DOCSLIB.ORG

Final All Chapters Hard Copy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Final All Chapters Hard Copy Chi, Sheng-shih (2017) The role of popular music in the negotiation of Taiwanese identity. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/24331 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. The Role of Popular Music in the Negotiation of Taiwanese Identity By Sheng-shih Chi A Dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Music Department School of Oriental and African Studies University of London 2016 1 Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: ____________________________ Date: _________________ 2 Abstract This thesis explores the role of popular music in the negotiation of Taiwanese identity. Taiwan has undergone a number of significant changes historically, socially and culturally since the mid-twentieth century. After fifty years of Japanese colonial rule, the island came under the strict control of the Chinese Nationalist Party in 1945. From the time Taiwan entered a democratic era, following the end of martial law in 1987, moves towards Taiwanese consciousness and Taiwanese identity – which were suppressed under Japanese colonial and Chinese authoritarian rule – have increased significantly. However, nearly three decades later today, the political status of Taiwan remains unresolved, as it is neither an independent nation state nor a province of China. Taiwanese identity is not yet clearly defined and well-bounded due to the complicated political sphere. My research focuses on the nature of popular music and its relationship to politics and identity in the context of Taiwan. I regard popular music broadly as a mediated form that is widely distributed in Taiwanese society. Such cultural production plays an important role in creating, maintaining or rejecting political and cultural identities. My thesis not only discusses how Taiwanese identity is expressed in popular music, but also how the identity of Taiwan is constantly constructed and negotiated through the medium of popular music. The thesis is organised into five chapters which consider different aspects of popular music and identity. I begin by providing a historical overview of the island which provides contextual information for which provides the contextual background for understanding the social and cultural values that are carried in the music, and the implications of those values. In the subsequent chapters I look at popular music and its relationship with the government’s political and cultural policies, as well as social and cultural movements in different political phases from the late 1970s until the present time. I focus on specific case studies from the 1970s to the 2000s, including the campus song movement, protest singers, nationalist Black Metal, and the ‘Taike’ phenomenon. Through the study of various popular styles and groups of different times, I argue that the evolution of Taiwanese identity that is developed in popular music directly corresponds to the evolving social and political landscape. 3 Table of Contents List of Figures 6 CD List of Music and Video Examples 7 Note on Translation 8 Acknowledgements 9 Introduction 10 Methodology 40 Chapter Outline 44 Chapter 1: A History of Popular Music in Taiwan 48 1.1a Historical Contexts and State Policy during the Qing Dynasty (1644–1912) 51 1.1b Music and Culture in Taiwan during the Qing Period (1644–1912) 53 1.2a Japanese Colonisation 1894-1945 55 1.2b Cultural and Language Policies during the Period of Japanese Colonisation 59 1.3a The Era of the Kuomintang 66 1.3b Popular Music Under the Rule of the Kuomintang 74 1.4 Their Music on Our Land – American Pop in Taiwan 84 Chapter 2: ‘Let Us Sing Our Own Songs’ – Yang Zujun ( 楊祖珺 ) and the Resignification of Campus Folk songs 93 2.1 The New Modern Chinese Folk Song in Taiwan 98 2.2 Where are Our Own Songs? The Tamkang Incident 110 2.3 Our Songs: the Modern Chinese Folk Songs 119 2.4 The Commercialisation of Campus Folk Song 123 2.5 Yang Zujun – ‘Singing Our Own songs’: the Emergence of Taiwanese Consciousness? 