Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
98 Cards in this Set
- Front
- Back
Wusi yundong
|
May Fourth Movement, May 4, 1919; modern Chinese literature begins; anti-imperialist, cultural and social movement; drastic change in society that brought about the Communist Party; dissatisfaction with Versailles Treaty;students from universities gathered at Tienanmen Square
|
|
Versaille Treaty
|
treaty that ended WWI; it gave Shandong Province to Japan, concerned with China's place on the world stage
|
|
New Culture Movement
|
1915; intention of promoting individual freedom, scientific study, freedom for women
|
|
baihua
|
Vernacular Chinese; intended to allow more people to read texts, newspapers and books; language as transparent, allows open communication between disparate parties; plain speech
|
|
Lu Xun
|
very critical of Chinese society; and concerned with individual development; most important writer of modern China; writer and founder of modern vernacular literature; very influential; highly sympathetic to Communist Party; still remains popular to this day; originally educated in Japan
|
|
Kuangren Riji
|
A Madman's Diary; first major short story written in baihua; cornerstone of New Culture Movement; effect of traditional society eating away at personal development; transcript of a crazy person's delusive paranoia; set in the past; contains negativity in and within the narrator
|
|
typical Lu Xun themes
|
1) emphasis on the loner (it might not be loner) 2) questionable narrator 3) conflict between traditions and modernity 4) general callousness of human beings
|
|
Mao Dun
|
pen name of 20th century Chinese novelist; concerned with conflicting ideology in China; like Lu Xun, relies on irony/contradiction to analyze/criticize; helped establish Chinese Communist Party; criticized GMD (?); was Mao Zedong's secretary
|
|
Edo/Tokugawa/Early Modern Period (1600-1868)
|
Japan was more advanced than most Western societies: high literacy, printing technology, communication, and transportation infrastructure
|
|
Edo
|
capital city of Japan at that time, was largest city in 18th century
|
|
literacy, printing technology, communication, and transportation infrastructure
|
characteristics of Early Modern Japan
|
|
shi no ko sho
|
the four classes - officials, farmers, craftspeople, merchants; ranked in this order based on Confucius
|
|
chonin
|
townspeople; they established the culture of the period, they were rich
|
|
akusho
|
bad places; the prostitution and theater districts of town
|
|
nagusami
|
controlled release; people needed a place/way to release tension etc, akusho satisfy this
|
|
yukaku
|
pleasure quarters; where prostitutes live/work
|
|
tsu
|
savoir faire; a sense of hipness, casual trendiness in clothing and in language
|
|
bunraku
|
puppet theater; main focus on stage
|
|
kabuki
|
human actors w/ plots etc from puppets; focus body voice
|
|
shamisen
|
1) ?? 2) shamisen 3) chanting
|
|
joruri; tayu
|
chanting (joruri) from a text by a chanter (tayu)
|
|
wagato; aragoto
|
gentle style (wagato) -male character often weak; rough style (aragoto) - plays from Edo about samurai
|
|
jidai mono; sewa mono
|
history plays (jidai mono) - historical plays that made reference to current regime; domestic contemporary dramas (sewa mono)
|
|
shinjumono
|
double love suicides
|
|
Chikamatsu Monzaemon
|
most famous playwright of Edo period, came from samurai family
|
|
jitsuji
|
realism
|
|
giri; ninjo
|
2 themes of love suicides: Confucian social obligation (giri); human passions/feeling (ninjo)
|
|
Shinju Ten no Amijima
|
Structure of love suicide story: 1) pleasure quarters (ninjo) 2) home (giri) with Osan 3) pleasure quarters with Amijima (you don't know the end)
|
|
Meiji period
|
era of Japanese modernization
|
|
colonies in Taiwan and Korea
|
1895 and 1910 respectively - symbol of modernity for Japan
|
|
nation-state
|
part of concept of modernity; nation where people have same language, culture, etc - identity
|
|
kindai jiga
|
new term to describe Japanese modern identity; notion from the West, unchanging (unlike Confucian sense of identity)
|
|
risshin shusse
|
"advancing in the world through individual effort" - commoners given more rights
|
|
genbun' itchi
|
union of spoken and written languages - new way of writing vernacular, used Tokyo area dialect
|
|
"neutral" language
|
like West, language which is unchanging no matter who's talking and about what; "social leveling" which got rid of hierarchy present in speech
1) independent of the context in which it is articulated 2) independent of a specific pair of interlocutors |
|
kazoka kokka
|
family state - emperor is father of nation and subjects; what first Japanese Constitution created
|
|
Tsubouchi Shoyo
|
author, first Japanese person to articulate sense of modern literature; approved of genbun' itchi; was a translator; thought literature of the West was superior; focuses on human emotion; sought to overturn prejudice against women
|
|
shosetsu zuino
|
"Essence of the Novel" - first work to advocate lit. principle of realism, first to call for modern novel; focus on human emotions; something about literature helping civilizing Japan
|
|
shizenshugi
|
"Japanese naturalism" - emphasized sordid stories of everyday life, usually one's secret sexuality
|
|
shishosetsu
|
"I-novel" - stories in which the author acts as thought they're confessing something, but doesn't have to be true, just seem true
|
|
Mori Ogai
|
doctor, translator, novelist, poet in Meiji period; medical officer who studied in Germany, there he studied European lit; he returned and tried to shape Japanese lit.
