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The expansion of Western education overseas has been both an
economic success, if the rise in numbers of American, European, and
Australian universities rushing to set up campuses in Asia and the
Middle East is to serve as a measure, and a source of great
consternation for academics concerned with norms of free inquiry
and intellectual freedom. Faculty at Western campuses have resisted
the opening of new satellite campuses, fearing that their
colleagues those campuses would be less free to teach and engage in
intellectual inquiry, and that students could be denied the free
inquiry that is normally associated with liberal arts education.
Critics point to the denial of visas to academics wishing to carry
out research on foreign campuses, the sudden termination of
employment at schools in both the Middle East and Asia, or the
last-minute cancellation of courses at those schools, as evidence
that they were correctly suspicious of the possibility that liberal
arts programs could exist in those regions. Supporters of the
project have argued that opening up foreign campuses would bring
free inquiry to closed societies, improve educational opportunities
for students who would otherwise be denied them, or, perhaps less
frequently, that free inquiry will be no less pressured than in the
United States or Western Europe. Normative Tensions examines the
consequences not only of expansion overseas, but the increased
opening of universities to foreign students.
Monolingual, monolithic English is an issue of the past. In this
collection, by using cinema, poetry, art, and novels we demonstrate
that English has become the heteroglossic language of immigration -
Englishes of exile. By appropriating its plural form we pay respect
to all those who have been improving standard English, thus proving
that one may be born in a language as well as give birth to a
language or add to it one's own version. The story of the
immigrant, refugee, exile, expatriate is everybody's story, and
without migration, we could not evolve our human race.
Doing English in Asia: Global Literature and Culture examines the
effect of globalization on the curriculum of Asian universities. As
knowledge of the English language has increasingly been understood
as necessary to excel in international business, a number of Asian
universities have replaced the traditional study of English
literature and culture with applied English or English for
specified purposes. This edited collection tackles the question of
how to teach English language and culture through literature in
case studies from practitioners all across Asia. Contributors thus
balance the need for students to understand the interface between
English cultures and their own with the pressure to prepare them
for employment in this changing environment.
Taiwan is in danger of becoming the last isle, losing its
sovereignty and identity. The Last Isle opens from where Taiwan
film scholarship leaves off-the 1980s Taiwan New Cinema, focusing
on relatively unknown contemporary films that are "unglobalizable,"
such as Cape No. 7, Island Etude, Din Tao, and Seven Days in
Heaven. It explores Taiwan films' inextricability with trauma
theory, the irony of loving and mourning Taiwan, multilingualism,
local beliefs, and theatrical practices, including Ang Lee's
"white" films. The second half of the book analyzes Taiwan's
popular culture in Western-style food and drink, conditions over
living and dying, and English education, concluding with the source
of Taiwan's anxiety-China. This book distinguishes itself from
Taiwan scholarship in its stylistic crazy quilt of the scholarly
interwoven with the personal, evidenced right from the outset in
the poetic title "The Last Isle," coupled with the "dissertating"
subtitle. This approach intertwines the helix of reason and affect,
scholarship and emotion. The Last Isle accomplishes a look at
globalization from the bottom up, from a global Taiwan whose very
existence is in doubt.
Taiwan is in danger of becoming the last isle, losing its
sovereignty and identity. The Last Isle opens from where Taiwan
film scholarship leaves off-the 1980s Taiwan New Cinema, focusing
on relatively unknown contemporary films that are "unglobalizable,"
such as Cape No. 7, Island Etude, Din Tao, and Seven Days in
Heaven. It explores Taiwan films' inextricability with trauma
theory, the irony of loving and mourning Taiwan, multilingualism,
local beliefs, and theatrical practices, including Ang Lee's
"white" films. The second half of the book analyzes Taiwan's
popular culture in Western-style food and drink, conditions over
living and dying, and English education, concluding with the source
of Taiwan's anxiety-China. This book distinguishes itself from
Taiwan scholarship in its stylistic crazy quilt of the scholarly
interwoven with the personal, evidenced right from the outset in
the poetic title "The Last Isle," coupled with the "dissertating"
subtitle. This approach intertwines the helix of reason and affect,
scholarship and emotion. The Last Isle accomplishes a look at
globalization from the bottom up, from a global Taiwan whose very
existence is in doubt.
