereotype of Japanese stand the Shintō fertility festival are then moved to Rainbow,Alliance to under 2016). attempts Serious and captions like and “because “WTF” Japan” (e.g. derstood through images and videos with headings ly Festival of the Steel Phallus), for example, are un (literal Kanamara Matsuri the at shrines portable on browsing when served the internet. pink Huge phalli cause Japan” Japan” or “WTF can regularly be ob regarding Japan. orientalism of form This is also the case for wacky orientalism, the third tile soil for the perpetuation of certain stereotypes. the West speaks for the subject. This provides fer where the voice of the Other is ignored and instead Orientalism an uneven on based is power structure, as backward,try violent and inhuman on the other. hand, are accompanied by portrayals of the coun with regards to technological advancements, on one tion for elements of the traditional culture and envy country, depicting it in an inferior fashion. Admira As is the case with the orientalism is case As in general, there For over adecade, ‘memes’ such as “be ------ISSUE 3 ------(2005-pres (2009), an episode from season 5 of the the 5 of season from episode an (2009), Central to wacky orientalism is the unilateral unilateral is the wacky to orientalism Central Conclusion coun any in abnormal considered things are There by understood is this Japan, of case the in but try, framework. psychological a certain within West the West the wacky for article orientalism, argues This a narrative as ‘weird’, as Japan of perception ern traditional how to Similar mold. orientalist the in the function, and techno-orientalism orientalism a unilat is Japan and West the between dialogue rather Japan for speaks West the where one eral Japan Thus, voice. own its have to it allowing than chal to able being it without weird, as framed is this from itself differentiating By image. that lenge There normalcy. its confirms West the strangeness, peo Firstly, here. a role playing elements three are of understanding a better get to want not do ple fun be as not would it for see, they ‘weirdness’ the a confir is there Secondly, did. they if anymore ny for search Westerners where work, at bias mation even though people who are into these games are a a are games these into are who people though even playing men young Despite Japan. in minority small the over all genre sim dating the of games video to devoted was documentary the fifth one of world, of notion the reinforce to serving only subject, this 102–103). p. 2014, (Hinton, Other weird the as Japan as Japan imagining By projection. its of direction norm the strengthens and creates West the weird, possess a voice not does Japan normal. is what of the by imposed narrative this of creation the in of example One it. change really it can nor West, Changing Beeson’s Charles is culture popular in this Channels American dramaseries Supernatural ent), where the main characters, Sam and Dean, find find Dean, and Sam characters, main the where ent), Answering show. game a Japanese in themselves scro the in a hit by punished them sees incorrectly Japanese a scantily-clad and machine, a by tum show the of host the remind to serves only woman two the Tellingly, crisps. certain of tastiness the of American protagonists the are only ‘normal’ ele setting. Japanese absurd the in ment 51 ------On the other hand, there is also a certain a certain also is there hand, other On the on narrative the that note to important is It amount of catering towards this image. This is not not is This image. this towards catering of amount entirely the unlike self-orientalization visible in lu men 1980s, Japanese the In fluid. is Japan wacky are they today yet hypersexual, as regarded were differ the of Regardless hypo-sexual. supposedly anese thus might have a better understanding of of understanding a better have might thus anese something sees it West, the for on. As going is what unintentionally thus Kyary and exotic and strange they what exactly with audiences Western provided Japan think them made that “something wanted: with case the is As 2012). (Michel, weird” is really traditional- and techno-orientalism, most of the of minds the from emanates Japan of perception the make to unwilling or unable are who Westerners just is It 428). p. 2014, (Larabee, intelligible culture way. that remains weird supposed the when funnier Japanese self-presentations contemporary crative kind (Goldstein-Gidoni, orientalist traditional the of sells. supposed simply strangeness Japan’s 2001). Shinjuku in Restaurant Robot the is example An women on sci-fi scantily-clad where contraptions charac dressed-up other and robots with interact from reactions of thousands the from ters. Judging a TripAdvisor, website tourist on popular foreigners - “quintes be the would Restaurant Robot the to visit guests sential mainly Japanese are Yet, experience”. To in out night a typical hardly is it and foreigners kyo (Bradbury, 2013). Japanese that is media the in line bottom the ence, documen BBC2 the is example An strange. are men (Holdsworth Japanese” We’re Please, tary“No Sex ex It 2013. October 24 on broadcasted first 2013), men two Only population. declining Japan’s plores hour-long the in interviewed are age pension below or girls virtual in interest men’s Japanese program. of be one to purported is games simulator dating decline, population country’s the for causes root the starting her singing career, Kyary modeled in the the in modeled Kyary career, singing her starting clothes of mix eclectic Her scene. fashion Harajuku - acces strange the and fashion Harajuku fact in are Jap