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- All Subjects: Asian studies
- Creators: Bokenkamp, Stephen
Description
Ascribed elements of one's self-identity such as sex, race, and the place of birth are deeply related to one's national identity among Japanese immigrant women. Spouses, offspring, friends, networks in the U.S., or even information about their local area also represent the nation they feel they belong to. The feelings of belonging and comfort are the basis for their achieved sphere of identification with the U.S. This study found that few elderly immigrants would identify only with the host county. Likewise, very few elderly immigrants would identify only with the homeland. Therefore, most of them identify with both countries (transnational), or they identify with neither country (liminal) to an extent. Developing transnational or liminal identity is a result of how Japanese elderly immigrant women have been experiencing mundane events in the host country and how they think the power relations of the sending and receiving countries have changed over the years. Japanese elderly immigrant women with transnational identity expressed their confidence and little anxiety for their aging. Their confidence comes from strong connection with the local community in the host country or/and homeland. Contrarily, those with liminal identity indicated stronger anxiety toward their aging. Their anxiety comes from disassociation from the local community in the U.S. and Japan. With regard to the decisiveness of future plan such as where to live and how to cope with aging, indecisiveness seems to create more options for elderly Japanese immigrant women with the transnational identity, while it exacerbates the anxiety among those who have liminal identity.
ContributorsKawakami, Atsuko (Author) / Tsuda, Takeyuki (Thesis advisor) / John, Johnson (Committee member) / Menjivar, Cecilia (Committee member) / Arizona State University (Publisher)
Created2012
Description
This thesis examines the relationship between political culture, Confucian intellectuals, and the rise of a new intellectual and cultural paradigm during the early to mid-Ming dynasty (1368 – 1644). The main goal of this thesis is to supplement current scholarship on Chen Xianzhang’s 陳獻章 (1428 – 1500) life as an intellectual of Cantonese origin and his political activities at both local and national levels. Furthermore, the thesis supplements current research on the Yangming School and the School’s contribution to the revitalization of private academies during the Ming with a study on the relationship between the three Confucian intellectuals enshrined in 1584 and the revival of private academies from the perspective of political history. In analyzing the relationship between these various aspects of the Ming political and intellectual landscapes, the thesis uses the 1584 Confucian Temple enshrinement, which involved Wang Yangming 王陽明 (1472 – 1529) and his two older contemporary Confucian intellectuals, Chen Xianzhang and Hu Juren 胡居仁 (1434 – 1484), as an entry point to explore the dynamics behind the political and cultural changes at the time. It aims to investigate the issue of cultural power versus imperial power, the central-versus-peripheral narrative in Ming politics, the evolution of how cultural power was asserted by members of the Confucian tradition, and the manifestation of such evolution in response to contemporary political discussions. The author begins with an analysis of the revival of private academies (shuyuan 書院) during the mid-Ming, and the influence of Chen Xianzhang and Hu Juren in this revival. He then dissects the relationship between the revival of private academies and the emergence of jianghui 講會 (discussion gatherings) in the following decades. Finally, the thesis discusses the struggle of mid-Ming intellectuals in gaining cultural legitimization for both private academies and jianghui activities by urging the imperial court to give due recognition through enshrining Wang, Chen, and Hu in the Confucian Temple, and the historical significance of this struggle to the development of the Confucian tradition in the Ming. The author ultimately argues that Chen Xianzhang, contrary to the common perception about him being a philosopher-poet who was indifferent to political discourses, was in fact a politically active intellectual; and that Chen’s contributions to the revival of private academies in Guangdong predated that of Wang Yangming in the Jiangnan region.
ContributorsChan, David Tsz Hang (Author) / Tillman, Hoyt C (Thesis advisor) / West, Stephen H. (Committee member) / Bokenkamp, Stephen (Committee member) / Arizona State University (Publisher)
Created2016
Description
As many modern scholars have warned, the complexity of Tang narratives is far
beyond the reach of Lu Xun’s twentieth-century generic labels. Therefore, we should have
an acute awareness of the earlier limiting view of these categorizations, and our research
should transcend the limitations of these views in regard to this extensive corpus or to being
confined to rigid and meager reading of the richness of the stories. This dissertation will
use a transdisciplinary methodology that incorporates both history and literature in close
reading of seven Tang tales composed in the mid-to-late Tang eras (780s–early 900s), to
break the boundaries between the two generic labels, chuanqi and zhiguai, and unearth
significant configurations within these literary texts that become apparent only through
stepping across genre.
beyond the reach of Lu Xun’s twentieth-century generic labels. Therefore, we should have
an acute awareness of the earlier limiting view of these categorizations, and our research
should transcend the limitations of these views in regard to this extensive corpus or to being
confined to rigid and meager reading of the richness of the stories. This dissertation will
use a transdisciplinary methodology that incorporates both history and literature in close
reading of seven Tang tales composed in the mid-to-late Tang eras (780s–early 900s), to
break the boundaries between the two generic labels, chuanqi and zhiguai, and unearth
significant configurations within these literary texts that become apparent only through
stepping across genre.