129 Conclusion 139 Chapter 3: Our Land and Our Songs: Local Activism and the Folk-Pop of Lin Sheng Xiang ( 林生祥 ) 144 3.1 Lin Sheng Xiang and the Beginning of Environmentalism 147 3.2 Labour Exchange – Let’s Sing Mountain Songs 150 3.3 The Music Style of Lin Sheng Xiang 157 3.4 Movement, Root Seeking and Identity 165 3.5 Singing in Dialect, Singing Multicultural Nationalism 168 Conclusion 171 Chapter 4: Taike ( 台客台客台客 ), Music and Identity 173 4.1 Who are the Taike? 175 4.2 The ‘Real’ Taike and their Musical Life: The Decorated Electric Vehicle Show ( 電子 花車秀 ) 179 4.3 The Creation of New Taike Music: LTK Commune 189 4.4 The LTK Commune and Taike 201 4.5 ‘Commercialised’ Taike Music 204 Conclusion 213 4 Chapter 5: Chthonic – Heavy Metal as Soft Power 216 5.1 Soft Power as Taiwan Power? 218 5.2 The Formation of Chthonic 222 5.3 The Music and Performance Style of Chthonic 226 5.4 Chthonic’s Role in the Development of Taiwanisation and Taiwanese Nationalism 238 Conclusion 245 Conclusion 246 Bibliography 253 Bibliography in Chinese 264 Discography 271 Websites 274 5 List of Figures 1.1 The Techno Third Prince 11 2.1 The Cover Yang Xiang’s album A Collection of Modern Chinese Folk Songs 106 2.2 The Image of Li Shuangze 116 2.3 The Poster of Green Grass Field Concert 131 3.1 The Cover Labour Exchange Album Let Us Sing Mountain Songs 156 3.2 Chen Da Playing the yueqin 162 4.1 The 2007 Taike Rock Concert in Taipei 173 4.2 An Illustration of Stereotyping Taike 178 4.3 A Typical Decorated Electric Vehicle Show 180 4.4 An Original Decorated Electric Vehicle Show 181 4.5 A Medium Size Modern Decorated Electric Vehicle 182 4.6 A Newspaper Advertisement for the Yundong Song and Dance Troupe on 18 185 Feburary1956 4.7 LTK at Formoz Festival 2007 192 4.8 A Scene of The Supper Club of Pig Brother Liang show 193 4.9 The CD Cover of Shining 3 Girls 205 5.1 Chthonic Wearing Corpse Paint 228 6 CD List of Music and Video Examples Track 1 Deng Lijun. ‘Longing for the Spring Breeze’ 63 https://www.youtube.com/watch?v=3CpeOMy3-fE Track 2 Li Shuangze and Yang Zujun. ‘The Beautiful Island’ 114 https://www.youtube.com/watch?v=xKlYSvLVTdg Track 3 Pang Anbang. ‘Grandma’s Penghu Bay’ 124 https://www.youtube.com/watch?v=Nj6smOEBd_8 Track 4 Li Jianfu. ‘Descendants of the Dragon’ 125 https://www.youtube.com/watch?v=L8kLPuBSruc Track 5 Labour Exchange. ‘Let’s Sing Mountain Songs’ 145 https://www.youtube.com/watch?v=oA4h-1IuJ6Q Track 6 Labour Exchange. ‘Night Buses’ 154 https://www.youtube.com/watch?v=4Qy7MgboA8c Track 7 Yang Xioqin. Traditional Sing and Tell (唸歌 ) 154 https://www.youtube.com/watch?v=BObHcArAGXA Track 8 Chen Da. ‘Sixiang qi’ 160 https://www.youtube.com/watch?v=FGxWdXBUm6k Track 9 Labour Exchange. ‘If the Dam Can Be Built, Then Shit Can Be 164 Eaten’ https://www.youtube.com/watch?v=5IJV-b1AZiw Track 10 LTK: Rotten Brain - ‘Revenge through exploiting Chinese women’ 195 (from 4:30-6:25) https://www.youtube.com/watch?v=HtJmsxNhImA Track 11 Music Video of LTK: ‘Cartoon Pistol’ 198 https://www.youtube.com/watch?v=glyYEbcuWKY Track 12 LTK: ‘Something Has Happened in the Village’ 201 https://www.youtube.com/watch?v=tIS0_4NPF10&list=RDtIS0_4NPF10 