This thesis sets out to demonstrate the role of Western missionaries and Korean Christians, especially Protestants, on Korean nationalism. The first significant introduction of Protestantism into Korea came in 1884. Within just over thirty years, the Protestant Church in Korea expanded and many of the nationalist leaders took active roles in the Korean nationalist movement against Japanese imperialism. This thesis consults both Western and Korean primary sources including period newspapers. Some of the Korean primary sources were translated from Korean into English and others were originally written in English by Koreans. Also consulted are many valuable secondary sources which help further shed light on the subject at hand and give credence to the thesis. Chapters 2-4 show the direct contributions of Western missionaries to Korean nationalism and Chapters 5-7 show the indirect contributions of Western missionaries by the direct involvement of Korean Christians in their fight for independence against the old Korean order and Japan.

This study examines representations of Wu Zetian in the biographical tradition of the tenth, eleventh, and twelfth centuries, as well as within the subsequent vernacular literature of the Ming and Qing periods. I analyze the traditional use and construction of female stereotypes (and female-oriented flaws and vices) in the rhetoric of official histories and fictional narratives and their application to representations of Wu Zetian. I argue that authors, anxious of discord engendered and caused by women occupying positions of political authority, sought to delegitimize Wu Zetian’s reign and subsequently cultivated a “rhetoric of female transgression.” I further argue that the image of Wu Zetian has become a cultural signifier of the dangers of female rule. Thus, my research broadly has two foci: (1) it traces the history of delegitimizing female rulership by examining the creation and codification of topoi, and (2) by focusing on images of Wu Zetian, this study examines how these topoi influence contemporary cultural and cross-cultural values, memory, and political rhetoric. This study is divided into three chapters. Chapter one lays out the history of Wu Zetian in the Tang dynasty and an assessment of women in Tang society, which will inform the analysis of literary portrayals of Wu Zetian in chapters two and three. The second chapter examines the earliest representations of Wu Zetian. Thematically, the second chapter explores the biographical interpretation of female authority and the discursive tradition of negotiating historic fact with formulaic and reoccurring tropes. The third chapter looks at representations of Wu Zetian in the literature of the Ming and Qing periods, in which narratives are encoded with the topoi previously established in earlier historical accounts. Ultimately, although this study examines the persistence of rhetorical topoi regarding Wu Zetian, it also addresses the contested and fluid nature of her representations in non-traditional media.

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The purpose of this thesis is to assess Pakistan’s relationship with Afghanistan before and after the Soviet invasion of Afghanistan in 1979. I argue that the nature of the relationship was transformed by the region becoming the centre of Cold War conflict, and show how Pakistan’s role affected the development of the mujahidin insurgency against Soviet occupation. My inquiry begins by assessing the historical determinants of the relationship, arising from the colonial legacy and local interpretations of the contested spheres of legitimacy proffered by state, tribe and Islam. I then map the trajectory of the relationship from Pakistan’s independence in 1947, showing how the retreat of great power rivalry following British withdrawal from the subcontinent allowed for the framing of the relationship in primarily bilateral terms. The ascendance of bilateral factors opened greater possibilities for accommodation than had previously existed, though the relationship struggled to free itself of inherited colonial disputes, represented by the Pashtunistan issue. The most promising attempt to resolve the dispute came to an end with the communist coup and subsequent Soviet invasion, which subsumed bilateral concerns under the framework of Cold War confrontation. Viewing the invasion as a major threat, Pakistan pursued negotiations for Soviet withdrawal, aligned itself with the US and gave clandestine support to the mujahidin insurgency. External support enhanced mujahidin military viability while exacerbating weaknesses in political organization and ideology. Soviet withdrawal in 1989 left an unresolved conflict. Faced with state collapse and turmoil across the border, heightened security concerns following loss of US support, and intensified links among non-state actors on both sides of the frontier, the Pakistan government drew on its recently gained experience of working through non-state actors to attempt to maintain its influence in Afghanistan. There would be no return to the relatively stable state-state ties prevailing before 1979.

This study focuses on the novels of Quicksand by Nella Larsen and Invisible Man by Ralph Ellison to explore the phenomenon of poqéakh (פֹּקֵחַ) through the fictionalized lived experiences of their protagonists, Helga Crane and invisible man. Each novelist’s representation of poqéakh offers a portrait of the protagonists’ psyches. The narratives reveal an unsettling truth for the protagonists, who are members of a population often targeted, stigmatized, and fashioned or re-fashioned by Americans and various environs in American society, that they must assimilate—not only their bodies, but their psyches too to fit the “white man’s pattern” (Larsen 4). Their realities inform them that non-conformity and/or developing or utilizing their intellect is disadvantageous—perceiving is unfavorable. Each protagonist learns that she and he will not only be limited by their imaginations or abilities, but also by persons and constructs within American society keeping them witless and amenable. The environs presented in forms such as schools, jobs, even people who prepare each protagonist to accept all and any disparity (inequality and inequity), they are made to be persistently and surreptitiously instructive. As such, these environs are always educating (or training), always molding the psyches of the protagonists to live within a frame—the construct (American society). These ever informing boundaries thoroughly acquaint each protagonist on “how to scale down [their] desires and dreams so that they will come within reach of possibility” (Thurman 115). Poqéakh leads Helga Crane to perceive the boundaries while it prevents the invisible man from returning to unblissful ignorance, thus, for him, providing momentary periods of lucidity. This study utilizes a qualitative research design and method, and relies on phenomenological theory to successfully analyze the novels and explicate on the representations of poqéakh. As this study will illustrate, Larsen and Ellison offer as representative via their novels two narratives of the diasporic psyche (mind), wherein their protagonists’ experiences of poqéakh lead to some unmitigated facts and disturbing truths about their reality.

