6/4 Yueling Ji

Ph.D. Candidate, EALC

The Stylistic Complaint: Rereading Modern Chinese Literature in Hong Kong, Macau, and Taiwan

Time: Friday, June 4, 6-8 pm CT

Zoom Registration: https://uchicago.zoom.us/meeting/register/tJIsdu6sqzMtH9yxqmjZNyRaHJDbnkueK6AR

The Art and Politics of East Asia (APEA) workshop is proud to host Yueling Ji (Ph.D. Candidate, EALC), who will be presenting her dissertation chapter “The Stylistic Complaint: Rereading Modern Chinese Literature in Hong Kong, Macau, and Taiwan.” Elvin Meng (Ph.D. Student, Comparative Literature) will offer a response. Yueling summarizes her chapter as follows:

Each chapter of my dissertation studies a case in the history of 20th-century Chinese literary criticism where “style” became an important object of literary analysis. In this chapter, the main figures are linguists, translators, and literary critics based in Hong Kong, Macau, and Taiwan. Between the 1960s and the 1990s, a linguistic method to analyze the writing style of modern Chinese literature was developed and applied to canonical literary works. The critics argued that those works contain grammatical errors, misuse figures of speech, and damage the integrity of the national language. In this way, stylistics became a tool to decenter the canon and challenge the cultural authority behind it. Additionally, this chapter will introduce, as a practical skill, how to use the linguistic method to analyze writing style. 

Yueling Ji is interested in problems of language, style, and form in literature. She argues that the formal analysis of written texts has a social function for a community of readers. Her dissertation, “Style and Modern Chinese Literary Criticism,” studies how 20th-century Chinese critics used stylistics to debate ideological beliefs. She has also written about Sino-Soviet relations, Marxism, and feminist/queer theories.

**PLEASE NOTE that the workshop is from 6 to 8pm CT**
 
Please contact Jiayi Zhu (jiayizhu@uchicago.edu) and Sophia Walker (scwalker2@uchicago.edu) if you have any questions or concerns.
Sophia and Jiayi, Co-coordinators, Art and Politics of East Asia Workshop

5/21 David Wilson

Ph.D. Candidate, Ethnomusicology
Coming in from the Cold: Complicating Global Cold War Narratives through Chinese Revolutionary Ballet

Time: Friday, May 21, 5-7 pm CT

Zoom Registration: https://uchicago.zoom.us/meeting/register/tJYrde6vpj8pHdz_2XP04Ixbj72nA7Qgn2HS

The Art and Politics of East Asia (APEA) workshop is proud to host David Wilson (Ph.D. Candidate, Ethnomusicology), who will be presenting his paper “Coming in from the Cold: Complicating Global Cold War Narratives through Chinese Revolutionary Ballet.” Lilian Kong (Ph.D. Student, EALC) will offer a response. David summarizes his paper as follows:

Although The White-Haired Girl has a long development and performance history, the ballet version of the story is particularly associated with China’s Cultural Revolution. In this paper, rather than looking at the ballet from the perspective of the Cultural Revolution, or even socialist-era China more broadly, I consider The White-Haired Girl both as a site of transnational circulation and exchange, and as part of a global network of Cold War cultural exchange. Drawing primarily on published personal accounts and press coverage, I trace the ballet’s connections with both Japan and Canada. In doing so, I propose that The White-Haired Girl allows us to read the ways in which the legacies of post-War artistic exchange and circulation allow us to disturb the classic Three Worlds model of the Cold War, and to understand the uneven global experience of Cold War politics.
 
David Wilson is a Ph.D. candidate in ethnomusicology. His dissertation focuses on the ways in which transnational circulations of music and media affect music’s potential as a site for political discourse in modern China and Taiwan. He has written and presented on diverse topics such as the construction of gender in Chinese model operas, performance practice in Gustav Mahler’s orchestral songs, and the racial imaginary constructed by the musical playlist for Donald Trump’s presidential campaign and inauguration.
 
