MCLC LIST problems

Dear MCLC LIST,

Recently, it seems, there have been formatting problems with email postings generated through our new blog-based system: in particular, postings without line breaks or paragraph breaks. The emails are supposed to look like they do on the blog, but that doesn’t seem to happening. I’ll look into the problem. In the meantime, if you have trouble reading the emails, just click the link at the top of the email, and that will take you to the blog posting.

Also, I’m not sure if others are having this problem, but in the past few weeks, my MCLC emails are often being sent to my Junk folder, despite repeated attempts to inform my email program that MCLC emails are not Junk. If you think you’ve been missing MCLC postings, you might want to check your Junk folders.

Ah, technology!

Kirk

Interview with Hu Jie

Source: NY Review of Books (5/27/15)
China’s Invisible History: An Interview with Filmmaker and Artist Hu Jie
By Ian Johnson

Sim Chi Yin/VII. Hu Jie in his studio in Nanjing, 2015

Though none of his works have been publicly shown in China, Hu Jie is one of his country’s most noteworthy filmmakers. He is best known for his trilogy of documentaries about Maoist China, which includes Searching for Lin Zhao’s Soul(2004), telling the now-legendary story of a young Christian woman who died in prison for refusing to recant her criticisms of the Party during the Anti-Rightist Campaign of 1957; Though I Am Gone (2007), about a teacher who was beaten to death by her own students at the outset of the Cultural Revolution in 1966; and Spark (2013), describing a doomed underground publication in 1960 that tried to expose the Great Leap famine, which killed upward of 30 million people.

Most recently, Hu, who is fifty-seven, has produced a remarkable series of woodblock prints about the famine, based on drawings he made during his interviews for Spark. They were scheduled to be shown in Tianjin last year, but they were deemed too controversial and the exhibition was cancelled.


Ian Johnson: Your films must be difficult to make. There are so few visual records of these events. Is there any historic footage of the Great Famine?

Hu Jie: No, not at all. No photos. Chinese farmers were too poor. They were also cut off, isolated, with no way to record their fate. Continue reading Interview with Hu Jie

Wang Xiaoshuai on indie films

Source: Sinosphere, NYT (5/29/15)
Director Wang Xiaoshuai Sees Worst Time for Independent Films in China
By Amy Qin and Chang Chen

A scene from "Red Amnesia," in which the widow Deng Meijuan (played by Lu Zhong, second from left), who may harbor secrets from the Cultural Revolution, poses for a portrait with her family.

A scene from “Red Amnesia,” in which the widow Deng Meijuan (played by Lu Zhong, second from left), who may harbor secrets from the Cultural Revolution, poses for a portrait with her family.Credit Courtesy of Dongchun Films

By most measures, the explosion of the film market in China over the past two decades has been a positive development.

The number of cinema screens has multiplied almost sevenfold since 2007, and watching films from home through streaming services like Youku and Sohu has never been easier. The influx of money into the Chinese market — now the world’s second largest by box-office revenues — has made finding financing for films easier, some directors say. Hollywood, of course, is happy too. Following the recent success of “Furious 7” and “Avengers: Age of Ultron,” the top four highest-grossing films of all time in China are Tinseltown imports.

Wang Xiaoshuai

Wang XiaoshuaiCredit Courtesy of Wang Xiaoshuai

But a bigger pie has not translated into bigger slices for all. Many prominent independent cinema figures in China say they are getting squeezed out by the increasingly commercially driven market.

“This may be the best of times for commercial films, but it is also the worst of times for art house films,” wrote the director Wang Xiaoshuai in a letter to moviegoers that was posted on Sina Weibo on April 30 and re-posted more than 20,000 times, including by other prominent “Sixth Generation” directors, such as Jia Zhangke and Lou Ye.

