Chenxin Jiang

Chenxin Jiang (PhD Candidate, Social Thought)
Philhellenism and Philosophy in 1920s China
Discussant: Yanxiao He (PhD Student, Near Eastern Languages and Civilizations)
Friday, April 12, 3-5PM
Location: CEAS 319 (1155 E 60th St)

On April 12th from 3:00pm to 5:00pm the Art and Politics of East Asia workshop will host Chenxin Jiang (PhD Candidate, Social Thought). She will present “Philhellenism and Philosophy in 1920s China,” a chapter of her dissertation. Chenxin offers the following abstract:

This paper is about the 1920s journal Xueheng (Critical Review) and its translations of Plato and Aristotle into Chinese. Specifically, I read Xueheng’s translation practice as an intervention into the question of how the Chinese cultural tradition should be understood in light of global history, focusing on two critical questions: the place of Chinese thought in a global history of philosophy, and the Renaissance as a keenly contested historical parallel for contemporary China.

Spring 2019 Schedule

Art and Politics of East Asia Workshop (APEA) is excited to announce the Spring 2019 schedule.

 

Location: Center for East Asian Studies, Room 319, 1155 E 60th St

Time: Friday, 3-5PM

Please note special location or time for some events.

 

April 12

Chenxin Jiang (PhD Candidate, Social Thought)

Philhellenism and Philosophy in 1920s China

Discussant: Yanxiao He (PhD Student, Near Eastern Languages and Civilizations)

Followed by a catered dinner

 

April 19

Professionalization Workshop with EALC Alumni Anne Rebull and Carly Buxton

Please note special time and location: 12-2pm in Cobb 302

 

April 26-27

Panel on East Asian Literary Histories
With PhD students Emily Yoon, Nicholas Wong, and Brian White
Discussant: Professor Paola Iovene (EALC)
Please note special time and location: Walker Museum 302, 1115 E. 58th St, Chicago, IL 60637; coffee and light refreshments at 3:30PM and panel at 4PM.

 

May 10

Yiren Zheng (PhD Candidate, EALC)

Voices that Are Not Fully Human

Discussant: William Carroll (PhD Candidate, EALC)

Please note special location: EALC Seminar Room, Wieboldt Hall 301N, followed by a catered dinner

 

May 17

Alia Breitwieser (PhD Candidate, Comparative Literature)

The Topography of the Text: Rethinking Jin Shengtan’s Reading Methods (dufa 讀法)

Discussant: Yiying Pan (PhD Candidate, EALC)

 

May 24

Jun Hee Lee (PhD Candidate, History)

Kindling Healthful Singing Across Tokyo: Utagoe Cafe Tomoshibi’s Cultural Ventures, 1962-1984

Susan Su

Susan Su (PhD Candidate, EALC)

“Beyond Censorship: Language and Literary Networks in Tibetan-Language Online Literature Websites of the 2000s”

Discussant: Sabine Schulz (PhD Student, EALC)

Friday, March 8, 3-5PM

Location: CEAS 319 (1155 E 60th St)

 

On March 8th from 3:00pm to 5:00pm the Art and Politics of East Asia workshop will host Susan Su (PhD Candidate, EALC). She will present “Beyond Censorship: Language and Literary Networks in Tibetan-Language Online Literature Websites of the 2000s,” a conference article that will also become a chapter of her dissertation. Susan provides the following abstract:

In this paper, I ask how the diverse and shifting uses of Tibetan language on the website Chodme intersect with conceptions of ethnicity and culture in contemporary Tibetan cultural production to understand how websites and online networks ask us to reconceptualize the role of online media in producing and mediating Tibetan language and culture. I will first briefly summarize existing arguments on the relationship between language and media in the contemporary Tibetan cultural production before going on to analyze the Tibetan-language literature website Chodme with respect to its form and language and its role in fostering an online community.

Lilian Kong

 Lilian Kong

Wolf Warrior II: Chinese Nationalism in the Popular Culture and Media Age

Friday, October 26th: 1 p.m*

Location: CEAS 319 (1155 E. 60th St.)

Poster of Wolf Warrior II (2017)

Discussant: William Carroll, PhD Candidate

Cinema and Media Studies + East Asian Languages and Civilizations

*Screening of Wolf Warrior II [战狼2] (2017, 126 minutes) begins at 1 p.m.

with a discussion of Lilian Kong’s paper to follow.

Lunch will be served during the film screening.

