Phd Thesis for Hardbound Binding-Yuling Chou

Total Page:16

File Type:pdf, Size:1020Kb

Phd Thesis for Hardbound Binding-Yuling Chou Constructing Women’s Identities in Self-Writing and Online Diaries in Taiwan Yu-Ling Chou (BA, MA) This thesis is presented for the degree of Doctor of Philosophy Department of Media, Music, Communication, and Cultural Studies Faculty of Arts, Macquarie University Sydney, New South Wales, Australia June 2014 Contents Statement of Candidate..................................................................................... vi Acknowledgement.............................................................................................vii Abstract ............................................................................................................viii Introduction ........................................................................................................ 1 0.1 Leftover Women............................................................................................................1 0.2 Feminism, Femininity, and Marriage ............................................................................4 0.3 Women’s Diary Writing: Online and On Paper.............................................................8 0.4 The Emergence of Blogs..............................................................................................11 0.5 Subjectivity in Cyberspace ..........................................................................................12 0.6 Identity and Performance.............................................................................................13 0.7 Statement of Thesis......................................................................................................14 0.8 Methodology and Approach ........................................................................................16 0.9 Chapter Summaries......................................................................................................20 Chapter 1 Women’s Mobility and Self-expression in Taiwan...................... 24 1.1 Brief Overview of the Political History of Taiwan......................................................24 1.2 Development of Women’s Mobility and Social Engagement .....................................27 1.2.1 Taiwan under Japanese Rule (1895–1945)...........................................................28 1.2.2 Taiwan under Martial Law (1949–1987)..............................................................33 1.2.3 After the Repeal of Martial Law (1987–present)..................................................38 1.3 Women’s Narrative in Autobiographical Writings......................................................40 1.3.1 Semi-Autobiographical Novel—A Sky of One’s Own (1980).............................40 1.3.2 Oral History of Taiwanese Women—Grandma’s Stories (1995).........................43 1.3.3 Confession as Anti-attack—Confession of Romance (2002)...............................45 1.3.4 Women’s Diary as Alternative Room, History, and Confession..........................47 Chapter 2 Diary Writing as Feminist Practice .............................................. 49 2.1 Genealogy of Diaries as a Public Document ...............................................................50 2.2 The Publication of Diaries ...........................................................................................53 2.3 Diaries as Genre and Feminist Practice .......................................................................57 2.3.1 A Space for Her and Her Female Friends—Nüshu as Women’s Unique Language for Writing ..........................................................................................62 2.3.2 Nüshu and its Significance as a Feminist Practice ...............................................65 2.3.3 Women’s Script Beyond Male Dominance–Female Form of Communication....65 2.3.4 Utterance of Women’s Language .........................................................................67 iii 2.3.5 Social Networks of Emotional Support ................................................................68 2.3.6 Transcendence in Exhibition/Performance...........................................................69 2.4 Nüshu Works and Online Diaries as Feminist Practice ...............................................70 2.5 Conclusion ...................................................................................................................73 Chapter 3 Blogging as Art of the Self..............................................................75 3.1 Pre-Blog Computer Mediated Communication...........................................................76 3.1.1 BBS: The Meeting Place of Taiwanese Youth .....................................................76 3.1.2 My Paper: An Experiment in Public Journalism ..................................................78 3.2 The Development of the Weblog.................................................................................79 3.2.1 Naming and Timing..............................................................................................81 3.3 New media, Old politics ..............................................................................................82 3.4 Old Genre, New Trick .................................................................................................85 3.4.1 Blogging as Social Action ....................................................................................86 3.5 The Personal Can Be Political or Diary Writing as Feminist Action ..........................88 3.5.1 The Feminist Denial .............................................................................................89 3.5.2 Feminist Narratives as Social Engagement ..........................................................91 3.6 Representation of the Self and Online Identity............................................................92 3.6.1 Being Cyborg........................................................................................................94 3.6.2 Posthuman Being..................................................................................................96 3.6.3 Cyborg Body as an Interface ................................................................................98 3.6.4 Technologies of the Self in the Age of Internet....................................................99 Chapter 4 Wealthy Lady Nana’s Diary: Caring, Showing, Performing, and Producing of the Self ..........................................................................101 4.1 From Diary to Blog: Writing as Constant Care of the Self .......................................102 4.2 Show Thyself to Know Thyself: Representation of the Self as a Symbol.................106 4.2.1 Symbol System in the Blog ................................................................................107 4.2.2 Femininity and Negotiated Identity ....................................................................112 4.3 Way of Seeing the Self: Surveillance and Performance............................................115 4.3.1 Blogging as Self-Performance............................................................................115 4.3.2 Nonstop Online Diary Writing as Self-Surveillance ..........................................118 4.4 Blogging as Process of Self-production ....................................................................122 Chapter 5 Indoorsy Woman Showon’s Diary: Blogging as Social Action...128 5.1 Collective Identity in Mediated Voyeurism ..............................................................130 5.1.1 The Slogan: Rubbish Mountain as Communal Therapy.....................................133 5.1.2 The Name: Indoorsy Woman Showon as Collective Identity ............................135 5.1.3 The Mask: An Expressive Woman in Disguise..................................................137 5.2 Double-sided Representation of Women’s Ambiversion ..........................................141 iv 5.3 Diary Writing as Empowering Exhibition.................................................................146 5.3.1 Laugh Hard, if You Can’t Beat it .......................................................................149 5.3.2 Self-Mockery as Resistance................................................................................150 Conclusion ....................................................................................................... 152 Review of the Thesis ..........................................................................................................152 Blog as Theatre of Intimacy................................................................................................155 Blogging as Intimate Contact in a Solitary Space ..............................................................157 The blog as a Space for the Revelation of Women’s Subjectivity .....................................157 Fulfilment of Women’s Femininity ....................................................................................158 Women’s Online Diary Writing as Quiet Revolution ........................................................160 References........................................................................................................ 163 v Statement of Candidate I certify that the work in this thesis, entitled “Constructing Women’s Identities in Self-Writing and Online Diaries in Taiwan”, has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree to any other university or institution other than Macquarie University. I also certify that the thesis is an original piece of research and it has been
Recommended publications
  • Stochastic Model of Stroke Order Variation
    2009 10th International Conference on Document Analysis and Recognition Stochastic Model of Stroke Order Variation Yoshinori Katayama, Seiichi Uchida, and Hiroaki Sakoe Faculty of Information Science and Electrical Engineering, Kyushu University, 819-0395, Japan fyosinori,[email protected] Abstract “ ¡ ” under an unnatural stroke correspondence which max- imizes their similarity. Note that the correct stroke order of A stochastic model of stroke order variation is proposed “ ” is (“—” ! “j' ! “=” ! “n” ! “–”) and that of “ ¡ ” and applied to the stroke-order free on-line Kanji character is (“—” ! “–” ! “j' ! “=” ! “n” ). Thus if we allow any recognition. The proposed model is a hidden Markov model stroke order variation, those two characters become almost (HMM) with a special topology to represent all stroke order identical. variations. A sequence of state transitions from the initial One possible remedy to suppress the misrecognitions is state to the final state of the model represents one stroke to penalize unnatural i.e., rare stroke order on optimizing order and provides a probability of the stroke order. The the stroke correspondence. In fact, there are popular stroke distribution of the stroke order probability can be trained orders (including the standard stroke order) and there are automatically by using an EM algorithm from a training rare stroke orders. If we penalize the situation that “ ¡ ” is set of on-line character patterns. Experimental results on matched to an input pattern with its very rare stroke order large-scale test patterns showed that the proposed model of (“—” ! “j' ! “=” ! “n” ! “–”), we can avoid the could represent actual stroke order variations appropriately misrecognition of “ ” as “ ¡ .” and improve recognition accuracy by penalizing incorrect For this purpose, a stochastic model of stroke order vari- stroke orders.