ContributorsLiu, Qian (Author) / West, Stephen H. (Thesis advisor) / Bokenkamp, Stephen (Committee member) / Cutter, Joe R (Committee member) / Tillman, Hoyt C (Committee member) / Arizona State University (Publisher)
Created2017
Description
Sacred apocalyptic texts claim to foretell coming events, warning the faithful of some terrible fate that lies beyond the present. Such texts often derive their power from successfully recasting past events in such a way as they appear to be "predicted" by the text and thus take on additional meanings beyond the superficial. This ex eventu status allows apocalyptic texts to increase the credibility of their future predictions and connect emotionally with the reader by playing on present fears. The fifth-century Daoist apocalyptic text, the Scripture on the Cycles of Heaven and Earth (Tiandi yundu jing, 天地運度經), is no exception. This thesis examines the apocalyptic markers in the poetic sections of the text, attempting to develop a strategy for separating the generic imagery (both to Chinese texts and the apocalyptic literary genre as a whole) from the more significant recoverable references to contemporary events such as the fall of the Jin dynasty and the subsequent founding of the Liu-Song dynasty.
ContributorsBussio, Jennifer Jean (Author) / Bokenkamp, Stephen (Thesis advisor) / Chen, Huaiyu (Committee member) / Cutter, Robert J (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study focuses on the Black Tiger Cult in Anze, Shanxi from the 17th to the 21stcentury and explores changing human-tiger relationships as well as the localization of canonical traditions. Drawing upon local gazetteers, scholar-officials' petitions, canonical texts, stele inscriptions, and temple murals in the area, this study sheds new light on relations among animals, humans, and gods through the deification of the black tiger. While the harsh natural environment intensified conflicts between humans and tigers, the rise of the Black Tiger Cult in local communities helped ease these ecological and social conflicts during the late-imperial era. As the cult gradually established its presence to serve spiritual and practical needs of local people, its practice complemented the mainstream religious communities and state-sponsored sacrificial rituals. The Black Tiger Cult brought together communities and the state power by providing them a space to express and negotiate their spiritual, political, agricultural, and cultural interests. This study also offers a comparative perspective on the Black Tiger Cult in North China and the Tiger Lord Cult in Taiwan during modern times. Different levels of connections between these cults and the historical memory of human-tiger conflicts may contribute to the reinvention of the deified tiger and its relationship with contemporary people. This study argues that the deification of tigers did not elevate the position of animals higher than that of human beings. The establishment of Black Tiger Temples likely changed the local distribution of tigers. Moreover, although traditions of tiger gods vary in different regions and times, they share similar cultural elements that have been interwoven with local human-tiger/animal relationships.
ContributorsZhang, Shuran (Author) / Chen, Huaiyu (Thesis advisor) / Tillman, Hoyt C (Committee member) / Bokenkamp, Stephen (Committee member) / Arizona State University (Publisher)
Created2022
Description
This thesis hopes to propose a new hypothesis about the origin of Chinese heptasyllabic poetry. Although there are numerous academic discussions in the existing poetic narrative, few of them have noticed the possible effect of the Celestial Master Daoism. Based on the literary analysis and formal comparison, this thesis first finds that, during the time Cao Pi曹丕 created his “Yange xing,” the first literati heptasyllabic poem, “cypress beam genre” (boliang ti柏梁體) poetry – the earliest form of heptasyllabic poetry – was already a normal, fixed, and mature poetic form within the community of Celestial Master Daoism. Therefore, Celestial Master Daoism’s mastery of boliang ti poetry and their intensive and frequent composition highly likely motivated Cao Pi, the new Wei ruler who took over the populace of Celestial Master Daoism and had a close relationship with Zhang Lu’s張魯 family, to learn and introduce this poetic form into his own poetic creation. Then, this thesis also traces this poetic form back to suburban sacrifice songs in the Han dynasty. During the reign of Emperor Wu, the prototype of boliang ti poetry appeared in suburban sacrifice songs created to express worship to heavenly and earthly deities. Hence, when the Celestial Master Daoism became the inheritor of regional power (mainly in Sichuan, Chongqing, and Shaanxi of today’s China) of the Han empire and hoped to establish their own regime, they created their own ritual texts by modeling after Han suburban sacrifice songs. In so doing, they demonstrated their legitimacy and exclusivity by connecting the regime itself with Dao.