the and industry this reflect props and sories ASIA IN FOCUS strategy. East Asian region, pop culture tourism and business are sociology in Japan, international relations in the at Uppsala University. His primary areas of interests Wester Wagenaar hentai nating from Japan on the internet. Most notably, material origi pornographic of popularity the be orientalism Possible to came explanations be. could tions, it to is necessary find out how this form of quired. Firstly, to better understand how it func tered to because it sells. weirdness. Thirdly, this stereotypical image is ca common elements in Japanese everyday life. orientalismwacky are depicts usually un outliers, through orientalism wacky a framework. The things pan these supposedly strange things are not seen Western and the Japanese perception is that in Ja this is the case. At least one differencebetween the tative research is required to find out to what extent their own culture are bizarre, and extensive quanti Japanese themselves might think elements some of thisfit image. Secondly, Ihave suggested that the considered products for kids and erotic ones do not ing. Even in today’s Western societies, cartoons are Further research orientalism wacky on re is (erotic cartoon material), tends to shock be is an MA student of Euroculture ------52 ISSUE 3

- 67–90. United , 89–108. [Vinyl LP]. Santa Monica: A&M. A&M. Monica: Santa LP]. [Vinyl 53 New York: Ace. York: New [Motion Picture]. Universal Pictures. Picture]. [Motion [YouTube video]. Retrieved from https://www.youtube.com/watch?v=JkZ from Retrieved video]. [YouTube

Kingdom: BBC2.Kingdom: European Journal of Media Studies, 3(1) Studies, Media of popular Journal culture. NECSUS. European Virtual Dōjō. Asiascape: Digital Asia, 20–56. 2(1-2), Retrieved June 4, 2016, from http://albumlinernotes.com/Kilroy_Was_Here__1983_. html in Japanese contemporary Journal culture. material Culture, of Material 6(1), lyricsfreak.com/s/styx/mr+roboto_10226029.html Santa Monica: A&M. Blame on White Guys). Retrieved December 5, 2015, from http://www.cracked.com/ from 5, 2015, December Retrieved Guys). White on Blame article_19098_6-wtf-japanese-trends-you-can-blame-white-guys.html Boston: Houghton Mifflin. United States: The CW. The States: United (and Honest Truth). Retrieved May 3, 2016, from http://kotaku.com/5948143/ from 3, 2016, May Retrieved Truth). Honest (and japans-panty-vending-machines-the-unreal-hyperbole-and-honest-truth foto’s van Fukushima. Retrieved November 12, 2015, from http://jnmblog.nl/articles/ from 2015, 12, November Retrieved Fukushima. van foto’s respectvolle-robots-stereotypen-over-japan-in-nieuwsfotos-van-fukushima RaCeu7ek Japania

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ISSUE 3 55 ASIA IN FOCUS T KIM JARLE WROLDSEN 2014. vii, 316 pp. ISBN: 978-1-137-44335-9. Ed. by Thomas Hollihan. A. Basingstoke: Palgrave Macmillan, orderthe global challengepublic opinion and narratives shape media How Senkaku Islands: The Dispute Over the Diaoyu/ issue. In support of this argument, Takeshi Suzuki diplomatic solution to the Diaoyu/Senkaku islands 235), the goal of which, in this case, is to reach a ticipating in “a contest of competitive credibility” (p. ratives, they are, in the words of Joseph Nye, par country produces their own respective media nar journalism. and studies media textbooks. All of the authors have abackground in media, social and digital media, as well as by history Diaoyu/Senkaku presented as islands, by legacy ters compare the content of the narratives of the aspects of media diplomacy, the remaining chap han. Except for one chapter about the theoretical including an introduction and conclusion by Holli audiences” (p. 3). simultaneously with their domestic and overseas Statesed have “used the media to communicate how the governments of China, Japan, and the Unit specifies that the compendium seeks to explore diplomacy. In the introductory chapter, Hollihan One of the main arguments is that when each The compendium of consists ten chapters, controversy from the perspective of media lands explores the Senkaku/Diaoyu islands Disputehe Over the Diaoyu/Senkaku Is ------56 Chinese state media, Zhan Zhang make statements some of the articles. For example, in her chapter on media. digital acy, and social suke Murai, on how the conflict was covered in leg Miao Feng, Elaine J. Yuan, Takeshi Suzuki and Shu It is also supported by the chapters by Zhan Zhang, ization of the conflict in China and Japan (p. 238). contributed the institutional to and “issue-linkage” Okuda’s accounts of how history textbooks have argument is substantiated by Shubo Li and Hiroko lomatic solution gradually harder to achieve. The twined with other issues over time, making adip entrenchment often become more and more inter contend that territorial disputes of process in a informative.particularly English language editions of Chinese state media is protests were covered differently in Chinese, and 2012 anti-Japanese August the how of comparison unrepentant Japan and a victimized China. Zhang’s describes how Chinese state media speaks of an Zhang Zhan while territorial claims, arbitrary feiting stream media speaks of an irrational China counter main Japanese how Shusuke Murai describe and One concern pertains to the bias shown in The authors, notably Patricia Riley, further ------ISSUE 3 - - - - guages and Culture at the Department of Asian, Asian, of Department the at Culture and guages Stockholm at Studies Turkish and Eastern Middle an the on focus interests research His University. in narratives historical and identity of thropology China. [email protected]: is a PhD student of Asian Lan Asian of student a PhD is Wroldsen Jarle Kim of how government representatives of China, Ja China, of representatives government how of media use to attempt States United the and pan, While goals. political foreign and domestic attain to of thesemany examples should already be familiar com the politics, Asian East of observer keen the to leading events the of account meticulous pendium’s novel some provides 2012 August of riots the to up insights. 