In the letter, Mr. Wang, best known for his portrayals of urban life and social dislocation in films such as “Beijing Bicycle” (2001), implicitly called out cinema managers for their lack of support for his latest film, “Red Amnesia.” Part mystery, part observational drama, the film takes on the issue of selective memory of the 1966-76 Cultural Revolution in present-day China. Continue reading Wang Xiaoshuai on indie films

New Etymological Dictionary of Chinese Characters (1)

Many thanks for this announcement, and congratulations on what seems to be a very important book, and tool. The video is very nice.

In the demo video, one can see an intriguing tab called WORDS — but it is not opened or explained. Does your dictionary have etymologies for words, or just samples of words where the character in question shows up?

And more broadly, may I ask, what do you recommend for the etymology of words? that is for ci, words, beyond characters, zi?

Of course, characters will always be tremendously interesting in themselves — but *word* etymologies are probably even more interesting for those of us in the social sciences, history, and humanities, beyond linguistics. The origins of the zi are perhaps above all interesting for specialists in the study of language and writing (and yes of course, for beginners who want to have some fun there, and find some help, or memory cues).

As for the historical etymologies of words as the units of the living language, maybe I have been missing something, but, so far, whenever looking for such Chinese etymologies I have mostly been going to good dictionaries such as Morohashi’s multivolume Chinese dictionary 大漢和辞典 / Dai Kan-Wa jiten, one of the bigger Chinese dictionaries which does offer a sea of words, and which does endeavor to offer up historical samplings for when and how words appear, on which basis one sort of can try to reconstruct one’s own word etymologies.

Yes, there is the ABC Etymological Dictionary of Old Chinese by Axel Schuessler, but it is best for the very ancient times — as is the 經傳釋詞 / Jing zhuan shi ci and other such Qing-era linguistics works that so often also were focused on the Ancients.

What about the many historical centuries since then!? — BTW, is it not an interesting question in itself why in China there are so very few etymological *word* dictionaries (those that seek to show when and where a word first came into use, and how it has been used in different centuries). (When such books do exist in Chinese, they are often limited to foreign loanwords into Chinese, — they rarely treat Chinese-Chinese words etymologically).

I don’t know how to answer this, or why, in contrast, etymologies emerged and have flourished in Europe and elsewhere. Possibly there are some answers in this book (which I just noticed when searching around to check I am not completely off the map): 詞源觀念史 / Ci yuan guan nian shi, by Yang Guangrong 楊光榮 (it seems to offer some theorization of etymology in Chinese, and of Qing philology).

–But could it be that in China, the burden of antiquity, = the idea, or better, the assumption, that there is an original correct meaning for words-as-characters, characters that are located in an original authentic antiquity, has such a powerful hold, that for most scholars, everything else and everything later is “derivative” = distorted-decayed, and therefore not really significant or worthy of study or compilation?

–Sincerely,

Magnus Fiskesjö <magnus.fiskesjo@cornell.edu>

Chinese students abroad expose Tiananmen

Source: The Chronicle of Higher Education (5/28/15)

Chinese Students in US Seek to Expose Tiananmen Square Crackdown to Peers Back Home
By Mary Ellen McIntire

28chinaletter

Yi Gu, a graduate student from China at the U. of Georgia: “I believed it was the moral responsibility to reveal the truth and show students in China how the truth has been hidden.”

A letter about the Tiananmen Square massacre signed by 11 Chinese students in the United States and other countries is gaining traction after a state-run Chinese newspaper wrote that the students had been “brainwashed” while studying overseas.

Yi Gu, a graduate student from China who is studying chemistry at the University of Georgia, published the letter online detailing the violence that took place in Beijing nearly 26 years ago. His letter, presented as discoveries Mr. Gu has made since coming to the United States three years ago, addresses a subject that is rarely discussed publicly in China and is widely censored by Chinese authorities. As such, it marks an unusual move for a Chinese student.

“This part of history has since been so carefully edited and shielded away that many of us today know very little about it,” the English translation of the letter reads. “The more we know, the more we feel we have a grave responsibility on our shoulders.”

