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2005: : 133 International Workshop 2005: Human Security and Gender in Asia: Perspectives from the Humanities her hair neatly tied in a bun, the debt-payment woman with seductive long hair up to her waist (usually tied during day but flowing at night), the prostitute with big hair; the modern woman with bobbed hair; and the overseas worker with dyed hair. These woman characters in Philippine literature, art, cinema and theater have been countered or reconstructed largely through the efforts of feminist writers and artists. Spiritual Violence in Vietnamese Families Phan Huyen Thu (Film Producer, Poet) Vietnam was originally the country where women have relatively high status and equal rights to men. The most worshipped goddess is the Holy Mother, Lieu Hanh, whose sexual power is thought to be vital in the farming society of Vietnam. Many prominent female figures and reigns can be found in Vietnamese history, though the introduction of Confucianism in 15th century China changed the situation. It was only after WWII that women were allowed to participate in social activities as men. Women have slowly regained respect during the 60 year-long wars with France and America, and todays Vietnam sees many female leaders in every field, including politics. Economic growth also has brought changes in the family system, and an increase of single, independent women, but mens concept of desirable women remains epitomized by the 3Ns in Vietnamese, i.e. a bit dutiful, a bit beautiful and a bit silly, which troubles todays Vietnamese women between two choices: conform to the 3Ns and get married or keep ones own independence and exert some assertiveness. It is of great concern that those who choose the latter often have to suffer in their private lives, being maltreated or punished by their partners. Discourse Policies of 20th-Century Chinese Womens Fiction YANG, Lixin (Nangjin Normal University) The development of 20th-century Chinese womens fiction went through three stages. The first stage, from the May 4th Movement to the 1940s; the second stage, the New Period that began in the late 1970s and the early 1980s; the third stage, from the late 1980s to the early 1990s. Women writers in the first stage celebrated maternal love and won the right to express themselves within the milieu of patriarchal culture. They defied the image of the weak mother and laid the groundwork for constructing womens own tradition, while they successfully gained access to mainstream culture. But the absence of sexual discourse indicated that the writers were still constrained by feudal morality, and they failed to address the issue of gender roles in family and society. In the 1980s, with the restoration of humanistic values and the influence of western feminism, Chinese women became more conscious of sexual issues. The recurrent image of sick women in New Period womens fiction is a form of body metaphor that revolts against the reality and the culture. In the 1990s, stories about sex and the female body flourished under the strong influence of Hélène Cixous, but by the mid-1990s, the body became another exploitative field to cater to banal erotic desires and the commercialism of patriarchal society. Then the focus was moved to personal writing, which, however, comes
134 under criticism because of its repetitive narcissism and its lack of relativity. The change of discourse policy thus shows not only the development of 20th-century Chinese womens fiction, but also its weaknesses and predicament. I want to fly upon traditions wings Phan Huyen Thu (Film Producer, Poet) In todays Vietnam, the generation gap is a serious problem; the older generation insists upon the maintenance of traditional values, while unaware of the new problems and new sets of values facing the younger generation. Especially the controversy revolves around the issue of sex. The Tho tre or Young poetry movement, of which I myself am a part, reflects the new sets of values, using new styles and dealing with new themes such as their personal experiences. It tries to revolutionalize sex through new usage of language. It attracts the younger generation as well as fierce criticism. My main concern is more on the creation of a new language, though sex is also one of the focal points. The Vietnamese language is infinitely copious and beautiful, rich in sounds, melodies and images. However, the alphabets we use do not correspond sufficiently and Vietnamese poets have ignored the polysemic characteristics of the language too long, thus caused the loss of beauty in the language. I resurrect some ancient words, putting them side by side with a brand new word. I try to describe feelings of the modern life by classic phrases and concepts. By combining modern words with the beauty of the Vietnamese traditional language, I believe I can come up with the expressions suitable for todays Vietnam. Japanese Names and Gender HIBIYA, Junko (International Christian University) This presentation analyzes the trend of names in Japan after 1945 and its gender implications. The period is categorized into four groups, 1)1945-59, 2)1960-74, 3)1975-89, 4)1990-2004. The top few on each list show the gender tendency in each respective period. For instance, in the period 1) and 2), the male names are often composed of one Chinese character and 3 syllables. The characters chosen are that of success, promotion, advance, health, and intelligence. On the contrary, the female names are mostly composed of two Chinese characters (one meaningful and another meaning child). The characters used are for happiness, peace, love, honesty, and generosity. In the period 3), the male names with the characters meaning big or wide shows how the society cherished the idea of scale in men. The period 4) sees the appearance of genderless names. And the characters used are often related to nature. How is Womans Body represented by the Japanese Cultural Administration: Gender Representation of Sculptures in Public Space NISHIYAMA, Chieko (Tokyo International University) In Japan, sculptures have been installed in public spaces since the Meiji Era. From
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30 The poisonous lesson of my child
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34 terms of disgust and abhorrence.
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36 opposition to the real one fasci
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38 1999; Hooks, 1989). By narrating
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40 her traumatic experience. Howeve
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42 event (p. 205). As a rape victim
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44 received positive popular accept
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46 In Behind a Cloud-Patterned Scre
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48 Suwannee Kalayanasant (1993). A
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52 who married and produced childre
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54 In fact, a working woman may hav
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56 The concept of Arthanareeswara (
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58 gender diversity and gender port
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60 Most of the advertisements sugge
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62 as occurrences and not discussed
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64 Kauravas: Sons of King Dhritaras
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