This dissertation employs an interdisciplinary approach to address the various configurations of the theatrical tradition of cross-dressing in classical Chinese drama as well as in today's regional operas, placing them in a larger cultural and theoretical context of gender studies. Drawing on cultural theory and viewing the various dramatic and performance texts as signs of historical processes, this study investigates gender construction and gender politics in Chinese theatre in terms of the highly mediated representations of women, gender, eroticism, and cross-dressing presented in a variety of discourses from the Yuan period to the present time. Focusing on cross-dressing as a destabilizing force, it addresses issues of the male/female transvestite theatre and modes of erotic desire, the participation of female players in the cultural (re)production and subversion of gender differences in various historical moments, the figure of the woman warrior and the complexities of gender politics in representing female resistance and containment in relation to the contemporary sociopolitical context, the instability of gender representation in textual and visual media, and the generation of the unsettling notion of gender as performance in traditional Chinese theatrical discourse. The prevalent cross-dressing practice on stage combined with an obsession with "prettiness" and "artistry" in traditional theatre criticism and aesthetics have engendered the subversive feminine, rendering Chinese theatre an unstable site of ideological contestation embodying a simultaneous perpetuation and dismantling of bipolar gender notions and sociopolitical hierarchies. This dissertation also attempts to show that critical reflections on traditional culture can be made to speak to the concerns of today's ideological resistance to political hegemony and cultural dominants, by way of the unveiling of polyvalent meanings of gendering and gendered differences that are constructed, reproduced, dismantled, and contested in that particular site of Chinese culture, i.e., the theatre.

<p> This is a study of the rise of science fiction as a subculture in the 1960s through an analysis of the first and longest-running commercial science fiction magazine in Japan: <i>SF Magazine.</i> Much of the research on science fiction in Japan focuses on the boom in the 1980s or on the very first science fictional texts created in the early years of the twentieth century, glossing over this pivotal decade. From 1959-1969, <i>SF Magazine </i>&rsquo;s covers created a visual legacy of the relationship of the human body to space that reveals larger concerns about technology, science, and humanity. This legacy centers around the mediation of human existence through technology (called the posthuman), which also transforms our understanding of gender and space in contemporary works. I examine the constellation of Japanese conceptions of the body in science fiction, its manifestations and limits, exploring how the representation of this Japanese, posthuman, and often cyborgian body is figured as an absence in the space of science fiction landscapes. <i>SF Magazine</i> was used by consumers to construct meanings of self, social identity, and social relations. Science fiction illustration complemented and supported the centrality of <i>SF Magazine,</i> making these illustrations integral to the production the of science fiction subculture and to the place of the body within Japanese science fiction. Their representation of space, and then in the later part of the 1960s the return of the body to these covers, mirrors the theoretical and emotional concerns of not just science fiction writers and readers in the 1960s, but the larger social and historical concerns present in the country at large.</p><p> The horrifying and painful mutability of bodies that came to light after the bombing of Hiroshima and Nagasaki manifests, in the latter years of the 1960s in science fiction, as the fantastically powerful mutating bodies of super heroes and cyborgs within the science fictional world. The bombed spaces of the postwar (largely ignored in mainstream 1960s media) were reimagined in productive ways on the covers of <i>SF Magazine,</i> mirroring the fiction and nonfictional contents. It is through this publication that a recognizable community emerges, a particular type of identity becomes associated with the science fiction fan that coalesced when the magazine began to offer different points of articulation, both through the covers and through the magazine&rsquo;s contents. That notion of the science fiction fan as a particular subjectivity, as a particular way to navigate the world, created a space to articulate trauma and to investigate ways out of that trauma not available in mainstream works.</p><p> My work seeks to build on literary scholarship that considers the role commercial and pulp genres fiction play in negotiating and constructing community. I contribute to recent scholarship in art history that investigates the close relationship of Surrealism to mass culture movements in postwar Japan, although these art historians largely center their work on advertising in the pre-war context. Furthermore, my project reconsiders the importance of the visual to a definition of science fiction: it is only when the visual and textual are blended that a recognizable version of science fiction emerges &ndash; in the same way the magazine featuring the work of fans blurred the boundary between professional and fan. Hence, although the context of my study is 1960s Japan, my research is inseparable from larger investigations of the visual and the textual, the global understanding of science fiction, the relationship between high art and commercial culture, and contemporary media studies. This work is therefore of interest not only to literary science fiction scholars, but also to researchers in critical theory, visual studies, fan studies, and contemporary Japanese culture.</p>