Mr. Gu said he’d learned little about what happened at Tiananmen Square in 1989 before coming to the United States, but he was able to conduct his own research online and in the library when he arrived at the University of Georgia. He said he even spoke with survivors of the massacre who gathered in Washington, D.C., last year to mark the 25th anniversary of the incident. Continue reading Chinese students abroad expose Tiananmen

New Etymological Dictionary of Chinese Characters

I’m John Renfroe, one of the researchers at Outlier Linguistic Solutions in Taipei. We’re developing a new dictionary of Chinese characters which takes the latest in paleographic and phonological research and distills it into something which is useful for learners (and teachers) at all levels. Dr. David Moser describes it as “the next stage in the study of Chinese characters, and maybe even the next stage in the digitizing of Sinology itself.” We are currently doing a Kickstarter campaign and there is a demo version of the dictionary available on our site (watch the video for an explanation of the demo). The dictionary will initially be released through Pleco and later through other platforms as well. The dictionary comes in two “flavors”: The Essentials Edition presents exactly what a learner needs to know in order to effectively master a character — and no more. We’ve focused on answering the question, “Why does this character look like this?” in as succinct and accurate terms as possible. We explain each component in a character and describe exactly what that component’s function is within that character — is it expressing sound or meaning, or is it depicting something, or is it an empty form which is serving none of those functions? There’s also a meaning tree which shows logical connections between each character’s different meanings, stroke order, etc. The “System” tab (which you can see under the entries for 各, 尚, and 立) shows sound and semantic series, as well as any time that component shows up as a result of corruption (訛變) — meaning it has no connection to the sound or meaning of a character. The Expert Edition covers the same info, but also goes deeper into the history and evolution of the writing system — there are images and explanations of ancient character forms, historical tidbits, and phonological info. We’re making use of the latest research available in these fields, and all of our sources are cited within the dictionary itself. Please take a look at the Kickstarter and Demo pages linked to above, and let us know if you have any questions, comments, or suggestions! The money we’re trying to raise will fund the rest of the development, and if you’d like to reserve a copy, you can do so by backing our Kickstarter project. And if you think our project is worthwhile, please pass it on to colleagues, students, classmates — anyone who might be interested.

From: John Renfroe <john.renfroe@outlier-linguistics.com>

Joshua Fogel responds to Murthy/Schneider

“When you’re slapped, you’ll take it and like it.”
By Joshua A. Fogel

I take the title of my rebuttal from Humphrey Bogart’s immortal line delivered to Peter Lorre after the latter has been slapped by Mary Astor in The Maltese Falcon (you can watch it here: https://www.youtube.com/watch?v=0I1Vh-Ru1z0). This is the attitude one should adopt about receiving a negative book review, apparently not shared by everyone. Viren Murthy and Axel Schneider have now written their own rejoinder to my review of their “edited” volume. It is condescending, ridiculing, and mean-spirited, but so what? (At least there are only a few typos.) You need a thick skin in this business, and if you can’t take the heat, you should stay out of the kitchen. The one thing I wish they had done, though, is actually read my review. Would that have been asking too much?

They begin: “We of course take full responsibility for the various typographical and grammatical errors that Fogel points out.” That’s it? Is that all? The dozen or so errors I pointed out were only a tiny fraction of them—and those are apparently the only ones they “take full responsibility” for. Elemental to my critique was the haphazard manner in which they putatively edited the book. That was half of the reason I dubbed it the “worst book” I have ever read in East Asian studies, a view I stand by. This sort of extreme sloppiness reflects, I strongly believe, sloppy thinking. There is simply no way that they can even have proofread the essays that went out under their names. I suppose I should be thankful they didn’t blame Brill, but a little more heartfelt contrition should be in order, I would think. Am I wrong? Am I too tied to an outdated mode of inquiry that privileges details? Does “theory” trump everything? I shall leave it to readers to judge if I am overstating this.