Track 13 Shining 3 Sisters. ‘Give me a few seconds’ 206 https://www.youtube.com/watch?v=ufi7eK1uEs4 Track 14 Wubai: ‘Dust of Angels’ 210 https://www.youtube.com/watch?v=YspEQ7pIV0E Track 15 A typical live concert of Chthonic 228 https://www.youtube.com/watch?v=yAo002kINR8 Track 16 Chthonic. ‘Nemesis’ 231 https://www.youtube.com/watch?v=Z0sgpM2dfvU&list=PLhLWkSWhgRwp0BH9 _mbgVxVrIJ76lgSo5 Track 17 Chthonic. ‘Onset of Tragedy’ 231 https://www.youtube.com/watch?v=grfjDbRN4M0&index=2&list=PLhLWkSWhg Rwp0BH9_mbgVxVrIJ76lgSo5 Track 18 Chthonic. ‘Takao’ 232 https://www.youtube.com/watch?v=e_UkowmQs30 Track 19 Chthonic. ‘Kaoru’ 233 https://www.youtube.com/watch?v=n6_C7EZ7b90 7 Note on Translation Mandarin words have been Romanised using the hanyu pinyin system, expect names of Taiwanese persons, institutions and significant proper names (eg. Taipei and Kaohsiung). These have been Romanised using the Wade-Giles system or other common versions in use in Taiwan. 8 Acknowledgements I would like to pay special thankfulness, warmth and appreciation to the persons below who made my research successful and assisted me at every point to cherish my goall.
Load more

Recommended publications
  • ACTUALIZADA 140121) (Pdf
    LISTA DISCOS 33’ORDEN ALFABETICO A ABBA – Super Truper (RCA/México/1980) - $40 ABBA – Voulez Vous (RCA/México/1979) - $30 ACDC – Back in black (Atlantic/México/1980) - $1000 (AGOTADO) ACDC – Highway to hell (Atlantic/México/1979) - $499 (AGOTADO) ACDC – Power rage (Gamma/México/1980) - $700 (AGOTADO) Agustín Lara – Álbum del recuerdo (Peerles/México)- $60 Agustín Lara – Música Española (Musart/México) - $70 Agustín Lara – Un poco de lo mío (RCA Víctor/México) - $70 Air Supply – Air Supply (Arista/México/1985) - $5550 Al Hudson – One way Featuring (MCA Records/México/1980) - $100 Alice Cooper – El show de Alice cooper (Warner Bros/México/1982) - $300 Alice Cooper – Va al infierno (Warner Bros/México/1976) - $400 Ana Gabriel – Hice Bien Quererte (Lambada) (CBS/México/1989) - $120 Ana Gabriel – Quien como tú (CBS/México/1989) - $380 Andy Williams – Maria (CBS/Mexico/1962) - $200 B Barry Manilow – Tryin´ To Get The Feeling (Arista/México/1975) - $110 Barry White – The man (20th century/México/1978) - $130 Banda Taurina – American Military Marches (AF/México/1957) - $135 Bee Gees – 16 Greatest Hits (Polydor/México/1986) - $100 Beethoven, Oleg Kagaan, Sviatoslav Richter – Violin Sonatas 'Spring' & No. 4 In A Minor (EMI/UK/1976) - $70 The Beatles - 1962 – 1966 (Apple Records/México/1979) - $200 (AGOTADO) The Beatles – Sgt. Pepper's Lonely Hearts Club Band (Country Flag Series) (Apple Records/Japan/1976) – $2000 The Beatles – White Album (Apple records/México/1968) - $399(AGOTADO) Beethoven – Concerto for Violin, Op. 61 (Vox/USA) - $30 Beethoven
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • 80S 697 Songs, 2 Days, 3.53 GB
    80s 697 songs, 2 days, 3.53 GB Name Artist Album Year Take on Me a-ha Hunting High and Low 1985 A Woman's Got the Power A's A Woman's Got the Power 1981 The Look of Love (Part One) ABC The Lexicon of Love 1982 Poison Arrow ABC The Lexicon of Love 1982 Hells Bells AC/DC Back in Black 1980 Back in Black AC/DC Back in Black 1980 You Shook Me All Night Long AC/DC Back in Black 1980 For Those About to Rock (We Salute You) AC/DC For Those About to Rock We Salute You 1981 Balls to the Wall Accept Balls to the Wall 1983 Antmusic Adam & The Ants Kings of the Wild Frontier 1980 Goody Two Shoes Adam Ant Friend or Foe 1982 Angel Aerosmith Permanent Vacation 1987 Rag Doll Aerosmith Permanent Vacation 1987 Dude (Looks Like a