In this dissertation, I explore Wei shu historiography on the early Northern Wei imperial state, which was founded by the Tuoba Xianbei in the late fourth century C.E. In examining the Wei shu narrative of the Northern Wei founding, I illuminate not only the representation of cultural and imperial authority in the reigns of the early Northern Wei emperors, but also investigate historiography on the pre-imperial Tuoba past. I argue that the Wei shu narrative of Tuoba origins and ancestors is constructed from the perspective of the moment of the Northern Wei founding. Or, to view it the other way around, the founding of the Northern Wei imperial state by Tuoba Gui signifies the culmination of the Wei shu narrative on the early Tuoba. This narrative of the early Tuoba past is of course teleological: Essentially everything in this phase of Tuoba historiography leads up to the moment of the Northern Wei imperial founding, including genealogical descent from a son of Huangdi, who is represented as the Xianbei progenitor, in a remote northern wilderness; the continuous succession of Tuoba rulers that followed; and the journeys that brought the Tuoba out of the wilderness and toward the geographical center. In focusing on the account of the inaugural reign of Tuoba Gui, the Northern Wei founder, and the record of his ritual practice as emperor, I have discovered tensions in Wei shu historiography that I believe signal toward some of the actual cultural contestation that attended the founding of the Northern Wei imperial state. The Wei shu historiography on Buddhism in the early Northern Wei then, I argue, presents an alternative source of authority, one that stands outside both an imperial Han inheritance and a culturally Tuoba tradition.

Thesis (Ph.D.)--Lehigh University, 2009. / Adviser: Amardeep Singh.

<p> This introduction serves to provide a sketch of the circumstances that led to the prominence of "nativist," or <i>xiangtu</i> literature from the Republic of China (i.e. Taiwan) in the late twentieth century. Huang Chunming, the author of the stories featured in this thesis, has been a prolific writer from the east of the Taiwan Straits since 1962, and has contributed to the popularization of Taiwanese xiangtu literature in the decades of the island's industrialization experience. In Huang's world of fictional characters, readers have multifaceted records of the Taiwanese people's lives and the culture of their native soil.</p>

<p> The Great East Japan Earthquake of March 2011, known colloquially by the shorthand "3.11," claimed at least 16,000 lives and caused extreme damage to landscape and property, also triggering one of the most serious nuclear crises in history. These events were of great social, economic, cultural, and political consequence and are therefore in need of study from multiple perspectives. Sociologist Jeffrey C. Alexander, as a leading theorist of the model of cultural trauma, sees the work of "trauma drama" as crucial to the collective creation and negotiation of claims toward large-scale trauma. My dissertation seeks to investigate Alexander's insight more thoroughly. This dissertation seeks not only to broaden the field of view of collective trauma studies with a new case study, but to deepen the understanding of how performance functions as a part of the collective trauma creation process. To that end, this dissertation has a topical organization that analyzes space, time, and the body as nodes of intersection between post-3.11 anxiety sites and aspects of stage and film performance. Closely reading film and stage plays while examining the specific formal mechanisms by which they manipulate space, time, and the body in the aftermath of disaster, I argue that stage and film performances are especially powerful means through which to stake and (re)negotiate claims regarding trauma, particularly in response to the specifics of the 3.11 disaster. Inspired by the socially contextualized approach to performance studies pioneered by Richard Schechner and Victor Turner, this dissertation accesses a wide array of cultural and theoretical sources, including the spatial theory of Henri Lefebvre, the temporal Deleuzian scholarship of D.N. Rodowick, and Erin Manning's theory on the political impact of touch, alongside trauma theory and a multiplicity of readings on the significance of 3.11.</p><p>

abstract: Li He (790-816), an outstanding poet full of literary talent in classical Chinese poem history, his poignant words, incredible literary construction, nether artistic conception and nuanced peculiar poem style owned him the reputation of “ghostly, demonic genius” 鬼才. Scholars demonstrated that his ghostly and demonic style has much to do with the special imagery and allusion in his poetry. However, this kind of ghostly appeal of literature exactly have much to do with the large quantity of sensory vocabulary that the poet is expert in using in his poems, which evokes resonance from the readers/audiences. Li He fuses visual, auditory, olfactory, gustatory and tactile sensation in his poems, building up his special writing style, evoking and creating a sensorial space for readers. The thesis concentrates on analyzing the sensory vocabulary in Li He’s poetry, sonic depiction in particular, which are rarely discussed before, based on which making further conclusion about the artistic conception and the special style of Li He’s poetry. / Dissertation/Thesis / Masters Thesis East Asian Languages and Civilizations 2015