The next sentence takes us right into the meat of their response: “Fogel’s lengthy review brings out another side of him: he seems engaged in a war against theory, which perhaps stems from an insecurity about his own mode of scholarship.” People don’t “seem” to be at war, “perhaps” due to “insecurity.” “Theory”—whatever that might mean here—hardly deserves the harsh language of war, even metaphorically. Had Murthy/Schneider read my review, they would have noticed the extraordinary praise lavished on Haiyan Lee’s essay which I said was one of the very best pieces I have ever read in my forty-five years in the field—and absolutely the best critique of state socialism. It is full of theory but not driven into incomprehensibility by it. I used the metaphor of a light sprinkling of condiments that it employs, rather than a battering ram approach. Also, I should add that it was almost completely free of editorial errors—a sign of clearer thinking. Continue reading Joshua Fogel responds to Murthy/Schneider

USS Enterprise building

Source: China Real Time, WSJ (5/25/15)
Chinese Firm’s Headquarters Shaped Like ‘Star Trek’s’ Enterprise
By Yang Jie

The design of the office building by NetDragon was inspired by the USS Enterprise NCC-1701-E, which appeared in three “Star Trek” movies. Courtesy of NetDragon Websoft 0777.HK 0.00%. Inc.

With the help of Google Maps, fans of the science fiction franchise “Star Trek” have boldly gone to China to find a new discovery: the USS Enterprise as a work of architecture.

The design of the building has sparked heated discussion online among Trekkies about which ship from the long-running television and movie series it is based on.

Now the mysterious owner has come forward.

The 260-meter long, 100-meter wide, six-floor building was built by Hong Kong-listed Chinese online game developer NetDragon Websoft, whose founder Liu Dejian — a 43-year-old University of Kansas alumni — is a huge fan. Mr. Liu is also a board member of Chinese search engine giant Baidu. Continue reading USS Enterprise building

Zheng Xiaoqiong, Yi Sha, and Chun Sue readings

On March 19, Zheng Xiaoqiong 郑小琼, Chun Sue 春树 and Yi Sha 伊沙 read their poems at University of Applied Arts in Vienna, Austria. Beate Maria Wörz took photos and recorded parts of the reading on video. I have uploaded the videos on Youku and Youtube, so they can be accessed both in China and elsewhere.

You can read the poems in Chinese, English and German on my blog. It should be accessible in China, too. Click on the pictures to get to the Youku videos. Please tell me if it doesn’t work. I also have a Sina Blog, but it’s not as easy to put videos there.

Unfortunately, the recording of Zheng Xiaoqiong’s reading is rather short and not very loud. But you can also find the poem KNEELING, DEMANDING THEIR WAGES 《跪着的讨薪者》 in Chinese, English and German here:

http://banianerguotoukeyihe.com/2015/05/13/kniend-um-lohn-bitten-%E9%83%91%E5%B0%8F%E7%90%BC/

The Youku version can also be accessed via this Sina page: http://blog.sina.com.cn/s/blog_68d111990102vrd5.html

The poem is here, in Chinese and English: http://blog.sina.com.cn/u/68d111990102uwud Continue reading Zheng Xiaoqiong, Yi Sha, and Chun Sue readings

Ruhr position

Find the application details for the opening of the position of Chair in Literature and Language of China at Ruhr University Bochum (Germany)

Best wishes,

Wolgang Behr

JOB ANNOUNCEMENT
Ruhr University Bochum / Germany, East Asian Studies (Fakultät für Ostasienwissenschaften)

https://www.h-net.org/jobs/job_display.php?id=50954

The Ruhr-Universität Bochum (RUB) is one of Germany’s leading research universities. The University draws its strengths from both the diversity and the proximity of scientific and engineering disciplines located on a single, coherent campus. This highly dynamic setting enables students and researchers to work across traditional boundaries of academic subjects and faculties. The RUB is a vital institution in the Ruhr area, which has been selected as European Capital of Culture for the year 2010.

The Ruhr-Universität Bochum – Faculty of East Asian Studies invites applications for the position of

*** Professor in Literature and Language of China ***

(W3 salary bracket; previous Chair: Prof. Raoul David Findeisen) to start as soon as possible.

The future holder of the post will represent the subject in research and teaching.