Lady) Aerosmith Permanent Vacation 1987 Love In An Elevator Aerosmith Pump 1989 Janie's Got A Gun Aerosmith Pump 1989 The Other Side Aerosmith Pump 1989 What It Takes Aerosmith Pump 1989 Lightning Strikes Aerosmith Rock in a Hard Place 1982 Der Komimissar After The Fire Der Komimissar 1982 Sirius/Eye in the Sky Alan Parsons Project Eye in the Sky 1982 The Stand Alarm Declaration 1983 Rain in the Summertime Alarm Eye of the Hurricane 1987 Big In Japan Alphaville Big In Japan 1984 Freeway of Love Aretha Franklin Who's Zoomin' Who? 1985 Who's Zooming Who Aretha Franklin Who's Zoomin' Who? 1985 Close (To The Edit) Art of Noise Who's Afraid of the Art of Noise? 1984 Solid Ashford & Simpson Solid 1984 Heat of the Moment Asia Asia 1982 Only Time Will Tell Asia Asia 1982 Sole Survivor Asia Asia 1982 Turn Up The Radio Autograph Sign In Please 1984 Love Shack B-52's Cosmic Thing 1989 Roam B-52's Cosmic Thing 1989 Private Idaho B-52's Wild Planet 1980 Change Babys Ignition 1982 Mr.
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • The Presbyterian Church in Taiwan and the Advocacy of Local Autonomy
    SINO-PLATONIC PAPERS Number 92 January, 1999 The Presbyterian Church in Taiwan and the Advocacy of Local Autonomy by Christine Louise Lin Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS is an occasional series edited by Victor H. Mair. The purpose of the series is to make available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including Romanized Modern Standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. The only style-sheet we honor is that of consistency. Where possible, we prefer the usages of the Journal of Asian Studies. Sinographs (hanzi, also called tetragraphs [fangkuaizi]) and other unusual symbols should be kept to an absolute minimum. Sino-Platonic Papers emphasizes substance over form.
    [Show full text]
  • Transitional Justice and Judicial Reform in Taiwan
    Washington International Law Journal Volume 28 Number 3 7-1-2019 Whither Converging Narratives of Justice in Transition? Transitional Justice and Judicial Reform in Taiwan Agnes S. Schick-Chen Follow this and additional works at: https://digitalcommons.law.uw.edu/wilj Part of the Comparative and Foreign Law Commons, and the Courts Commons Recommended Citation Agnes S. Schick-Chen, Whither Converging Narratives of Justice in Transition? Transitional Justice and Judicial Reform in Taiwan, 28 Wash. L. Rev. 677 (2019). Available at: https://digitalcommons.law.uw.edu/wilj/vol28/iss3/8 This Article is brought to you for free and open access by the Law Reviews and Journals at UW Law Digital Commons. It has been accepted for inclusion in Washington International Law Journal by an authorized editor of UW Law Digital Commons. For more information, please contact [email protected]. Compilation © 2019 Washington International Law Journal Association WHITHER CONVERGING NARRATIVES OF JUSTICE IN TRANSITION? TRANSITIONAL JUSTICE AND JUDICIAL REFORM IN TAIWAN1 Agnes S. Schick-Chen2 Abstract: Referring to Taiwan’s recent transitional justice legislation as a first tentative step towards the possibility of judicial solutions for problems of injustice dating from the authoritarian era, this paper elaborates chances and difficulties of introducing the judiciary to the ongoing processes of coming to terms with the past in Taiwan. It intends to argue that apart from the specific circumstances of Taiwan’s transition to democracy after the lifting of martial law in 1987, the avoidance of a judicial approach to transitional justice was both caused by and the reason for a deficit in narratives of judicial justice.