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: the Politics of Reading Between East and East a Dissertati
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: The Politics of Reading Between East and East A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Alvin Ka Hin Wong Committee in Charge: Professor Yingjin Zhang, Co-Chair Professor Lisa Lowe, Co-Chair Professor Patrick Anderson Professor Rosemary Marangoly George Professor Larissa N. Heinrich 2012 Copyright Alvin Ka Hin Wong, 2012 All rights reserved. The dissertation of Alvin Ka Hin Wong is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Co-Chair University of California, San Diego 2012 iii TABLE OF CONTENTS Signature Page …………………………………………………….……………….….…iii Table of Contents ………………………………………………………………..…….…iv List of Illustrations ……………………………………………………………….…........v Acknowledgments …………………………………………………………………….....vi Vita …………………………………………………….…………………………….…...x Abstract of the Dissertation ………………………………………………….……….….xi INTRODUCTION.……………………………………………………………….……....1 CHAPTER ONE. Queering Chineseness and Kinship: Strategies of Rewriting by Chen Ran, Chen Xue and Huang Biyun………………………….………...33
    [Show full text]
  • Nushu and the Writing of Religious
    NOSHU AND RELIGIOUS CULTURE IN CHINA "MY MOTHER WATCHED OVER AN EMPTY HOUSE AND',WAS SEPARATED FROM THE HEA VENL Y FEMALE": NUSHU AND THE WRITING OF RELIGIOUS CULTURE IN CHINA By STEPHANIE BALK WILL, B.A. (H.Hons.) A Thesis Submitted to the School of Graduate Studies in Partial FulfiHment ofthe Requirements for the Degree Master of Arts McMaster University © Copyright by Stephanie Balkwill, August 2006 MASTER OF ARTS (2006) McMaster University (Religious Studies) Hamilton, Ontario TITLE: "My Mother Watched Over an Empty House and was Separated From the Heavenly Female": Nushu and the Writing IOf Religious Culture in China. AUTHOR: Stephanie Balkwill, B.A. (H.Hons.) (University of Regina) SUPERVISOR: Dr. James Benn NUMBER OF PAGES: v, 120 ii ]rll[.' ' ABSTRACT Niishu, or "Women's Script" is a system of writing indigenous to a small group of village women in iJiangyong County, Hunan Province, China. Used exclusively by and for these women, the script was developed in order to write down their oral traditions that may have included songs, prayers, stories and biographies. However, since being discovered by Chinese and Western researchers, nushu has been rapidly brought out of this Chinese village locale. At present, the script has become an object of fascination for diverse audiences all over the world. It has been both the topic of popular media presentations and publications as well as the topic of major academic research projects published in Engli$h, German, Chinese and Japanese. Resultantly, niishu has played host to a number of mo~ern explanations and interpretations - all of which attempt to explain I the "how" and the "why" of an exclusively female script developed by supposedly illiterate women.
    [Show full text]
  • Chinese Script Generation Panel Document
    Chinese Script Generation Panel Document Proposal for the Generation Panel for the Chinese Script Label Generation Ruleset for the Root Zone 1. General Information Chinese script is the logograms used in the writing of Chinese and some other Asian languages. They are called Hanzi in Chinese, Kanji in Japanese and Hanja in Korean. Since the Hanzi unification in the Qin dynasty (221-207 B.C.), the most important change in the Chinese Hanzi occurred in the middle of the 20th century when more than two thousand Simplified characters were introduced as official forms in Mainland China. As a result, the Chinese language has two writing systems: Simplified Chinese (SC) and Traditional Chinese (TC). Both systems are expressed using different subsets under the Unicode definition of the same Han script. The two writing systems use SC and TC respectively while sharing a large common “unchanged” Hanzi subset that occupies around 60% in contemporary use. The common “unchanged” Hanzi subset enables a simplified Chinese user to understand texts written in traditional Chinese with little difficulty and vice versa. The Hanzi in SC and TC have the same meaning and the same pronunciation and are typical variants. The Japanese kanji were adopted for recording the Japanese language from the 5th century AD. Chinese words borrowed into Japanese could be written with Chinese characters, while Japanese words could be written using the character for a Chinese word of similar meaning. Finally, in Japanese, all three scripts (kanji, and the hiragana and katakana syllabaries) are used as main scripts. The Chinese script spread to Korea together with Buddhism from the 2nd century BC to the 5th century AD.