|
|
Maihime
|
1890, Dancing Girl by Mori Ogai
|
|
Romantic Movement, art as universal
|
interested in the exotic and especially exotic women; ex: harems in the Middle East
|
|
national history
|
history that shows how a nation is formed and links the past w present
|
|
1876 Treaty of Kanghwa
|
Korean treaty with Japan that opened it up to outside world (less than 10 years after Japan's unequal treaties w' West)
|
|
1905 Japanese protectorate
|
the US recognized Japan's right to make Korea a protectorate and have control over all of Korea's foreign relations; this was in exchange for Japan's recognition of US power in Philippines
|
|
Japanese colonialism
|
encouraged immigration and economic ties; very high influence/presence of Japan in Korea; Japan not creating an artificial entity in 'vacuum' but taking control of already existing society
|
|
Period of Subjugation and Suppression (1910-1919)
|
Japan suppressed Korean nationalism, forbade newspapers and free press
|
|
1919 Declaration of Independence, March First Movement
|
countered propaganda spread by Japan to outside world; movement failed because no one cared; Japan instituted 'cultural policy'
|
|
Period of "Enlightened Administration" (1920-1931)
|
result of March First Movement etc
|
|
Cultural Policy
|
newspapers now allowed to public, discriminatory laws removed; though newspapers were heavily censored
|
|
1931 Manchurian Incident
|
Japan blew up part of railway and blamed it on China, used this as an excuse to occupy China/Manchukuo, last emperor puppet ruler
|
|
Period of Japanization and Industrialization (1931-1945)
|
Koreans forced to do Japanese things - have Japanese names, practice Shintoism, learn Japanese; toughest part of Japanese occupation; Japan tried to destroy Korean culture/identity; felt they were "allowing" Koreans to become Japanese
|
|
hangul
|
Korean writing
|
|
Yi Hyo-sok
|
author who focused on urban working class and then later on rural people
|
|
Buckwheat Season
|
Yi Hyo-sok's story set in countryside, about divide between city and country
|
|
Club of Nine Men
|
espoused non-violence and "pure" lit., or "art for art's sake;" Yi Hyo-sok's cool artist group
|
|
Yi Sang
|
pen name of author who wrote Wings; trained as a Western architect/painter; dropped out and led a bohemian lifestyle in Seoul; writings slightly autobiographical
|
|
Wings
|
set in Seoul in mid-1930s; extreme rejection of Korean culture; similar to I-novel; expressed political commentary about Korea and Japan without being censored
|
|
I-novel
|
Wings is this, semi-autobiographical, first person, psychological angst (created through claustrophobia and sexuality)
|
|
end of WWII
|
led to re-evaluation of Japanese identity - bombings, first occupation, trauma in general
|
|
Maruyama Masao
|
minzokushugi (the people's ethnic identity) v. kokuminshugi (a type of nationalism that emphasizes citizenship and democratic participation); this guy was a critic of japanese militarism during WWII, said Japan was too militaristic because of the lack of understanding between these two things
|
|
Kodo Seicho period
|
high economic growth in Japan, Tokyo Olympics in 1964
|
|
1964 Tokyo Olympics
|
during Kodo Seicho period, official debut of modern, peaceful Japan (like Beijing Olympics 2008 were for China)
|
|
US-Japan Security Treaty (ANPO)
|
represents J's increasing role in international community etc
|
|
racial/gender hierarchies
|
"white evolution" - whites better than asians who were better than blacks; men better than women; Asian nations given a female persona < manly Europe
|
|
kazoku kokka
|
family nation - ideas of filial piety extended to rulers, meant to unite the nation and stuff like that
|
|
patriarchal hierarchy
|
obsession with masculinity
|
|
new constitution of 1947
|
changed patriarchal ideology; women given rights, psychologically difficult for Japanese men; emperor demoted from deity to human