    [Show full text]
  • The History and Politics of Taiwan's February 28
    The History and Politics of Taiwan’s February 28 Incident, 1947- 2008 by Yen-Kuang Kuo BA, National Taiwan Univeristy, Taiwan, 1991 BA, University of Victoria, 2007 MA, University of Victoria, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of History © Yen-Kuang Kuo, 2020 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee The History and Politics of Taiwan’s February 28 Incident, 1947- 2008 by Yen-Kuang Kuo BA, National Taiwan Univeristy, Taiwan, 1991 BA, University of Victoria, 2007 MA, University of Victoria, 2009 Supervisory Committee Dr. Zhongping Chen, Supervisor Department of History Dr. Gregory Blue, Departmental Member Department of History Dr. John Price, Departmental Member Department of History Dr. Andrew Marton, Outside Member Department of Pacific and Asian Studies iii Abstract Taiwan’s February 28 Incident happened in 1947 as a set of popular protests against the postwar policies of the Nationalist Party, and it then sparked militant actions and political struggles of Taiwanese but ended with military suppression and political persecution by the Nanjing government. The Nationalist Party first defined the Incident as a rebellion by pro-Japanese forces and communist saboteurs. As the enemy of the Nationalist Party in China’s Civil War (1946-1949), the Chinese Communist Party initially interpreted the Incident as a Taiwanese fight for political autonomy in the party’s wartime propaganda, and then reinterpreted the event as an anti-Nationalist uprising under its own leadership.
    [Show full text]
  • An Ideological Analysis of the Birth of Chinese Indie Music
    REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself.
    [Show full text]
  • Chinese Literature in the Second Half of a Modern Century: a Critical Survey
    CHINESE LITERATURE IN THE SECOND HALF OF A MODERN CENTURY A CRITICAL SURVEY Edited by PANG-YUAN CHI and DAVID DER-WEI WANG INDIANA UNIVERSITY PRESS • BLOOMINGTON AND INDIANAPOLIS William Tay’s “Colonialism, the Cold War Era, and Marginal Space: The Existential Condition of Five Decades of Hong Kong Literature,” Li Tuo’s “Resistance to Modernity: Reflections on Mainland Chinese Literary Criticism in the 1980s,” and Michelle Yeh’s “Death of the Poet: Poetry and Society in Contemporary China and Taiwan” first ap- peared in the special issue “Contemporary Chinese Literature: Crossing the Bound- aries” (edited by Yvonne Chang) of Literature East and West (1995). Jeffrey Kinkley’s “A Bibliographic Survey of Publications on Chinese Literature in Translation from 1949 to 1999” first appeared in Choice (April 1994; copyright by the American Library Associ- ation). All of the essays have been revised for this volume. This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://www.indiana.edu/~iupress Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2000 by David D. W. Wang All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
    [Show full text]
  • 许环良) Is Perhaps Best Known As the Record Producer Who Launched the Successful Careers of Singapore Singing Artistes Kit Chan ( 陈洁仪), JJ Lin （林俊杰）, A-Do ( 阿杜), and BY2
    ARTICLE Billy Koh ( 许 环 良): The Butterfly and Its Dreams by Kong, Kam Yoke , written on 20th August 2010 National Library Board, Singapore Billy Koh, who has helped re-shape the Singapore Chinese pop music scene over the last 25 years, is best known as the record producer who launched the successful careers of Singapore singers Kit Chan, JJ Lin, A-Do and BY2. Considered one of the most instrumental and influential figures in the Singapore music industry, Billy Koh ( 许环良) is perhaps best known as the record producer who launched the successful careers of Singapore singing artistes Kit Chan ( 陈洁仪), JJ Lin （林俊杰）, A-Do ( 阿杜), and BY2. As the most recognised face from Ocean Butterflies Music Pte Ltd ( 海蝶音乐私人有限公 司), which Koh co-founded, he had, together with his team, re-shaped the landscape of the Singapore Chinese pop music scene over a span of a quarter of a century, carving a place for itself and creating a brand name that exerts an impact in Asia. In his nearly three-decade-long career, Koh has produced more than 150 albums and is credited for discovering and grooming many top artistes who made it big in Asia. For his contributions to the Singapore music industry, Koh was awarded the Meritorious Award and the Wings of Excellence Award by COMPASS in 2001 and 2005 respectively. It had all begun in 1981. Billy Koh had formed a singing group called The Straw ( 水草三重唱), together with his schoolmates, Koh Nam Seng ( 许南盛) and the late Sunkist Ng ( 黄元成), to participate in the television talent show “Chinese Talentime” ( 《斗歌竞艺》), which was one of the most watched shows then.
