A Uyghur Muslim in Qianlong's Court: The Meanings of the Fragrant Concubine

1994 ◽  
Vol 53 (2) ◽  
pp. 427-458 ◽  
Author(s):  
James A. Millward

In tokyo's fashionable roppongi crossing, just down the street from the Almond Cafe where urbanites converge to meet their dates, a sign over a Chinese restaurant bears two Chinese characters: Kō Hi (Xiang Fei).The establishment's menu and business cards display a portrait of a beautiful East Asian woman in Manchu dress; her expression is enigmatic. The restaurant's advertising describes a Chinese emperor's consort renowned for her miraculous fragrance, and promises equally aromatic culinary delights.

Author(s):  
Tosha Taylor

In “The Dragon Lady of Gotham: Feminine Power, the Mythical East, and Talia al Ghul,” Tosha Taylor considers the gender and race politics of Batman’s most complex enemy and ally. The chapter explores patterns of Orientalist fantasy in the character’s actions and appearance. Working from the initial Orientalist inspiration for Talia’s villainous family as related by the character’s creators, Taylor posits that Talia’s chief function in the D.C. universe has been to embody the stereotype of the “Dragon Lady,” an exotic temptress capable of unconscionable acts of betrayal. The chapter examines Talia’s forty-year struggle between villainess and heroine and argues that her agency depends on her conformity to Western myths about Arabic and East Asian woman. The study concludes with consideration of whether Talia might at times serve as metatexual indictment of Western heterosexist fantasy, craftily appropriating stereotypical images of Orientalism in order to manipulate heterosexual male characters.


2021 ◽  
pp. 251385022098006
Author(s):  
Hyun-suk Kwak

In ancient Korea, pufferfish were called “복” or “복어,” whereas they have been called “hétún” (河豚) since the Ming dynasty in China, and were called “fugu” in ancient Japan. Since the introduction of the Chinese term “hétún” (河豚) into Korean and Japanese, pufferfish in Korea, China, and Japan have all been named “河豚.” Besides “하돈” (the Korean pronunciation of 河豚), pufferfish have been given various designations, such as the following: “후태” (鯸鮐) or “반어” (斑魚) based upon body patterns; “후이” (鯸鮧)” or “호이” (鰗鮧) by shape; and 
“기포어” (氣泡魚), “취두어” (吹肚魚), and “布久” by the look of its swollen belly. Other designations, such as “검돈” (黔魨), “작돈” (鵲魨), “활돈” (滑魨), “とらふぐ,” “からす,” and “ヒガンフグ,” were derived from pufferfish species, and designations like “진어” (嗔鱼) and “てっぽう” that originated from their habit also exist. As above, “복어” has various designations in each of the three countries, Korea, China, and Japan. These designations, composed of Chinese characters, influenced the others, and each country and ethnic group helped to form or transform new vocabularies. In particular, numerous terms concerning object designations in the forms of Chinese characters reveal hidden definitions of the ethnic groups and cultures in these designations. This study is focused on puffer designations in Korea, China, and Japan, how the puffer was named in each country from ancient through to modern times, and where the designations originated, and tries to determine the characteristics of each country’s puffer designations through investigation of the species and types of “pufferfish.”


Author(s):  
Clément Arsenault

When recording titles in vernacular Chinese characters or in their Romanized form, either a monosyllabic pattern or a polysyllabic pattern can be followed. Previous research has shown that polysyllabic transcription helps reduce ambiguity and tends to increase precision in retrieval. As there are no clear cut rules as to how syllables should be aggregated into lexical units, polysyllabic entries are a potential source of inconsistency in a bibliographic database. The aim of this study is to investigate the inconsistencies in the aggregation of Chinese characters (i.e., syllables) into lexical words in the bibliographic records of two library catalogues. Over 5,000 records from the East Asian Library at Université de Montréal (CETASE) and 5,000 records from the Library of Congress (LC) were analysed and tested for aggregation consistency. Detailed analysis reveals fairly high consistency levels in both sets.Lors de l’enregistrement des titres en caractères chinois vernaculaires ou sous leur forme romanisée, un modèle monosyllabique ou polysyllabique peut être utilisé. Des recherches antérieures ont démontré que la transcription en polysyllabes atténue les ambiguïtés et tend à améliorer la précision lors du repérage. Puisqu’il n’existe aucune règle fermement établie sur la manière avec laquelle les syllabes doivent être agrégées en unités lexicales, la transcription polysyllabique est une source potentielle d’inconsistance dans les bases de données bibliographiques. Le but de cette étude est d’examiner l’inconsistance dans l’agrégation des caractères chinois (c’est-à-dire des syllabes) des mots lexicaux contenus dans les notices bibliographiques de deux catalogues de bibliothèques. Plus de 5 000 notices du Centre d’études de l’Asie de l’Est de l’Université de Montréal (CETASE) et 5 000 notices de la Library of Congress (LC) ont été analysées et la consistance de l’agrégation a été vérifiée. Une analyse détaillée révèle des niveaux de consistance élevés pour les deux ensembles. 


Author(s):  
Baoguo Shi ◽  
Jing Luo

As Csikszentmihalyi (1999) noted, creativity is a culturally bound phenomenon, not simply a mental process. In this chapter, we first discuss some differences in the conceptualization of creativity from the East–West perspective. Does “creativity” mean the same thing in Western and East Asian cultural settings? Recent research based on lay people’s definitions of creativity, including implicit and explicit theories of creativity, descriptions of creative people, and evaluations of creative products, will be highlighted. Second, as a key component of culture, language has very important implications for understanding creativity. We will review recent research on this topic, including the relationship between bilingualism and creativity and empirical discoveries from groundbreaking behavioral and neuroimaging studies on insight problem solving that involve Chinese characters.


Author(s):  
Hye K. Pae

Abstract The three East-Asian scripts—Chinese (characters and Pinyin), Japanese (multi-scripts), and Korean (alphabetic Hangul)—are discussed. Under each script, a brief historical account of the given writing system, the key features of the script, and the strengths and weaknesses as a script are described. The commonalities and differences among the three scripts are next discussed. Since it is claimed that Asian orthography, particularly Chinese characters, curbs Asians’ creativity (Hannas, 1997, 2003), East-Asian students’ performance in international comparison tests is reviewed in comparison to that of American counterparts. Finally discussed are the implications of script differences among the three writing systems for script relativity.


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