|
|
General Douglas MacArthur
|
picture w/ emperor needs no words, MacArthur is 'real' man
|
|
loss of the father as the emperor
|
he was portrayed as a traitor because all young boys learned to be willing to sacrifice their lives for the emperor, now he's only human
|
|
Oe Kenzaburo
|
modernist, 1 standard for right/wrong, existentialism
|
|
Nobel Prize 1994
|
Oe was 2nd Japanese writer to win it
|
|
existentialism
|
characters w/ conflicting desires/alternatives; meaning of being Japanese in postwar international context; informed by historical facts, his life
|
|
senryo jidai
|
Occupation Period (1945-1952); Kenzaburo was a teenager at this time
|
|
Occupation lit. literary characteristics
|
1) written during 1945-52 2) joins sexual with political 3) existential 4) breaks with I-novel tradition
|
|
Ningen no hitsuji
|
"Sheep"
|
|
X Y and Z
|
X (Japanese male) Y (Japanese prostitute/translator) Z American; something about postwar generation, male is dependent on woman selling her sexuality
|
|
American hijiki
|
story by Nosaka Akiyuki
|
|
XYz triangle in American Hijiki
|
Toshio, Yoshiko, Higginses
|
|
past v. present
|
modern shiny new Japan, Ginza v. historical trauma and occupation
|
|
emasculation
|
caused by trying to engage in male bonding; $ attempts to reclaim Japan's male status
|
|
past v. present
|
modern shiny new Japan, Ginza v. historical trauma and occupation
|
|
emasculation
|
caused by trying to engage in male bonding; $ attempts to reclaim Japan's male status
|
|
University of Beijing
|
Mao was a librarian here, he met Marxists here too
|
|
CCP
|
Chinese Communist Party, Mao helped found in 1921 (?)
|
|
1924 United Front with KMT
|
CCP set up a United Front w/ Nationalists to help get rid of wealthy feudal who were keeping China from being more unified
|
|
Hunan
|
Mao reported on peasant revolts here, criticizes CCP leadership for focusing on the urban situation instead of peasants
|
|
Jiangxi
|
form of grassroots organization of communists; Mao went here after failed insurrection; lost debate about strategy
|
|
changzheng
|
Long March - Mao went frmo Jiangxi to Yanan province on march (after the KMT turned on the Commies and made them leave), through the Himalayas and deserts of China; wrote lots of poetry during this time; legitimated a generation of leaders
|
|
Yan'an
|
Mao established base areas here, reorganized land rights, more even division of land among peasants
|
|
zhengfeng yudong
|
1942 campaigns that imposed ideological unity in Communist front; shows Mao's Confucian background - education and engagement with society
|
|
Talks at the Yenan forum
|
Mao "bourgeoise illusion that art is for art's sake," "writing and art are for the people;" imposed ideological unity and expanded his base
|
|
1949 victory of CCP over KMT
|
Mao still only one of several leaders; divisions grew over 1950 regarding strategy about best way to modernize - gradual (tech < ideology) or modernization/revolution at the same time (distrust of bureaucracy and institutions)
|
|
baihua yundong
|
1956-7 Hundred Flowers Campaign - intellectuals encouraged to speak critically of Communist Party (but Mao didn't like the criticism)
|
|
the people v. class enemies
|
Mao has different definitions of who the people and who the enemy are depending on the situation; violence solves contradictions between the people and the class enemies; debate solves contradictions between the people
|
|
dayue jin
|
1958-61 Great Leap Forward - tensions in Comm. Party grew again; attempt to change China from farms to industrial nation failed epically (people died from starvation, it was overly ambitious)
|
|
Wuchan jieji wenhua dageming
|
1969-76 Cultural Revolution - Mao's last attempt to organize power base outside the Comm. Party; Mao-ism began in this period: 1) faith in the peasantry 2) ability of Party to make mistakes; reflected belief that humans are capable of anything
|