This book offers an incisive and ambitious critique of Asian
Diaspora culture, looking specifically at literature and visual
popular culture. Sheng-mei Ma's engaging text discusses issues of
self and its relationship with Asian Diaspora culture in the global
twenty-first century. Using examples from Asia, Asian America, and
Asian Diaspora from the West, the book weaves a narrative that
challenges the twenty-first century triumphal discourse of Asia and
argues that given the long shadow cast across modern film and
literature, this upward mobility is inescapably escapist, a flight
from itself; Asia's stunning self-transformation is haunted by
self-alienation. The chapters discuss a wealth of topics, including
Asianness, Orientalism, and Asian American identity, drawing on a
variety of pop culture sources from The Matrix Trilogy to Crouching
Tiger, Hidden Dragon. This book forms an analysis of the new idea
of Asian Diaspora that cuts across area, ethnicity, and nation,
incorporating itself into the contemporary global culture whilst
retaining a distinct Asian flavor. Covering the mediums of
literature, film, and visual cultures, this book will be of immense
interest to scholars and students of Asian studies and literature,
ethnic studies, cultural studies, and film.
This book offers an incisive and ambitious critique of Asian
Diaspora culture, looking specifically at literature and visual
popular culture. Sheng-mei Ma's engaging text discusses issues of
self and its relationship with Asian Diaspora culture in the global
twenty-first century.
Using examples from Asia, Asian America, and Asian Diaspora from
the West, the book weaves a narrative that challenges the
twenty-first century triumphal discourse of Asia and argues that
given the long shadow cast across modern film and literature, this
upward mobility is inescapably escapist, a flight from itself;
Asia's stunning self-transformation is haunted by self-alienation.
The chapters discuss a wealth of topics, including Asianness,
Orientalism, and Asian American identity, drawing on a variety of
pop culture sources from The Matrix Trilogy to Crouching Tiger,
Hidden Dragon. This book forms an analysis of the new idea of Asian
Diaspora that cuts across area, ethnicity, and nation,
incorporating itself into the contemporary global culture whilst
retaining a distinct Asian flavor.
Covering the mediums of literature, film, and visual cultures,
this book will be of immense interest to scholars and students of
Asian studies and literature, ethnic studies, cultural studies, and
film.
This book examines the paradox of China and the United States'
literary and visual relationships, morphing between a happy duet
and a contentious duel in fiction, film, poetry, comics, and opera
from both sides of the Pacific. In the 21st century where tension
between the two superpowers escalates, a gaping lacuna lies in the
cultural sphere of Sino-Anglo comparative cultures. By focusing on
a "Sinophone-Anglophone" relationship rather than a "China-US" one,
Sheng-mei Ma eschews realpolitik, focusing on the two languages and
the cross-cultural spheres where, contrary to Kipling's twain, East
and West forever meet, like a repetition compulsion bordering on
neurosis over the self and its cultural other. Indeed, the coupling
of the two-duet-cum-duel-is so predictable that each seems
attracted to and repulsed by its dark half, semblable,
(in)compatible for their shared larger-than-life-ness.
How do English-speaking novelists and filmmakers tell stories of
China from a Chinese perspective? How do they keep up appearances
of pseudo-Sino immanence while ventriloquizing solely in the
English language? Anglo writers and their readers join in this
century-old game of impersonating and dubbing Chinese. Throughout
this wish fulfillment, writers lean on grammatical and conceptual
frameworks of their mother tongue to represent an alien land and
its yellowface aliens. Off-white or yellow-ish characters and their
foreign-sounding speech are thus performed in Anglo-American
fiction and visual culture; both yellowface and Chinglish are of,
for, by the (white) people. Off-White interrogates seminal
Anglo-American fiction and film on off-white bodies and voices. It
commences with one Nobel laureate, Pearl Buck, and ends with
another, Kazuo Ishiguro, almost a century later. The trajectory in
between illustrates that the detective and mystery genres continue
unabated their stock yellowface characters, who exude a magnetic
field so powerful as to pull in Japanese anime. This universal
drive to fashion a foil is ingrained in any will to power, so much
so that even millennial China creates an "off-yellow," darker-hued
Orient in Huallywood films to silhouette its global ascent.
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