    [Show full text]
  • A Comparative Analysis of the Simplification of Chinese Characters in Japan and China
    CONTRASTING APPROACHES TO CHINESE CHARACTER REFORM: A COMPARATIVE ANALYSIS OF THE SIMPLIFICATION OF CHINESE CHARACTERS IN JAPAN AND CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES AUGUST 2012 By Kei Imafuku Thesis Committee: Alexander Vovin, Chairperson Robert Huey Dina Rudolph Yoshimi ACKNOWLEDGEMENTS I would like to express deep gratitude to Alexander Vovin, Robert Huey, and Dina R. Yoshimi for their Japanese and Chinese expertise and kind encouragement throughout the writing of this thesis. Their guidance, as well as the support of the Center for Japanese Studies, School of Pacific and Asian Studies, and the East-West Center, has been invaluable. i ABSTRACT Due to the complexity and number of Chinese characters used in Chinese and Japanese, some characters were the target of simplification reforms. However, Japanese and Chinese simplifications frequently differed, resulting in the existence of multiple forms of the same character being used in different places. This study investigates the differences between the Japanese and Chinese simplifications and the effects of the simplification techniques implemented by each side. The more conservative Japanese simplifications were achieved by instating simpler historical character variants while the more radical Chinese simplifications were achieved primarily through the use of whole cursive script forms and phonetic simplification techniques. These techniques, however, have been criticized for their detrimental effects on character recognition, semantic and phonetic clarity, and consistency – issues less present with the Japanese approach. By comparing the Japanese and Chinese simplification techniques, this study seeks to determine the characteristics of more effective, less controversial Chinese character simplifications.
    [Show full text]
  • The Perception of Simplified and Traditional Chinese Characters in the Eye of Simplified and Traditional Chinese Readers
    The perception of simplified and traditional Chinese characters in the eye of simplified and traditional Chinese readers Tianyin Liu ([email protected]) Janet Hui-wen Hsiao ([email protected]) Department of Psychology, University of Hong Kong 604 Knowles Building, Pokfulam Road, Hong Kong SAR Abstract components and have better ability to ignore some unimportant configural information for recognition, such as Expertise in Chinese character recognition is marked by analytic/reduced holistic processing (Hsiao & Cottrell, 2009), exact distances between features (Ge, Wang, McCleery, & which depends mainly on readers’ writing rather than reading Lee, 2006) compared with novices (Ho, Ng, & Ng., 2003; experience (Tso, Au, & Hsiao, 2011). Here we examined Hsiao & Cottrell, 2009). Consequently, expert readers may whether simplified and traditional Chinese readers process process Chinese characters less holistically than novices. characters differently in terms of holistic processing. When There are currently two Chinese writing systems in use processing characters that are distinctive in the simplified and in Chinese speaking regions, namely simplified and traditional scripts, we found that simplified Chinese readers were more analytic than traditional Chinese readers in traditional Chinese. The simplified script was created during perceiving simplified characters; this effect depended on their the writing reform initiated by the central government of the writing rather than reading/copying performance. In contrast, People’s Republic of China in the 1960s for easing the the two groups did not differ in holistic processing of learning process. Today the majority of Chinese speaking traditional characters, regardless of their performance regions including Mainland China, Singapore, and Malaysia difference in writing/reading traditional characters.
    [Show full text]
  • Chinese, Dutch, and Japanese in the Introduction of Western Learning in Tokugawa Japan
    _full_alt_author_running_head (neem stramien B2 voor dit chapter en dubbelklik nul hierna en zet 2 auteursnamen neer op die plek met and): 0 _full_articletitle_deel (kopregel rechts, vul hierna in): Polyglot Translators _full_article_language: en indien anders: engelse articletitle: 0 62 Heijdra Chapter 6 Polyglot Translators: Chinese, Dutch, and Japanese in the Introduction of Western Learning in Tokugawa Japan Martin J. Heijdra The life of an area studies librarian is not always excitement. Yes, one enjoys informing bright graduate students of the latest scholarship, identifying Chi- nese rubbings of Egyptological stelae, or discussing publishing gaps in the cur- rent scholarship with knowledgeable editors; but it involves sometimes the mundane, such as reshelving a copy of a nineteenth-century Japanese transla- tion of a medical work by Johannes de Gorter.1 It was while performing the latter duty that I noticed something odd. The characters used to write Gorter were 我爾德兒, which indeed could be read as Gorter. That is, if read in modern Chinese; if read in the usual Sino-Japanese, it would be *Gajitokuji, something far from the Dutch pronunciation. A quick perusal of some scholars of rangaku 蘭學, “Dutch Studies,” revealed a general lack of awareness of this question, why a Dutch name in a nineteenth-century Japanese book would be read in modern Chinese. Prompted to write an article in honor of a Dutch editor of East and South Asian Studies, I decided to inves- tigate this more thoroughly. There are many aspects to consider, and I must confess that the final reason is hard to come by; but while I have not reached a final conclusion, I hope that in the future scholars will at least recognize the phenomenon when encountered.