On November 2nd, the Art and Politics of East Asia workshop will host Lilian Kong (Master of Arts Program in the Humanities). She will present a draft of an essay intended for publication entitled, Wolf Warrior II: Chinese Nationalism in the Popular Culture and Media Age.” Lilian offers the following abstract:

Amidst economic reforms in the 1980s, the State Administration of Press, Publication, Radio, Film and Television (SPPRFT or SARFT) initiated and financially supported main melody (zhu xuanlü) films to reunify public opinions at a time of national transition toward a capitalist China. Since the beginning of the 21stcentury, these films have solidified their nationalist agenda, attracting China’s young consumer generation with hyper-commercialization, but rarely deviating from state-administered political ideologies and Han Chinese glorifications of socialist history. Wu Jing’s military-action drama Wolf Warrior II (2017), China’s largest grossing domestic film to date, represents a new development in the Chinese main melody genre. Scholars have paid particular attention to the film’s setting in Africa instead of China, arguing that the film embodies a bold expansion of nationalist power to the international arena (Liu, Amar, Osnos). On the premise of this current scholarship, my paper explores Wolf Warrior II’s character formations and its construction of inter-racial relationships to reveal how the film has altered the foundational components of China’s contemporary nation-state. I argue that ambiguities of nation and state manifested in Wolf Warrior II signal a transformation in main melody films’ nationalist agenda due its surfacing of the contradictory, entangled relations between international commercial media networks, particularly in the film’s collaboration with the American superhero franchise Marvel Studios, and the continuous surveillance of domestic state-administered networks that structures its production process.

Chao Wang

Chao Wang

Blind Singing Girls and the Respectability of Livelihood in Early Republican Guangzhou, 1911-1927

Friday, October 19th, 3-5 p.m.
Location: CEAS 319 (1155 E. 60th St.)

Discussant: Weichu Wang (PhD Student, History)

On October 19th from 3:00pm to 5:00pm the Art and Politics of East Asia workshop will host Chao Wang (PhD Candidate, History). He will present Blind Singing Girls and the Respectability of Livelihood in Early Republican Guangzhou, 1911-1927, a chapter of his dissertationChao Wang offers the following abstract:

This chapter shows the transformation of self-help among blind singing girls (guji 瞽姬) in early-Republican Guangzhou (1911-1927). These disabled women were sold at an early age by their families to be raised and trained under the tutelage of a foster mother, the elderly former guji who operated private training institutes (tangkou 堂口) in neighborhoods adjacent to business centers. Once they have reached a level of proficiency in singing, young guji will start their career as professional entertainers who were invited to perform in public festivals and family banquets. Republican-era expansion of commercial theatres promoted the social respectability of blind singers by introducing them into bourgeoisie-style teahouses (chalou 茶楼) and securing them with cultured patrons. However, the shifted consuming preference to sighted singers (nüling 女伶) in the 1920s had pushed many blind women out of employment in the teahouse and left them singing on the street. The lower-class guji were forced to engage in sex work for a living. The decline of guji’s respectability, I argue, originated from the negotiation between commercial interest and state regulation, which significantly challenged the moral economy of self-help and pressured a skilled profession to finally degenerate into prostitutes due to survival. Moreover, I demonstrate from the evolution of ableism in the urban entertainment that specific ideas and practices of femininity were constituted by the reconfiguration of a disability.

Screening of Art in Smog with Lydia Chen

Art in Smog 

Screening and Conversation with Director Lydia Chen

Friday, October 12th, 3-5 p.m.
Location: Cochrane-Woods Art Center, Room 157

Joint Event with the Visual and Material Perspectives on East Asia Workshop

Introduced by Professor Paola Iovene (East Asian Languages and Civilizations)

Image taken from Lydia Chen’s Art in Smog ( HD / 76 min. / Color / 2018 / Mandarin with English subtitles )

On October 12th from 3:00pm to 5:00pm the Art and Politics of East Asia workshop and Visual and Material Perspectives on East Asia Workshop are proud to present a screening of the 2018 documentary feature Art in Smog (76 min. / Mandarin with English subtitles) and conversation with the director Lydia Chen. Art in Smog offers an intimate encounter with four artists and a curator in China, as they pursue their dreams over 25 years of rapid change. Featured are international artists Su Xinping and Xia Xiaowan, painter and antiques connoisseur Mushi, curator Cui Cancan, and painter Chen Hui. The pursuit of art takes them from quiet lives in the 1990s to the extremes of the 2000s to their different paths forward today.

About the Filmmaker:

Lydia Chen has engaged in cultural exchanges between China and the United States since the 1980s. At first she worked for the Foreign Languages Press and studied Chinese painting at the Central Academy of Fine Arts in Beijing. Later she was communications director for the American Chamber of Commerce in China, associate director of the Center for East Asian Studies at Stanford University, and executive director of the Fairbank Center for Chinese Studies at Harvard University. She received her master’s degrees in journalism and Asian studies from the University of California at Berkeley and her B.A. from Sarah Lawrence College.

For more information, please visit the film’s official website.