The applicant should further have a proven record of academic excellence in one of the two fields of Chinese literature or language including pre-modern forms of language and literature. The future Chair will also assume responsibility for the Master of Education in Chinese, for the Richard-Wilhelm Translation Centre (Richard-Wilhelm-Übersetzungszentrum), and the Taiwan Research Unit.

The future chair is expected to demonstrate a very good track record of establishing and maintaining working relations with Chinese, Taiwanese and other international research institutions and universities. Continue reading Ruhr position

The friends of Stephen Soong

Source: China Daily (5/20/15)
The friends of Stephen Soong
By Liu Zhihua(China Daily)

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Roland Soong has coauthored The Soong’s Living Room: FromQian Zhongshu to Eileen Chang, a biography of his father, Stephen Soong.

In 1995, writer Eileen Chang (Zhang Ailing) was found dead in her apartment in the United States.

To many people’s surprise, when Chang’s will was read it was discovered that the author had left all her possessions to Hong Kong couple Stephen Soong (1919-96) and his wife, Mae Fong Soong (1919-2007).

The will made celebrities of the couple, but Stephen Soong was already well-known in literary circles by his various pen names, such as Lin Yiliang. He was an accomplished translator and literary critic, and had close relationships with several eminent writers and critics in modern Chinese literature, such as Qian Zhongshu (1910-98), Fu Lei (1908-66) and Wu Xinghua (1921-66).

Now the couple’s son, Roland Soong, has coauthored a book, The Soong’s Living Room: From Qian Zhongshu to Eileen Chang, a biography of Stephen Soong.

A series of serialized interviews and articles in the Guangzhou-based newspaper Nanfang Daily in 2012 inspired Roland to publish the book.

Roland is already well-known to fans of Chang because he became the executor of Chang’s possessions after his parents died. He is also famous for his influential English-language China-focused blog EastSouthWestNorth.

The book focuses on Roland’s family history, his parents’ lives, and Stephen Soong’s education and activities related to literature, film, and his friendship with Qian, Fu, Wu and Chang.

It is based on Roland’s memory, public information and manuscripts and private correspondence between Stephen Soong and friends.

The friends of Stephen Soong

Roland Soong. [Photo provided to China Daily]

It reveals details of Stephen Soong’s family background, education, personality, marriage and literary activities. It also carries a large quantity of photos, manuscripts and correspondence that have never before been seen in public.

Continue reading The friends of Stephen Soong

3 profs charged with economic espionage

Source: SCMP (5/20/15)
Three Tianjin University professors among six Chinese charged with economic espionage in US
Agence France-Presse and Reuters in Washington

tianjin-uni-cheung

An alleged industrial spying effort was orchestrated by academics from prestigious Tianjin University (above); Hao Zhang (inset) is one of the three university professors charged. Photos: SCMP Pictures

US prosecutors have charged six Chinese nationals, including three university professors, in a years-long scheme to steal trade secrets on mobile phone technology for Beijing’s benefit.

According to a 32-count criminal indictment filed April 1 and unsealed Tuesday, the group led a long-running effort to obtain US trade secrets for universities and companies controlled by the Chinese government.

Among those charged were Tianjin University professor Hao Zhang, who was arrested upon entry into the United States on Saturday, US officials said. Continue reading 3 profs charged with economic espionage

Crotch grenade

Source: Huffington Post (5/21/15)
China Pulls TV Show Off Air Over ‘Crotch Grenade’ Plot
By AP

CHINA TV 

BEIJING (AP) — A Chinese television drama got pulled off the air following a public outcry over a plot in which a hidden grenade is pulled from a woman’s crotch during an amorous scene.

The country’s regulating agency — the State Administration of Press, Publication, Radio, Film and Television — also began to review the TV drama “Let’s Beat the Devils,” which tells about Chinese people’s resistance to Japanese invaders, the official Xinhua News Agency said.