    [Show full text]
  • Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700 *
    EASTM 26 (2007): 68-116 Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700 * Bruce Rusk [Bruce Rusk is Assistant Professor of Chinese Literature in the Department of Asian Studies at Cornell University. From 2004 to 2006 he was Mellon Humani- ties Fellow in the Asian Languages Department at Stanford University. His dis- sertation was entitled “The Rogue Classicist: Feng Fang and his Forgeries” (UCLA, 2004) and his article “Not Written in Stone: Ming Readers of the Great Learning and the Impact of Forgery” appeared in The Harvard Journal of Asi- atic Studies 66.1 (June 2006).] * * * But if a savage or a moon-man came And found a page, a furrowed runic field, And curiously studied line and frame: How strange would be the world that they revealed. A magic gallery of oddities. He would see A and B as man and beast, As moving tongues or arms or legs or eyes, Now slow, now rushing, all constraint released, Like prints of ravens’ feet upon the snow. — Herman Hesse 1 Visitors to the Far East from early modern Europe reported many marvels, among them a writing system unlike any familiar alphabetic script. That the in- habitants of Cathay “in a single character make several letters that comprise one * My thanks to all those who provided feedback on previous versions of this paper, especially the workshop commentator, Anthony Grafton, and Liam Brockey, Benjamin Elman, and Martin Heijdra as well as to the Humanities Fellows at Stanford. I thank the two anonymous readers, whose thoughtful comments were invaluable in the revision of this essay.
    [Show full text]
  • Female Fabrications: an Examination of the Public and Private Aspects of Nüshu
    FEMALE FABRICATIONS: AN EXAMINATION OF THE PUBLIC AND PRIVATE ASPECTS OF NÜSHU Ann-Gee Lee A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2008 Committee: Sue Carter Wood, Advisor Jaclyn Cuneen Graduate Faculty Representative Kristine L. Blair Richard Gebhardt ii © 2008 Ann-Gee Lee All Rights Reserved iii ABSTRACT Sue Carter Wood, Advisor Nüshu is a Chinese women's script believed to have been invented and used before the Cultural Revolution. For about a couple centuries, Nüshu was used by uneducated rural women in Jiangyong County, Hunan Province, in China to communicate and correspond with one another, cope with their hardships, and promote creativity. Its complexity lies in the fact that it may come in different forms: written on paper fans or silk-bound books; embroidered on clothing and accessories; or sung while a woman or group of women were doing their domestic work. Although Nüshu is an old and somewhat secret female language which has been used for over 100 years, it has only been an academic field of study for about 25 years. Further, in the field of rhetoric and composition, despite the enormous interest in women's rhetorics and material culture, sources on Nüshu in relation to the two fields are scarce. In relation to Nüshu, through examinations of American domestic arts, such as quilts, scrapbooking, and so on, material rhetoric is slowly becoming a significant field of study. Elaine Hedges explains, “Recent research has focused on ‘ordinary women' whose household work comprised, defined, and often circumscribed their lives: the work of cooking, cleaning, and sewing that women traditionally and perpetually performed and has gone unheralded until now” (294).
