ABSTRACTS - oia - Portland State University

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ASPAC Conference 2010 June 18 – 20, 2010 | Portland, OR The paper will introduce the summer K-12 Chinese language teacher training program, with a focus on: • How to assess the need for professional development of K-12 Chinese teachers in the greater Portland area; • How to cooperate and incorporate the academic requirements with those by the Graduate School of education at PSU in regard to creating an appropriate curriculum which helps the teachers with their pursuit for their Oregon teacher licensure; • How to invite experts from China to conduct workshops on specific topics that the local K-12 Chinese language are interested and needed; and • How to collaborate with the partner university in Suzhou, China for creating opportunities and potentials in developing a special master’s program in teaching Chinese as a foreign language for the interested participating teachers. The paper also discusses issues and challenges of the K-12 Chinese language training program. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Hui Luo In Pursuit of Modem Sensibilities: Wang Zengqi's Rewriting of Liaozhai zhiyi From 1987 to 1991, the veteran writer Wang Zengqi rewrote thirteen tales from Pu Songling's Liaozhai zhiyi, the 17 th century collection of strange records and marvelous tales. Through editing, stylistic innovation, and recasting the classic tales in modern vernacular Chinese, Wang Zengqi seeks to inject what he called "modern sensibilities" into Pu Songling's much-contested literary classic. Wang in particular takes issue with Pu's cliched endings, calling them the compromised results of an "internal war" between Pu's artistic ideal and Chinese literary and social conventions. Wang believes that a latent modem sensibility, both ethical and aesthetic, is already present in Pu Songling's writing. Thus Wang sees his rewriting as a means to reveal the hidden vision in Liaozhai that has been obscured by Pu Songling's own limitations as well as by the "misinterpretation" of Liaozhai by critics and scholars. Upon closer reading, however, Wang's modem updating of the Liaozhai stories seems to mirror Pu Songling's "internal war": On the one hand, Wang's rewriting is guided by his own literary vision. On the other hand, he falls into a new set of cliches by succumbing to the pressures of prevailing ideology and popular taste. Wang's project to "rescue" Liaozhai from its muddled history of reception, though modest in scale, nevertheless brings out a plethora of issues related to literary tradition, modernism, and the question of the classical tale as an alternative to Western conceptions of fiction. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Lesley Ma The Chinese Women's Calligraphy and Painting Society and Multiple Female Modernities in 1930s Shanghai When established in Shanghai in 1934, the Chinese Women's Calligraphy and Painting Society (Zhongguo nuzi shuhua hui) was more than merely one of the many artists' societies to spring up during this era. The women artists involved in the society, though from disparate hometowns, backgrounds, and training, worked towards a unified goal of promoting and securing careers for its members in the fields of traditional painting and calligraphy. Their collective aspirations could perhaps categorize them as activists, as they carved out their own territory in the artistic and social world of the day. As one may see from the proliferation of pictorials and magazines featuring commodities and the ideal female physique, even the urban cultural milieu was still patriarchal. The women artists held salons and exhibitions and, with their art and activities, made their names as both individuals and as a group. The Society thus provided exhibition opportunities, publicity, support, and business assistance for fellow women artists. From various accounts in art history and film history, however, the way they performed and functioned in the public sphere was quite different from the positioning of other female public figures, such as film stars or anonymous models for commercial art. Interestingly, their treatment of their art and craft was also different from that of their male peers. In other words, the female artists' choices of activities and painting styles suggest that there are multiple "modernities," and to be precise, "female modernities," existing 24
ASPAC Conference 2010 June 18 – 20, 2010 | Portland, OR in 1930s Shanghai. The public expectation of what "modernity" means did not always align with how individuals understood or embodied it. This paper aims to examine the painting styles and society activities that the Chinese Women's Calligraphy and Painting Society put forward as they sought to construct various alternatives of modernity against the backdrop of the objectified, mass-and media produced "New Woman" of the time. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Sean H. McPherson Architecture, Cultural Identity and Religious Practice in Japanese America The social biography and architectural form of Buddhist churches established by Japanese immigrants and their descendants in the 20 th century suggest complex and changing relationships among religious beliefs, cultural identities and social contexts. These institutions functioned as social anchors of ethnic communities, as well as visual markers of Japanese-American cultural identity within a larger social context of indifference or outright hostility. Buddhist churches served as centers of socio-economic advancement, political activism, religious ritual and cultural performance. This exploratory study addresses the founding, funding, design and construction of the 1920 Fresno Buddhist Church and the 1965 Placer Buddhist Church in Penryn. as well as their maintenance amidst the climate of extreme hostility toward Asian immigrants in California; the shifting activities hosted and promoted by churches~ the inculcation and representation of cultural identity through church architecture, and the diverse ways in which cultural identity was communicated (or elided) through architectural form and spatial organization. A comparison of the architectural form, structural logic and spatial layout of these two buildings suggests generational differences in interpretations of Japanese cultural identity in built form. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Georgia A. Mickey State Legitimacy and the Rule of Law: Founding the Bank of China in 1912 The Bank of China was founded in 1912 at a pivotal moment when radicals and moderates alike after the 1911 Revolution fixed their hopes on a new and modern Chinese nation state. It was during this unsettled political environment that a group of Chinese elites, all private shareholders of the imperial Da Qing Bank, which had collapsed during the revolution, devised a plan to create a central bank for the fledgling republic out of the remaining tangible and intangible assets of the failed Da Qing Bank. I argue that these shareholders wanted to exchange their worthless Da Qing Bank shares for new Bank of China shares in order to recoup their personal investments in the failed imperial bank. They also planned as shareholders to structure the new bank for their own personal advantage. Although scholars typically treat the Bank of China within the framework of China’s financial modernization during the first half of the twentieth century, I am also proposing that the founding of the bank served political ends by helping to establish the new state’s legitimacy. Furthermore, in the conflict that ensued over the bank’s founding during 1912, successive ministers of finance in the new government affirmed two critical principles: (1) that it was the state and not private stakeholders who were responsible for governmental institutions such as the central bank, and (2) that rights under the imperial regime carried over into the new republic. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Barbara Mori Chinese College Women's Spousal Choice This paper will explore the attitudes of young women in China toward a future spouse. First it will discuss the traditional ways of selecting a husband and then it will discuss the responses of young university women to a list of characteristics desirable in a spouse. The Information is based on 416 surveys and interviews with freshmen, sophomores, juniors and seniors at thirteen universities throughout China conducted between January 1995 and April 1996. Additional 25
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