The World War II fight against the Japanese is a popular genre of programs, which are considered patriotic and a safe bet to clear China’s strict censors and get decent ratings among the Chinese television viewers. However, the shows’ producers have been criticized for taking liberties under the cloak of patriotism. Audiences, and even state media outlets, have complained of plots that are absurd or lewd. Continue reading Crotch grenade

Creeping censorship in HK

Source: The Guardian (5/18/15)

Creeping censorship in Hong Kong: how China controls sale of sensitive books
The mainland’s economic control of bookshops and media outlets in the territory has resulted in soft censorship and restrictions on what people are able to read
By Ilaria Maria Sala in Hong Kong

Book Fair in Hong Kong

Exhibitors arrange books at a book fair in Hong Kong. Photograph: Vincent Yu/AP

The shop assistant is abrupt when the question comes.

“We are not going to sell that one. Sorry,” he says, when asked for a copy of one of Hong Kong’s most eagerly searched-for books.

And how about Zhao Ziyang’s bestselling Prisoner of the State – an explosive account of what happened behind the scenes during the pro-democracy protest of 1989 in Beijing?

“It might come back,” he says vaguely.

On the surface, there seems to be no censorship in Hong Kong. Unlike the mainland, the web is free, a wide range of newspapers is available, TV news covers demonstrations and protests, and nobody needs to apply for permission to print books. Continue reading Creeping censorship in HK

Response to Joshua Fogel’s review

MCLC and MCLC Resource Center are pleased to announce publication of Viren Murthy’s and Axel Schneider’s response to Joshua Fogel’s review of their edited book, The Challenge of Linear Time (Brill 2014). The response appears below, but is best read at its online home:

https://u.osu.edu/mclc/book-reviews/murthy-schneider/

Feel free to comment,

Kirk Denton
Editor, MCLC

Rethinking the Zombie:
A Response to Joshua Fogel

By Viren Murthy and Axel Schneider


MCLC Resource Center Publication (Copyright May, 2015)


 

Viren Murthy and Axel Schneider, eds., The Challenge of Linear Time: Nationhood and the Politics of History in East Asia. Leiden and Boston: Brill, 2014. 301 pp. ISBN13: 9789004260139; E-ISBN: 9789004260146 (Hardback: €115, $149)

Viren Murthy and Axel Schneider, eds., The Challenge of Linear Time: Nationhood and the Politics of History in East Asia. Leiden and Boston: Brill, 2014. 301 pp. ISBN13: 9789004260139; E-ISBN: 9789004260146 (Hardback: €115, $149)

We are grateful to Joshua Fogel for providing us an opportunity to reflect on our edited volume,The Challenge of Linear Time, and giving it some publicity. We of course take full responsibility for the various typographical and grammatical errors that Fogel points out, and we recognize his work in the field of Sino-Japanese cultural and intellectual history. However, Fogel’s lengthy review brings out another side of him: he seems engaged in a war against theory, which perhaps stems from an insecurity about his own mode of scholarship.

We can catch a glimpse of this insecurity already in 1994, when Fogel reviewed Stefan Tanaka’sJapan’s Orient: Rendering Pasts into History. Fogel’s book on Naitō Konan appeared in 1984, and was one of the first English-language books on Japanese sinology. However, the early 1980s were also a time when the linguistic turn and a number of critical theories were beginning to influence the humanities and Area Studies. In 1993, the publication of Tanaka’sJapan’s Orient took the study of Japanese sinology to a new level. Tanaka drew on a huge range of theories to rethink the role of Japanese sinology in relation to larger theoretical and epistemological issues connected with the Japanese empire and the construction of geographical space. Whether we agree with Tanaka’s analysis or not, we cannot deny that he made an immense contribution by engaging with theoretical issues. In this context, Fogel might have perceived his own mode of research slipping into the past and in 1994, he wrote a fairly hostile review. He claimed that Tanaka’s enmity for Japanese orientalists “comes across in snide comments as well as a new style that seems to have come of age with postmodernism, argument by innuendo rather than by evidence (which, presumably, still smacks of benighted enlightenment positivism).”[1] Continue reading Response to Joshua Fogel’s review

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