**PLEASE NOTE that the workshop is from 5 to 7pm CT**
 
Please contact Jiayi Zhu (jiayizhu@uchicago.edu) and Sophia Walker (scwalker2@uchicago.edu) if you have any questions or concerns.
Sophia and Jiayi, Co-coordinators, Art and Politics of East Asia Workshop

4/23 Yiren Zheng

Ph.D. Candidate, EALC

Impossible Echo:
Whistling as Poetic Expression in Seventeenth-Century China

Time: Friday, April 23, 3-5 pm CT

Zoom Registration: https://uchicago.zoom.us/meeting/register/tJ0lduCtrj4oGNCA5_qiFdBFa2CJ8ALDwof- 

Discussant: Jiayi Chen, Ph.D. Candidate, EALC

For our first meeting of spring quarter, the Art and Politics of East Asia (APEA) workshop is proud to host Yiren Zheng (Ph.D. Candidate, EALC), who will present her paper, “Impossible Echo: Whistling as Poetic Expression in Seventeenth-Century China.” She summarizes her paper as follows:

This paper examines a turning point in the Chinese literary history of whistling that took place during the seventeenth century. Whistling, once sonorously reverberating in social spaces during the Six Dynasties, gradually disappeared as a sound. It continued to thrive as a poetic trope whose sonic implication became tenuous at best. During the seventeenth century, a number of authors, including Pan Zhiheng (1556-1622) and Chen Ding (1650-?), imagined whistling as a sound immediately audible in their own times despite the fact that whistling had been a lost sound for centuries. For example, Pan portrays the singing of certain courtesans as whistling in a number of prose essays; Chen depicts whistling as an apocalyptic event (alluding to the fall of the Ming dynasty) that viscerally disturbs not only the listeners but also the whistler in a literary biography entitled “Biography of the Old Whistler.” Collectively, these authors made a noteworthy intervention in the literary imagination of whistling by employing the method of simulation: presenting an imaginary scenario as if it was the lived reality while blurring the boundary between simulated reality and actual reality. This paper argues that the simulated whistling offers a space for these authors to address real-world concerns that are otherwise repressed or unacknowledged.

This paper is the main part of one of my dissertation chapters. The chapter also observes how these seventeenth-century writings enrich pre-modern Chinese discourse on whistling and in turn our understanding of poetics. During the Six Dynasties, the heyday of whistling as a sonic art, whistling was understood as a subversive poetics where speech is displaced by sound and meaning-making displaced by semantically free echoing. Starting from the fourteenth century, writers began to consider whistling as a nonverbal means of expressing one’s interiority, which is parallel to speech. The seventeenth-century depictions of whistling found a balance between using whistling to resist speech and language and assimilating whistling into the linguistic order. By tracing the discourses with which these seventeenth-century writings on whistling are implicitly in dialogue, this chapter ponders what it seventeenth-century authors gained by animating an absent sound.

 

 

Yiren Zheng is currently finishing her dissertation as a residential fellow at the Franke Institute for the Humanities and a Ph.D. candidate in the East Asian Languages and Civilizations at University of Chicago. Her dissertation explores several extralinguistic forms of communication, including whistling and talking birds, and theoretical insights they inspired in seventeenth-century literary texts written in classical Chinese. Her journal article, “Listening Askance with a Seventeenth-Century Chinese Acousmatic Voice,” has recently appeared in Parallax.

3/12 Dr. Alexander Zahlten

Professor of East Asian Languages and Civilizations, Harvard University

Systemic Paranoia: Media Intensification in Japan

 

Time: Friday, March 12, 3-5 pm CT

Zoom Registration: https://uchicago.zoom.us/meeting/register/tJ0lduCtrj4oGNCA5_qiFdBFa2CJ8ALDwof- 

Discussant: Sophia Walker, Ph.D. Student, EALC and CMS

The Art and Politics of East Asia (APEA) workshop is proud to host Dr. Alexander Zahlten (Professor of East Asian Languages and Civilizations, Harvard University) who will present his paper, “Systemic Paranoia: Media Intensification in Japan.” He summarizes his paper as follows: 

