ABSTRACTS - oia - Portland State University

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ASPAC Conference 2010 June 18 – 20, 2010 | <strong>Portland</strong>, OR other transnational movements, transnational feminism does not hold nation sacred, but works toward a logic that is more multifocal that nationality, which is a shared, just, humanity. My paper explores the transnational feminist work of two visible figures recognized and respected in the international circuit of activism, resistance, lectures and conference presentations. They represent the grassroots and the global South, while espousing a world consciousness and connectedness through their work of taking on governments and corporations alike to expose mass scale exploitation of communities in the name of progress. I examine the writings of Vandana Shiva, the founder of the Seed Save movement who has taken on genetic engineering and corporations such as Monsanto; and Arundhati Roy, the Booker Prize winner for “God of Small Things,” who has taken on the Indian Government for its nuclear testing, and the World Bank for funding the multimillion dollar construction of the Narmada Dam (Narmada Bachao Andolan or “Save the Narmada River,” movement). Their life’s work, which is in no way complete, adheres deeply to the philosophy of cosmopolitanism, of shared economic, historical, and colonial context in a world with porous and changeable boundaries. I will examine the work of Gayatri Spivak, Chandra Talpade Mohanty, Lisa Lowe, Caren Kaplan, Ella Shohat and Kumari Jayawardena to provide theoretical context to the analysis of their work and writing. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Hiroko Katsuta Onomatopoeia as discourse modality: Viewer involvement in Japanese TV advertising This paper shows a link: between the usage of onomatopoeia and mimetic words in Japanese TV advertisements on the one hand and Maynard's (1993) argument that "language serves the primary purpose of expressing subjectivity and emotion" on the other. In particular, it attempts to show that the usage of onomatopoeia and mimetic words in Japanese represents Maynard's concept of Discourse Modality through the expression of perspective and emotionally, mentally, and psychologically expressive language. In order to analyze this, clips from Japanese TV advertisements were chosen, transcribed, and analyzed. TV advertisements were chosen because they have nearly universal and clearly defined goals (to gain the viewer's interest and highlight features or concepts related to the product) and a focus upon creating an emotional or psychological connection between the viewer and the product. The collected data indicate that onomatopoeia are used to create contextualized descriptions providing vivid sensory impact and promoting sensory recall. The use of contextualized, colorful, and interesting language, and particularly the promotion of sensory recall, have the general effect of increasing a viewer's involvement in an advertisement. From the perspective of Discourse Modality, this usage provides an interesting example of the manipulation of discourse for a particular emotional and psychological effect. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Christopher T. Keaveney Power to the People: Yamamoto Sanehiko and the Enpon Publishing Revolution in Prewar Japan Yamamoto Sanehiko (1885-1952), the president of the publishing house Kaizōsha, contributed to the cultural and intellectual life of interwar Japan (1919-1937) in a number of crucial ways. Yamamoto’s achievements include his roles in book and magazine publishing and as an interpreter of contemporary China to his Japanese readership. In 1923, Kaizōsha ushered in a publishing revolution with the release of the first of its series of its enbon books, each offered at the budget price of one yen. Coming as it did, just after the Kantō Great earthquake in which libraries had been devastated and entire collections had been lost, the release of these series of affordable books put a variety of contemporary and classic works back into the hands of thousands of Japanese readers and set in motion a revolution in the publishing industry that saw Iwanami and Shichōsha follow suit in the release of similarly priced, affordable books. This paper will explore some of the motivations for the enbon book series, examine the ways these books were advertised and distributed, and consider some of the results and long-term ramifications of this publishing revolution set in place by Yamamoto. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ 18
ASPAC Conference 2010 June 18 – 20, 2010 | <strong>Portland</strong>, OR Aekyoung KIM A Study of the Religious Features in Ukiyo-e: Focus on Hiroshige's Meisho Edo Hyakkei Customs are a part of a living culture which reflect the times including religion, life, politics, and ideas. Thus a genre painting whose material deals with customs is closely related to human life. Ukiyo-e is a genre of Japanese woodblock prints and paintings and are among the most widely known and admired arts of the Edo period. Hiroshige (1797-1858) was one of the last great masters of the Ukiyo-e and earned his reputation with a series of views featuring the well-known sights of Japan. Even as he got older, Hiroshige's artwork was very popular. In 1856 he "retired from the world" to become a Buddhist monk. That same year he began work on his masterpiece Meisho Edo Hyakkei (One Hundred Famous Views of Edo) just before his death. Meisho Edo Hyakkei, actually composed of 118 splendid woodblock landscape and genre scenes depicting mid 19 th century Edo, is one of the greatest achievements of Japanese art. It is a work that inspired a number of Western artists including Vincent Van Gogh, to experiment with imitations of Japanese methods. Meisho is usually translated "famous places," or "celebrated sites". Hiroshige portrayed many Buddhist temples and Shinto shrines and religious images from various angles. Religion harmonized with the lives of people in his works. The object of this study is to understand the role of religion at the end of the shogunate era through Hiroshige's artwork, and to discover why his work has been able to attract the attention of many different people over a long period of time. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Sung Lim Kim Ch’aekkori: Still Life Painting of 19 th Century Korea 19 th century Choson dynasty, especially in Seoul, changed dramatically from a traditional Confucian society to a society of commerce and material consumption. Ch’aekkori painting is the depiction of objects (still life) including books, stationary implements, luxurious imports, and symbolic and auspicious fruits and accessories, which reflected the new materialism. Believed to have originated from Chinese treasure walls in Qing Forbidden Palace, ch’aekkori painting was favored and promoted by King Chongjo (1786-1800), who used it to deliver his message of scholarly pursuit and to direct his officials toward proper reading material. Ch’aekkori was first painted by court painters, but it soon became popular and widespread among the elite yangban as well as commoners. The paper explores how ch’aekkori painting reflected Korea’s active cultural interactions with China, its own internal social and cultural evolution, and Koreans’ changing perceptions of material objects. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Young-Cheol Kim The Green Sea of Dotonborigawa Born in Kobe in 1947, Miyamoto Teru won the 13 th Dazai Osamu Prize in 1977 for his story Doronogawar; in 1978 he was awarded the 78 th Akutagawa Prize for Hotorugawa; and in 1981 he completed his Three Rivers trilogy with the publication of Dotonborigawa. These early works are based on the author’s experiences, but not to the extent that they would be called autobiographical. These stories depict the lives of people in the redlight district and feature two main characters; Takeuchi, a middle-aged man who runs a cafeteria in Dotonbori, and his part-time worker Kunihiko. Miyamoto describes the affair between the fortune teller Sugiyama and Takeuchi’s wife, Suzuko; he describes the relationship between Kunihiko and Hiromi who was his father’s mistress; and he shows us the lives of the dancer, Satomi and the profiligate, Kaoru. The sympathetic author wants his readers to share the joys sorrows as well as the dreams of these people living in the midst of the redlight district. A painting, “The Green Sea,” and a jade water pitcher, Giyaman, symbolize the dreams of these people struggling to survive in Dotonbori and hoping for a better future. Sugiyama’s painting, “The Green Sea,” reflects the hope that only be recognized by people who long for what is missing in reality. The fortuneteller Sugiyama can tell the future of others, but not his own as he 19
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ABSTRACTS - oia - Portland State University

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