    [Show full text]
  • 2011Annual Report 2010/10-2011/09 Contents Board Chairperson’S Message
    2011Annual Report 2010/10-2011/09 Contents Board Chairperson’s Message Spreading God’s Love to People in Need Dearest friends of World Vision Taiwan, As 2011 comes to an end, we wish you a happier, more wonderful, and more peaceful 2012. )RUXVDW:RUOG9LVLRQ7DLZDQZDVD\HDUÀOOHG with God’s grace. His grace gave us the strength to assist those in need throughout the world. This year, with your assistance, we completed many projects and, step-by- step, were able to unleash the power to transform lives. In 2011, the world experienced much suffering, which included the magnitude 9.0 earthquake and subsequent tsunami that crippled local industry and injured or killed scores along Japan’s northeastern coast. Eastern Africa experienced the most severe drought in sixty years. A total of 13 million people were affected, while 500,000 children struggled on the edge of life and death. Both in Taiwan and abroad, problems caused by poverty still deeply impacted every needy child, their families, and even their entire community. Around the world, many children still face risks that we may not even yet be aware of…In this era, crises, whether caused by natural disasters or uneven distribution of resources, have become ever more frequent. Not just property and lives are affected. These unsettling events bring about fear and unease in the world and in people’s hearts, which also distresses and saddens us. With the commitment and love for the world that you and many other caring people in Taiwan share, we are better able to provide effective relief and care.
    [Show full text]
  • Abstract Taiwanese Identity and Transnational Families
    ABSTRACT TAIWANESE IDENTITY AND TRANSNATIONAL FAMILIES IN THE CINEMA OF ANG LEE Ting-Ting Chan, Ph.D. Department of English Northern Illinois University, 2017 Scott Balcerzak, Director This dissertation argues that acclaimed filmmaker Ang Lee should be regarded as a Taiwanese transnational filmmaker. Thus, to best understand his work, a Taiwanese sociopolitical context should be employed to consider his complicated national identity as it is reflected in his films across genres and cultures. Previous Ang Lee studies see him merely as a transnational Taiwanese-American or diasporic Chinese filmmaker and situate his works into a broader spectrum of either Asian-American culture or Chinese national cinema. In contrast, this dissertation argues his films are best understood through a direct reference to Taiwan’s history, politics, and society. The chapters examine eight of Lee’s films that best explain his Taiwanese national identity through different cultural considerations: Pushing Hands (1992) and Eat Drink Man Woman (1994) are about maternity; The Wedding Banquet (1993) and Brokeback Mountain (2005) consider homosexuality; The Ice Storm (1997) and Taking Woodstock (2009) represent a collective Taiwanese view of America; and Crouching Tiger, Hidden Dragon (2000) and Lust, Caution (2007) reflect and challenge traditions of Taiwan Cinema. The eight films share three central leitmotifs: family, a sympathetic view of cultural outsiders, and a sympathy for the losing side. Through portraying various domestic relations, Lee presents archetypal families based in filial piety, yet at the same time also gives possible challenges represented by a modern era of equal rights, liberalism, and individualism – which confront traditional Taiwanese-Chinese family views.
    [Show full text]