This paper understands the occult boom – a media phenomenon in Japan stretching from the 1970s to the 1990s – as a vernacular media theory that expresses, commodifies, and frames the anxieties and cognitive responses to the pressures of intensifying media connectivity. The occult boom is also a political response to the perceived failure of the Japanese left in the late 1960s/early 1970s, and an attempt to formulate a different strategy, and to understand the political challenges differently. The occult boom also can be understood as a fundamentally paranoid theory that attempts to make sense of the new connective totality, but leads into a logic of catastrophe, with in turn catastrophic consequences in the 1990s.

Alexander Zahlten is professor of East Asian Languages and Civilizations at Harvard University. His work focuses on popular film and media in Japan and East Asia from the 1960s to today. His publications include the co-edited volume Media Theory in Japan (Duke University Press, 2017, with Marc Steinberg) and the book The End of Japanese Cinema (Duke University Press, 2017). He is especially interested in the dynamics of intensified media ecologies, and his recent work touches on topics such as the relationship of electricity and film or ‘amateur’ film and media production. Between 2002 and 2010 he was program director for Nippon Connection Film Festival, the largest festival for film from Japan.

 

Please contact Jiayi Zhu (jiayizhu@uchicago.edu) and Sophia Walker (scwalker2@uchicago.edu) if you have any questions or concerns.
Jiayi and Sophia, Co-coordinators, Art and Politics of East Asia Workshop

3/5 Alex Murphy

Ph.D. Candidate, EALC

Enchantment of Politics, Poetics of Enchantment

Terui Eizō, “Shi rōdoku: Osayo,” 1935 (Record leaflet, Columbia 33287)

Time: Friday, March, 3-5 pm CT

Zoom Registration: https://uchicago.zoom.us/meeting/register/tJ0lduCtrj4oGNCA5_qiFdBFa2CJ8ALDwof- 

Discussant: Anthony Stott, Ph.D. Student, EALC/Comparative Literature 

 

The Art and Politics of East Asia (APEA) workshop is proud to host Alex Murphy (Ph.D. Candidate, EALC), who will present his dissertation chapter, “Enchantment of Politics, Poetics of Enchantment.” He summarizes his chapter as follows:

This chapter concerns the advent of radio poetry in interwar Japan, and its role in the aural poeisis of public life at the outset of the Shōwa period. Following the 1923 Kantō earthquake, a prominent consortium of poets turned to oral recitation in order to channel the turbulent rhythms and sonorities of social life that seemed so far to elude expression in print, and to the emergent technology of radio broadcast as a means of harmonizing these disparate intensities toward a communal sense of “public resonance.” In so doing, however, the poets of this growing recitation movement had also to reckon with the politics involved in shaping the radio’s emergent listening public, especially as the escalation of acclamatory social movements signaled a more polyphonous body politic than the state was willing to accommodate. What the movement’s advocates proposed, then, was a mode of recitation that might, through various formal refinements, convey the impression of an informal, unadorned poetic voice—one shorn of embellishment, polished down to its most genuine and universal essence. By the same token, however, I argue that this mode of recitation served thereby to naturalize, or enchant a narrower political vision of post-quake public life by staging the state’s attenuations of audible speech—the filtration of dissent, opacity, or innuendo—as steps toward a radiogenic ideal of clarity, neutrality, and noiseless transmission.

 

Alex Murphy is a PhD candidate in the Department of East Asian Languages and Civilizations at the University of Chicago, focusing on modern Japanese literature and cultural history. His dissertation, entitled “What the Ear Sees,” deals with performance, sound media, and the politics of the voice in interwar Japan.

 

Please contact Jiayi Zhu (jiayizhu@uchicago.edu) and Sophia Walker (scwalker2@uchicago.edu) if you have any questions or concerns.
Jiayi and Sophia, Co-coordinators, Art and Politics of East Asia Workshop