abstract: ABSTRACT This dissertation examines the history of the early medieval city Ye 鄴 and its place in the literary tradition. Ye was the powerbase of the warlord Cao Cao 曹操 (155–220) and the birthplace of the Jian’an 建安 literature. It was also the capital city of the Later Zhao 後趙 (319–349), the Former Yan 前燕 (337–370), the Eastern Wei 東魏 (534–550), and the Northern Qi 北齊 (550–577). Through a contextualized close reading of a variety of literary and historical texts, including poems, prose, scholar notes, and local gazetteers, this study shows how Ye, destroyed in 580, continued to live on in various forms of representation and material remains, and continued to evolve as an imagined space that held multiple interpretations. The interpretations are represented in works that treat the heroic enterprise of Cao Cao in founding the city, the double-sided poems that collapsed celebration and themes of carpé diem in the Jian'an era, and in tropes of sorrow and lamentation on the glories, or ruins, of the city that had passed its life in a brilliant flash, and then was lost to time and text. Ye’s most iconic structure, the Bronze Bird Terrace, developed a distinct terrace-scape, a nearly mythical space where poets tangled with questions of sorrow, consciousness after death, and lamentation for women forced to serve their lord long after his demise. The last material vestiges of the city, its tiles which were shaped into inkstones, created a discourse in the Song and Yuan periods of heavy censure of Cao Cao's exercise of power and his supposed eventual failure of ambition and retreat to concern over meaningless material possessions. Over the years, these representations have seen in Ye a fertile ground, either experienced or imagined, where questions about political rise and fall and about the meaning of human life could be raised and partially answered. This dissertation looks closely at the ambivalent attitudes of writers through the ages about, and at their sometimes ambiguous representation of, the status and meaning of that ancient city. / Dissertation/Thesis / Doctoral Dissertation East Asian Languages and Civilizations 2016

abstract: This dissertation uncovers the contemporary impressions of Song cities represented in Song narratives and their accounts of the interplay between people and urban environments. It links these narratives to urban and societal changes in Hangzhou 杭州 (Lin’an 臨安) during the Song dynasty, cross-referencing both literary creations and historical accounts through a close reading of the surviving corpus of Song narratives, in order to shed light on the cultural landscape and social milieu of Hangzhou. By identifying, reconstructing, and interpreting urban changes throughout the “pre-modernization” transition as well as their embodiments in the narratives, the dissertation links changes to the physical world with the development of Song narratives. In revealing the emerging connection between historical and literary spaces, the dissertation concludes that the transitions of Song cities and urban culture drove these narrative writings during the Song dynasty. Meanwhile, the ideologies and urban culture reflected in these accounts could only have emerged alongside the appearance of a consumption society in Hangzhou. Aiming to expand our understanding of the literary value of Song narratives, the dissertation therefore also considers historical references and concurrent writings in other genres. By elucidating the social, spatial, and historical meanings embedded in a variety of Song narrative accounts, this study details how the Song literary narrative corpus interprets the urban landscapes of the period’s capital city through the private experiences of Song authors. Using a transdisciplinary methodology, it situates the texts within the cultural milieu of Song society and further reveals the connections of these narratives to the transformative process of urbanization in Song society. / Dissertation/Thesis / Doctoral Dissertation Asian Languages and Civilizations 2017

abstract: Japanese literature of the Heian Era (794-1185) abounds with references to musical instruments and episodes of performance. This thesis provides some insight into that music by translating sections of the "Wakana II" (Spring Shoots II) chapter of the early 11th-century novel Genji monogatari (The Tale of Genji). It explains the musical references and shows how, in the context of the novel, musical performance, musical teaching, and interpersonal relationships were inextricably intertwined. Detailed appendices provide background on traditional Japanese musical instruments, musical theory, and related subjects. / Dissertation/Thesis / M.A. Asian Languages and Civilizations 2013