ContributorsBai, Haihan (Author) / Bokenkamp, Stephen (Thesis advisor) / Klein, Lucas (Committee member) / Williams, Nicholas (Committee member) / Arizona State University (Publisher)
Created2022
Description
This dissertation examines lexical and phonetic variations between Daigi, Hakka, and Modern Standard Chinese elements as used in two Daoist temples of southern Taiwan, the Daode Yuan (DDY) and Yimin Miao (YMM) in Kaohsiung, Taiwan, which form linguistic repertoires from which religious communities construct language variants called religiolects. Specific variations in the use of these repertoires appear to be linked to specific religious thought processes. Among my results, one finds that phonetic features of Daigi and Hakka appear linked to the use of language in religious contexts at the DDY and YMM, especially such that alterations in pronunciation, which would otherwise be inappropriate, are linked to speakers of the religiolects processing and producing religious thought in ways they otherwise would not. For example, what would normally be pronounced [tʰe laɪ] internal to one's body would be archaicized as [tʰe lue], from frequent contact with [lue tan] inner alchemy; this leads to reinforced conception of the inner body as sacred space. One also finds that semantic features of lexical items received sacralized contours in overt and non-overt ways, such that lexical items that would otherwise be irreligious become religious in nature; e.g., instances of the appearance of 道, especially in binomial items, would be resolved or parsed by reference to the sacred meaning of the word (such as the [to] in [tsui to tsui], which normally means having its source in, coming to be associated with 道 as path from sacred font).
ContributorsJackson, Paul Allen (Author) / Bokenkamp, Stephen (Thesis advisor) / Oh, Youngkyun (Committee member) / Chen, Huaiyu (Committee member) / Swanson, Todd (Committee member) / Arizona State University (Publisher)
Created2015
Description
The production of “separate collections” (bieji 別集) or collected works in China is a social practice that emerged between the 1st and 3rd centuries CE. This research focuses on how the practice developed over the course of the Song dynasty (960-1279) in terms of literary materials involved, competences required, associated meanings, and its links to other social practices. I examine extant collected works, descriptions of them, and contemporary feedback on their production to create a series of snapshots that reveal its trajectory over time. Surveying the emergence of the practice in the early imperial period through its development in medieval times shows that pre-Song dynasty production of collected works was the result of several pre-existing conditions: competences related to bookmaking, the emergence of the idea of the inscription of authorial personality in literary works, the elevated status of belles-lettres, and several pre-existing tropes that lent it increasing importance. As the practice began recruiting scholars in 1020, it underwent a series of changes: attention to loss and variation between editions gave way to the search for missing works and the production of increasingly complete and authentic editions. This was followed in 1080 by several innovations, including the organization of works literary according to chronological order, rhyme, or topical category and insertion of annotations and a chronological biography. After 1180, compilers began synthesizing the accomplishments of previous editions to make editions that featured multiple annotators arranged in increasingly sophisticated ways for a new readership that were strongly associated with commercial printing. I identify six varieties of the production of the collected works of Song authors, each with distinct aims and associations that differed with respect to elements of practice, the practitioners they recruited, and how they linked with other social practices toward larger social goals. Findings contribute to Chinese book history by contextualizing change in formalistic trends over time. Identified as a social practice, the account of change and variation in the compilation of collected works during the Song presented in this research adds unique perspective to the subject of social change in this pivotal period of Chinese history.
ContributorsBilling, John Samuel (Author) / Oh, Young (Thesis advisor) / Bokenkamp, Stephen (Committee member) / Ling, Xiaoqiao (Committee member) / West, Stephen (Committee member) / Arizona State University (Publisher)
Created2023
Description
This dissertation challenges the conventional understanding that Song dynasty China (960–1279) was a period when Confucianism was placed at the center of governance. Bringing heretofore inadequately studied Buddhist and Daoist texts into discussion, it offers three case studies on interrelationships between Song emperors and the Three Teachings of Daoism, Buddhism, and Confucianism. As shown in all three cases, although a religious campaign directed by the emperor and his institutional apparatus could set out under the influence of a certain teaching/religion, the campaign’s outcome at the state level would often be a fusion of various religious and cultural components. My research suggests that Song emperors employed an eclectic strategy in selecting and utilizing elements from the Three Teachings and attempted to build an imperial religion centered around themselves. As such, Song imperial power emerged as a centripetal force that compelled the Three Teachings to tailor themselves to the imperial religion. Therefore, I term the Song imperial court as a “regulated syncretic field” where segments from different religious traditions became amalgamated into religious/ritualistic entities that served imperial visions of the time. Although proponents of the Three Teachings by and large continued their efforts to gain imperial acceptance of their teachings, they often turned to local society to ensure their authority when their efforts at the court failed. Further, I argue that such phenomena were rooted in the mechanism of patriarchal governance in which the emperor considered themselves and was considered by leaders of the Three Teachings to be the patriarch of his household/empire, who was responsible for balancing the power structure among the Three Teachings.
ContributorsLi, Jiangnan (Author) / Tillman, Hoyt (Thesis advisor) / Bokenkamp, Stephen (Thesis advisor) / Ling, Xiaoqiao (Committee member) / Hartman, Charles (Committee member) / Chen, Huaiyu (Committee member) / Arizona State University (Publisher)
Created2023