    [Show full text]
  • Section 18.1, Han
    The Unicode® Standard Version 13.0 – Core Specification To learn about the latest version of the Unicode Standard, see http://www.unicode.org/versions/latest/. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trade- mark claim, the designations have been printed with initial capital letters or in all capitals. Unicode and the Unicode Logo are registered trademarks of Unicode, Inc., in the United States and other countries. The authors and publisher have taken care in the preparation of this specification, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. © 2020 Unicode, Inc. All rights reserved. This publication is protected by copyright, and permission must be obtained from the publisher prior to any prohibited reproduction. For information regarding permissions, inquire at http://www.unicode.org/reporting.html. For information about the Unicode terms of use, please see http://www.unicode.org/copyright.html. The Unicode Standard / the Unicode Consortium; edited by the Unicode Consortium. — Version 13.0. Includes index. ISBN 978-1-936213-26-9 (http://www.unicode.org/versions/Unicode13.0.0/) 1.
    [Show full text]
  • The Future of Chinese Font Design: the Role of the Calligrapher
    V4.05 The Future of Chinese Font Design: The Role of the Calligrapher Lucas Justinien Pérez The Future of Chinese Font Design: The Role of the Calligrapher Lucas Justinien Pérez The monk Huai Su ( , 737-799 CE) grew 10,000 banana trees outside his 懷素 home so he could use the leaves for calligraphy practice in place of rice paper which was rare and expensive in Tang dynasty China (618-907 AD). Born in Changsha, he traveled to the western capital in search of knowledge and advanced calligraphy training. He eventually impressed important officials of his age and gained fame for an especially gestural abstracted form of Chinese hand writing called tsao-shu ( ), which literally means “grass writing.” His 草書 autobiography is one of the only surviving examples of his writing left.1 In the 25-foot-long scroll, he describes his many exploits and achievements with monk-like humility: ... … the High Minister Lu Xiang 尚書司勳郎盧象。 and the minor ritual official Zhang Zheng anY 小宗伯張正言。 had composed a song, 曾為歌詩。 50 Plot(s) in which they said, 故敘之曰。 “A gentleman is Huai Su, 開士懷素。 a hero among monks, 僧中之英。 of firm resolve, 氣概通束。 and open heart, 性靈豁暢。 A dedicated sage of the cursive style. 精心草聖。 Collecting many years of experience, 積有歲時。 From the Long River to the Five Mountain Ranges 江嶺之間。 his name has become well-known.”2 其名大著。 Today Huai Su’s writing is used as a classical example for calligraphers around the world who wish to deepen their understanding of this style. Today as in the past, calligraphy is enjoyed as a form of meditation, relaxation, and mind- body practice.3 In countries that have developed their own calligraphy traditions such as Japan, Taiwan, and Korea, it not only represents an artistic practice but a philosophy embedded in thriving communities that have developed unique approaches to character design.
    [Show full text]
  • Creative Spaces Within Which People, Ideas and Systems Interact with Uncertain Outcomes
    GIMPEL, NIELSE GIMPEL, Explores new ways to understand the dynamics of change and mobility in ideas, people, organisations and cultural paradigms China is in flux but – as argued by the contributors to this volume – change is neither new to China nor is it unique to that country; similar patterns are found in other times and in other places. Indeed, Creative on the basis of concrete case studies (ranging from Confucius to the Vagina Monologues, from Protestant missionaries to the Chinese N & BAILEY avant-garde) and drawing on theoretical insights from different dis- ciplines, the contributors assert that change may be planned but the outcome can never be predicted with any confidence. Rather, there Spaces exist creative spaces within which people, ideas and systems interact with uncertain outcomes. As such, by identifying a more sophisticated Seeking the Dynamics of Change in China approach to the complex issues of change, cultural encounters and Spaces Creative so-called globalization, this volume not only offers new insights to scholars of other geo-cultural regions; it also throws light on the workings of our ‘global’ and ‘transnational’ lives today, in the past and in the future. Edited Denise Gimpel, Bent Nielsen by and Paul Bailey www.niaspress.dk Gimpel_pbk-cover.indd 1 20/11/2012 15:38 Creative Spaces Gimpel book.indb 1 07/11/2012 16:03 Gimpel book.indb 2 07/11/2012 16:03 CREATIVE SPACES Seeking the Dynamics of Change in China Edited by Denise Gimpel, Bent Nielsen and Paul J. Bailey Gimpel book.indb 3 07/11/2012 16:03 Creative Spaces: Seeking the Dynamics of Change in China Edited by Denise Gimpel, Bent Nielsen and Paul J.
    [Show full text]