This thesis deals with China's policy making toward both the Soviet Union and the United States in late 1949 and early 1950 and how they made the decision to enter the conflict, by making use of recently declassified Chinese sources and available American sources.

This thesis emerged from my emotional, tactile, and intellectual access to the actress, Yamaguchi Yoshiko (a.k.a. Ri Kōran or Li Xianglan), who embodied the cultural hybridity of Manchuria and represented a ‘modern girl’ on screen. I analyze four wartime melodrama-adventure films, in which she co-starred with Japanese actors: Song of the White Orchid (Byakuran no uta, 1939), China Nights (Shina no Yoru, 1940), Vow in the Desert (Nessa no chikai, 1940), and Suzhou Nights (Soshū no yoru, 1941). The formation of domesticity played an integral part in the making of modern nation-states. Intertexualizing with the discursive formation of the ie (house/family) between the mid 19th and mid 20th centuries, I first demonstrate that Japanese film subjects are made to embody the imagined Imperial nation through gendered performances in Song of the White Orchid. The interior and exterior are constructed to mirror the notion of imperial nation and the Asian ‘other’. Next, I extend the analytical framework to the three films, China Nights, Vow in the Desert, and Suzhou Nights, which employ films’ specific locations for different operations of gendered and ethnicized positioning. I also pay attention to some of the climaxes, which unconventionally present psychological dramas outdoors and action scenes indoors. Especially, my interest in this part of analysis is in interrelating metaphors of bodily boundary and national border. As delineating the signification of body and nation, I situate the relay of the gaze in the simultaneous blurring of bodily boundary and national communities that coincides with melodramatic highlights located outdoors. In order to shape a Japanese imperial subject, the films symbolically negotiate with three levels of power dynamics: the establishment of a national identity, the mimicry of the West, and the significance of China in Japanese imperial modernity. The delineation of cinematic space and subject positioning in Ri Kōran’s films reveals that Chinese, Japanese and the West are constituted as shifting positions that respectively represent past/obstructions, present/a mobile agency, and future/the envisioned goal. Ri Kōran attracts spectators’ gaze and mediates multiple locations to identify with, while Japanese male protagonists embody the gaze by making his corporeality absent.

The trials of a comfort woman was never revealed after the conclusion of WWII. More than half a century has passed before the name was uttered on the international stage. Why the sudden break of silence? What is the response of the Japanese government. In this paper, we discuss the issue of the comfort women and the the political implications it holds on Japan. Japan's failure to accept wartime reparation, largely due to Allied intervention, has resulted in the widening gap between Japan and Asia. This paper focuses on the combination of increased US influence as a result of the San Francisco Treaty of 1951 and Japan’s fervent nationalistic identity served to widen the gap between Japan and other East and Southeast Asian nations, making reconciliation over the issue of comfort women a problem that remains unresolved to this day.

This thesis emerged from my emotional, tactile, and intellectual access to the actress, Yamaguchi Yoshiko (a.k.a. Ri Kōran or Li Xianglan), who embodied the cultural hybridity of Manchuria and represented a ‘modern girl’ on screen. I analyze four wartime melodrama-adventure films, in which she co-starred with Japanese actors: Song of the White Orchid (Byakuran no uta, 1939), China Nights (Shina no Yoru, 1940), Vow in the Desert (Nessa no chikai, 1940), and Suzhou Nights (Soshū no yoru, 1941). The formation of domesticity played an integral part in the making of modern nation-states. Intertexualizing with the discursive formation of the ie (house/family) between the mid 19th and mid 20th centuries, I first demonstrate that Japanese film subjects are made to embody the imagined Imperial nation through gendered performances in Song of the White Orchid. The interior and exterior are constructed to mirror the notion of imperial nation and the Asian ‘other’. Next, I extend the analytical framework to the three films, China Nights, Vow in the Desert, and Suzhou Nights, which employ films’ specific locations for different operations of gendered and ethnicized positioning. I also pay attention to some of the climaxes, which unconventionally present psychological dramas outdoors and action scenes indoors. Especially, my interest in this part of analysis is in interrelating metaphors of bodily boundary and national border. As delineating the signification of body and nation, I situate the relay of the gaze in the simultaneous blurring of bodily boundary and national communities that coincides with melodramatic highlights located outdoors. In order to shape a Japanese imperial subject, the films symbolically negotiate with three levels of power dynamics: the establishment of a national identity, the mimicry of the West, and the significance of China in Japanese imperial modernity. The delineation of cinematic space and subject positioning in Ri Kōran’s films reveals that Chinese, Japanese and the West are constituted as shifting positions that respectively represent past/obstructions, present/a mobile agency, and future/the envisioned goal. Ri Kōran attracts spectators’ gaze and mediates multiple locations to identify with, while Japanese male protagonists embody the gaze by making his corporeality absent.

Interest in Muslim and Arab societies has been on the rise in South Korea, especially since 2001, with many books and various documentaries being published on the subject. Since 2005 there have been a number of television shows and documentaries that include Muslim, and sometimes Arab characters. This study will examine how images of Muslims and Arabs are presented in Korean popular culture through the analysis of various dramas and variety shows, as well as how these images fit into the context of Korean ethno-nationalism and the history of Islam in East Asia. In addition to this analysis this study will also be exploring how these images have been changing from negative to a more sympathetic or realistic depiction of Muslims and Arabs, as well as explore which groups are responsible for this change.