57 , ------report by Xinhua News on on News Xinhua by report - compendi the of title is concern the Another the Over Dispute The aside, marks Critical um. According to the title, the main topics are “how “how are topics main the title, the to According um. how and opinion” public shape narratives media first The problem order.” global the “challenge they media digital and social describe authors the that is 14) (p. opinion” “public of indicator an as discourse digital and social analysing time, same the at while, To respect. own its in a narrative as discourse media me “how of question the equates this extent, some up- most elaborate, is the Islands Diaoyu/Senkaku theory diplomacy media applies that work to-date islands Senkaku/Diaoyu the of case specific the to examples empirical elucidating provides conflict. It folding crisis [···]. Despite these efforts to urge the the urge to efforts these Despite [···]. crisis folding United dispute States the of out nose its to keep ad the under were islands Diaoyu the edgedthat emphasis 101; (p. Japan” of authority ministrative related perhaps are biases of kinds These added). being compendium the in narratives Chinese the to Japanese the scholars, and Chinese by provided beingnarratives provided Japanese by scholars. compensates Hollihan that be argued may it Still, arti of number equal an providing by pitfall this for perspectives. Chinese and Japanese from cles pub “how with opinion” public shape narratives dia and social “how or opinion” public shapes opinion lic digital media shape narratives social and digital me use best, a sloppy at indicates, This narratives”. dia appears order” “global although Secondly, terms. of Holli compendium, the in term important be an to concept the how clarify not does introduction han’s contro that mention does He be understood. to is “can dispute Senkaku/Diaoyu as such the versies global interconnected the to disruptive be deeply re order this what but 3), (p. economy” and order institutions, international befers to, it multilateral countries, Asian East in stability social and political States, United the of dominance hegemonic the or a mystery. remains Decem- ber 2 blamed the United States for the un the for States United the blamed 2 ber Decem- such as, “An analytical as, “An such however, on January 18 [···] Clinton again acknowl again Clinton [···] 18 January on however, ASIA IN FOCUS K SERENA DE MARCHI DE SERENA ISBN: 9781317610489 (e-book). Kinzelbach, Katrin. Routledge, 2014, pp., 236 limits its diplomacy and Quiet with China: Dialogue RightsThe Human EU’s policy of “quiet diplomacy”. As amatter of fact, in the exchange, and can inscribed be into the so-called lished. The platform was meant to aconfidential be the EU-China Human Rights Dialogue was estab na in the field. tailed reconstruction of EU’s engagement with Chi- human rights. This is the first book to provide ade it approaches the relations from the perspective of of EU-China relations, however, its originality is that Thepest. book can inscribed be as within the field fessor at the Central European University in Buda pro a and Berlin in Institute Policy Public Global EU and China. evolution of human rights diplomacy between the sion, the author manages to outline the 20 year-old terviews with key actors in the European Commis- confidential documents and official and reports, in methods. Through the collection and analysis of EU the two sides and discusses the validity of the EU’s provides information new the relations on between approaches China in this particular Kinzelbachfield. plomacy. It sheds light on how the European Union The relations are traced back to when 1995, Kinzelbach is the Associate Director of the contribution to the world of human rights di China with Rights Dialogue atrin Kinzelbach’s book The EU’s Human is a valuable valuable a is ------58 engagement lowed the US policy and was known as constructive mid-nineties, the EU’s approach towards China fol subject to singular European presidencies. In other the Dialogue’s more or assertive less attitude was empty formulas. One more interesting aspect is that most thorny issues by simply reading standard and manner, staged pre-defined, a replying often to the tors. They felt that the Chinese counterpart acted in frustration and disappointment among European ac gible results from the Dialogue that was the cause of present. dissidents independent or rights were experts ever Chinese Academy of Social Sciences (CASS). No intellectuals establishment so-called and of officialswasfrom composed various departments and academic experts, while the Chinese delegation governmentcluded NGO representatives officials, the US resolution at the UN. to to try convince European States not to support Nations,ed therefore it saw the Dialogue as ameans US in the Commission on Human Rights at the Unit was significantly worried about the position of the was to implemented be instead. At that time, China anded, aform of a“behind closed doors” diplomacy From an EU perspective, it was the lack of tan The participants from the European side in . Direct confrontation had to avoid be from the ------ISSUE 3 ------is a PhD candidate in Chinese Chinese in candidate a PhD is As the Dialogue proved to be an insufficient tool tool insufficient be an to proved Dialogue the As Serena De Marchi De Serena East Middle Asian, of Department the at Studies Her University. Studies, Stockholm ern and Turkish Literature, Chinese are interests research primary Trauma. Memory and Yiwu, Liao Literature, Prison [email protected] Email: fact that the majority of Chinese dissidents reside in in reside dissidents Chinese of majority the that fact passage This 197-198). (p. Europe in not and US the does Kinzelbach and though, ambiguous a little is soci civil “European of definition a clear provide not deeper be worth might that a concept is which ety”, analysis. concerns, rights human regarding China address to Kinzelbach, to According alternatives? the are what ef a in engage stronger should member states EU China, towards demarchés coordinate better fort to more and Secondly, be effective. to them want they if the re-think should member states EU importantly, be a much might it as embargo, arms the of issue compared Chinese the for incentive interesting more own. its on Dialogue Rights Human EU-China the to embar arms the on offer a credible of lure “With the attentive least at listen would diplomats go, Chinese possibly may this and 199), (p. priorities” EU’s the to ly Covenant International the of ratification the to lead embargo The (ICCPR). Rights Political and Civil on the re-assess to agrees China if only be lifted should - inves independent an allow to massacre, Tian’anmen in the memory of the censoring stop to and tigation, based is takes book the that stance final The cident. potentially would EU the that belief author’s the on now has (which embargo the of use make to be able incentive a powerful as years) 25 for place in been Chi “before however, be done, should This China. for power symbolic its about worrying stop leaders nese a about worrying stopped have they way same the in 199). (p. UN resolution” 59 ------Kinzelbach’s book is a key instrument for those those for instrument a key is book Kinzelbach’s Eu do Why then? on still Dialogue the is Why who are interested in human rights diplomacy be diplomacy rights human in interested are who tions would push China more actively, while coun while actively, more push China would tions started just had Beijing with relations whose tries were exchange) economic of terms (in be fruitful to on the Republic People’s push the to reluctant more concerns. rights human most sensitive approach a critical Using EU. the and China tween and detailed provides she method, research her as di quiet EU’s the how of evidence well-supported terms in use little of been essentially has plomacy hu of field the in behaviour China’s influencing of “Intended it, puts lucidly Kinzelbach As rights. man China, in protection and promotion rights human term long or medium the in materialize it should EU-China the to linked be causally not will future, quiet end, the In 196). (p. Dialogue” Rights Human In choice. wrong be the to out turned diplomacy the backing and stance stronger a taking of stead EU UN, the the at China on resolution the with US pressure international and weak actually “diluted have might that 197) (p. incentives” existing ened accepted internationally a pursue more to led China con possible of light in rights, human on behaviour NGOs integrate to failed also dialogue The cessions. Chinese to bent eventually EU the moreover, and, possible repercussions prevent to order requests in un 2010, in Eventually relations. economic the on that China was it protests, EU’s the about concerned partici to refusing Dialogue, the from away walked inpate the biannual sessions. dis engage confidential in still diplomats ropean Kinzelbach rights? human on China with cussions risk a small is Dialogue the because is it that argues diplomatic of a semblance guarantees and initiative sensi very this on EU the and China between bonds of weakness the author, the to According topic. tive Dialogue the of failure overall the and attitude EU the society, civil European on be dependent also could Dialogue’s the about protests of lack the on namely the to problem this links author The ineffectiveness. words, countries with stronger human rights tradi rights human stronger with countries words, ASIA IN FOCUS 60 ISSUE 3 ------Text length: 3500 words (+/- 350 words), ex 350 words), (+/- 3500 words length: Text and references. graphs photos, cluding in submitted and be prepared should paper The software compatible MS-Word style use should APA you references For footnotes. or endnotes any include Do not be should submission the whether state Please essay. an or article academic an considered words 200 than more no of abstract A concise references upon submission. Citing is required be avoided. should abstract the in read The keywords. six of maximum a Provide main the of impression strong a get should er short this from piece your in discussed ideas list. in including a short biography, include Please aca institution, affiliated about your formation inter research primary your and degree demic ests. publish may we or not whether state Please contact information. address or email other your you when journal the of scope the about Think multi-disci is Focus in Asia paper. your write academic different from readers plinary with stances and theoretical Thus, backgrounds. geo The carefully. be used should arguments article should your of focus graphical/cultural reader. the to be introduced always • • • • • • • • • • 61 - -

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