ABSTRACTS - oia - Portland State University

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ASPAC Conference 2010 June 18 – 20, 2010 | Portland, OR population) worked abroad, more than half of them women. Young working-class adults also have migration aspirations, but unlike their migrant mothers, they do not wish to go to West Asia, where wages are low and immigration forbidden. They prefer better-paying jobs in countries such as Korea, Australia, or Italy. Unlike their sojourner parents, members of this generation hope to settle elsewhere with their nuclear families. Relocation of elders is unlikely, due to both family choice and host-country policy. Thus aging parents and grandparents are increasingly left in Sri Lankan villages, without family members to see to their everyday needs. Prospective migrants face a difficult choice: should they continue to migrate (and thus remit muchneeded financial support to their families) or stay home (and thus provide personal care and attention to elders)? Drawing on ethnographic analysis of the long-term impact of labor migration on intergenerational family obligations and relations. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Bruce Gilley, Mel Gurtov, Ron Tammen, David Bachman President Obama’s China Policy (Roundtable) This panel will consider the policy towards China of U.S. President Obama in his first year and a half in office. Participants will offer different aspects of this policy. Each of them will bring distinctive disciplinarian and methodological assumptions to bear on the issue. The questions to be considered will include: What has the policy been so far? To what extent does it represent a departure or continuation of past U.S. policies? What will determine the success of this policy? What has been China’s response so far? ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Noa Grass Who Left the State Out? The Salt-for-Grain Policy of the Early Ming The narrative of late Ming economic and commercial expansion largely excludes the state as an active economic agent. Consequently, work on economic policy of the Ming state regards it as either hostile, indifferent, or too weak to promote economic development. The Grain-for-Salt Policy (kaizhong fa) of the early Ming challenges these assumptions. This was a system of merchant grain transportation to border garrisons in return for monopoly salt licenses. Whereas traditionally, the Chinese imperial state depended on forced labor for the transportation of grain, through this system the government utilized its monopoly on salt to attract resourceful merchants through a favorable exchange rate. This paper treats the Grain-For-Salt Policy as a system of state finance and suggests that the early Ming state actively acknowledged the importance of private economic forces, consciously sought to create trading circuits that connected north and south and used this policy as a means of credit in a system which showed much financial acumen. The study of the relationship between the state and the economy in the late imperial period contributes to the discipline of Chinese economic history in the wake of Marxist historiography, which relegated the state to the realm of the superstructure. It also exposes the inadecuesy of Eurocentric assumptions regarding economic development which viewed the Ming state as a stifling force in the face of economic and commercial development. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Satomi Hayashi Introduction of "Focus on form" approach in Japanese teaching In the field of foreign language education, the effect of grammar instruction has been controversial: Krashen (1982) and others contend that grammar should be taught implicitly, while others have argued explicit grammar instruction has a positive impact on language learning. In recent years, Ellis (1994) proposed that explicit grammar instruction has a role in language learning, which has been followed by Van Pattan's (2004) notion of focus on form where he argues that learners need to pay attention to formal structure of the target language. 12
ASPAC Conference 2010 June 18 – 20, 2010 | Portland, OR According to Spada (1997), "focus on form" is any pedagogical effort which is used to draw the learner's attention to language form within a meaningful context in a course of a communicative activity. In the "focus on form" instruction, a certain linguistic form is made salient through the two major processes: input enhancement such as "input flood", "consciousness raising" and "textual enhancement", and output enhancement which is corrective feedback given to the learners after actual production. In this paper, I will present results of an analysis of communicative activities aimed at focus on form instruction presented in Benati (2009). Although Benati claims that the activities draw learner attention to grammatical forms and, at the same time, they promote communication, they lack contextualization, which is essential for communication, fail to build form-meaning connection, and disregard multiple-functions that one form bears, resulting in inefficient instruction. I will also discuss how context can be incorporated into focus on form instruction. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Wingshan Ho Cross-dressing and Queer Possibilities in Hong Kong Commercial Cinema in the 90s “New queer cinema 1” poses a global call to express oneself in terms of sexuality in the current of gay and lesbian movement around the world. How or do Chinese answer the global call? Informed by gay and lesbian movements in the “West,” a gay and lesbian or tongzhi (literally comrade) identity emerged in Hong Kong in the 1990s. Popular culture, of course, has responded to the more visible identities. Hong Kong commercial cinema is a globally and locally vibrant industry. My paper argues that Hong Kong commercial cinema responded to such fervent social change by creating sexually ambiguous characters. Exposed to “western” “new queer cinema” and resonant to Hong Kong local culture, commercial cinema in the 90s used crossdressing as a technique to offer queer possibilities in response to the call of global queer identity. My paper will first map out the reason and prominence of cross-dressing in the history of Hong Kong cinema. Cross-dressing was already there in the first Hong Kong narrative film in 1913 and later saw its heyday in Cantonese opera genre in the 1950s-60s. It waned dramatically since the 1970s, but interestingly came back in the 90s. If the Chinese opera convention and the supersession of film genres mainly account for the rise and fall of cross-dressing during the earlier period, 2 then the reoccurrence of cross-dressing is associated with the social awareness of homosexuality at fin de siècle. The next section will draw on Butler’s notion of gender performativity to analyze three mainstream films involving female to male cross-dressing—He’s a Woman, She’s a Man, Who’s the Woman, Who’s the Man (Jinzhi yuye1&2) and Swordsman 2 (Xiao’ao jianghu zhi Dongfang Bubai) to explore how cross-dressing simultaneously opens up and controls queer spaces for representing unconventional mappings of sex, gender and sexualities. I will demonstrate that cross-dressed cinematic characters transform their gender identity and subjectivity in the narrative level. Cross-dressing also affords possibilities of queer spectatorship. Movie-goers may occupy multilayered viewing positions and derive pleasure through identifying with various characters which are by no means of their gender and sexual identity. Even though female to male cross-dressed characters’ subversions of fixed and unitary sex, gender and sexuality mapping are contained in a generally homophobic cinematic culture dominated by economic concerns, such spectatorship offers queer possibilities. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Jon Holt Teaching Manga as Literature Despite disagreement about the status of manga, or comic books, in the Japanese literary canon, as a tool to encourage students to think about storytelling as an art form, they are indispensible. Based on my experience 1 Michele Aaron ed. New queer cinema: a critical reader (Edinburgh: Edinburgh University Press, 2004). 2 Xianggang diantai dianshi bu: Xianggang Zhong wen da xue xiao wai jin xiu bu, Dian guang huan ying: dianying yanjiu wen ji [Light and Shadow: anthology on of film studies](Hong Kong: Xianggang diantai dianshi bu: Xianggang Zhong wen da xue xiao wai jin xiu bu, 1985), 46-7. 13
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