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    <title>The Blind Man and the Elephant</title>
    <link rel="alternate" type="text/html" href="http://blog.lib.umn.edu/renn0074/blog/" />
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   <id>tag:blog.lib.umn.edu,2008:/renn0074/blog//3502</id>
    <link rel="service.post" type="application/atom+xml" href="https://blog.lib.umn.edu/cgi-bin/mt-atom.cgi/weblog/blog_id=3502" title="The Blind Man and the Elephant" />
    <updated>2007-07-01T22:42:54Z</updated>
    <subtitle>History, culture and society in East Asia</subtitle>
    <generator uri="http://www.sixapart.com/movabletype/">Movable Type 3.33.uthink</generator>
 
<entry>
    <title>Arthur Smith and Chinese Characteristics</title>
    <link rel="alternate" type="text/html" href="http://blog.lib.umn.edu/renn0074/blog/2006/06/arthur_smith_and_chinese_chara.html" />
    <link rel="service.edit" type="application/atom+xml" href="https://blog.lib.umn.edu/cgi-bin/mt-atom.cgi/weblog/blog_id=3502/entry_id=47875" title="Arthur Smith and Chinese Characteristics" />
    <id>tag:blog.lib.umn.edu,2006:/renn0074/blog//3502.47875</id>
    
    <published>2006-06-23T01:05:27Z</published>
    <updated>2007-07-01T22:42:54Z</updated>
    
    <summary>Last semester, by way of another reading (Translingual Practices by Lydia Liu) I learned of the book &quot;Chinese Characteristics&quot;, written in 1890 by Arthur Henderson Smith, an American missionary who spent 54 years in China, starting in 1872. As luck...</summary>
    <author>
        <name>Jonathan Renner</name>
        
    </author>
            <category term="China" />
            <category term="History" />
    
    <content type="html" xml:lang="en" xml:base="http://blog.lib.umn.edu/renn0074/blog/">
        <![CDATA[<p>Last semester, by way of another reading (<a href="http://www.amazon.com/gp/product/0804725349/102-9498319-9396153?v=glance&n=283155"><em>Translingual Practices</em> by Lydia Liu</a>) I learned of the book "Chinese Characteristics", written in 1890 by <a href="http://en.wikipedia.org/wiki/Arthur_Smith_%28missionary%29">Arthur Henderson Smith</a>, an American missionary who spent 54 years in China, starting in 1872.  As luck would have it, the University of Minnesota Library happens to have a copy of the book in the closed stacks.</p>

<p><img alt="Chinese_char_cover.jpg" src="http://blog.lib.umn.edu/renn0074/blog/pictures/Chinese_char_cover.jpg" width="320" height="240" /></p>

<p><br />
In the chapter of Lydia Liu's <em>Translingual Practices</em> titled "Translating National Character: Lu Xun and Arthur Smith", Liu writes that <em>Chinese Characteristics</em> was the book that introduced the idea of national character to Lu Xun.  Beyond that, it was also extremely popular among missionaries and other Westerns travelling to or residing in China.  It remained a best selling book on the topic of China till the 1920s.  Besides the original English, it was also translated into Chinese, Japanese and several European languages.</p>

<p>The influence of Smith's work extended to politics as well.  It has been stated that Smith was partly responsible for the Boxer Indemnity payments being directed towards the founding of Qinghua University and funding Chinese students to study in the United States, as a result of a meeting he had with President Roosevelt.<br />
However, all of Smith's work was heavily influenced, and in fact driven by, his Western values and missionary ideologies.  This can be clearly seen in his foreword to "<a href="http://books.google.com/books?vid=ISBN0837063817&id=Gww2-KF-9gsC&pg=PA1&lpg=PA1&dq=uplift+of+china"><em>The Uplift of China</em></a>"</p>

<blockquote>
"The problem of China is to a large extent the problem of the world.  Even to those who hither-to have taken but slight interest in "world-politics," it is becoming dimly discernible that in Eastern Asia the Occident has greater and more difficult questions than it has ever yet settled, or even faced.  War, diplomacy, commerce, industrial expansion, governmental reforms, have all had or are having their part in the unprecedented alinement of the Far East, but it is the inevitable weakness of each and all of them that they never settle anything, while they tend to unsettle everything.  Those who recognize that moral and spiritual forces ultimately rule the world, will increasingly feel that the West owes it to the East to pay back a part of its age-long debt by helping to lay the foundations of an Oriental Christian civilization."</blockquote>

<p>I am personally fascinated by <em>Chinese Characteristics</em> for several reasons.  While Smith's writings smack of racism and orientalism.  In Liu's chapter she tackles this by deconstructing the racial generalization and assumptions inherent in the language Smith uses.  However, It's quite interesting to see the style and form of scholarship on China from over a hundred years ago.  Many of Smith's observations are not of the "yellow peril" anti-Chinese variety.  While he clearly looks down on the Chinese as a people, he seems to genuinely care about them and their well being (as a good missionary probably should).  Therefore, while he tends to be very critical about some things, he will praise others.  At times he will even mention aspects of Chinese culture that he feels the West could learn from.</p>

<p>Below I will include some quotes from the book that caught my attention, several of which are related to nationalism or politics.  Please note they do not represent my views:<br />
<blockquote></p>

<p>"Money and food are twin foci of the Chinese ellipse, and it is about them as centres that the whole social life of the people revolves." (p. 195)</p>

<p>"In China there is always a social war, and everyone is too accustomed to its sickening effects to give them more than a momentary attention." (p. 196)</p>

<p>"The question is often raised whether the Chinese have any patriotism, and it is not a question which could be answered in a word.  There is undoubtedly a strong national feeling, especially among the literary classes, and to this feeling much of the hostility exhibited to foreigners and their inventions is to be traced." (p. 111)</p>

<p>(The response of some of Smith's Chinese friends, after he attempts to start a political discussion with them) "Listen to me, my friend!  Why should you trouble your heart and fatigue your head by all these vain surmises?  The mandarins have to attend the affairs of state; they are paid for it.  Let them earn their moeny, then.  But don't let us torment ourselves about what does not concern us.  We should be great fools to want political business for nothing." (p. 113)</p>

<p>"But that any considerable body of Chinese are actuated by a desire to serve their country, because it is their counbtry aside from the prospect of emolument, is a proposition that will require much more proof than has yet been offered to secure its acceptance by anyone who knows the Chinese.  It need not be remarked that a Chinese might be patriotic without taking much interest in the fortunes of a Tartar Dynasty like the present, but there is the best reason to think that, whatever the dynasty might happen to be, the feeling of the mass of the nation would be the same as it is now--a feeling of profound indifference." (p. 112)</p>

<p>"There are two quite different aspects in which the politeness of the Chinese, and of Oriental peoples generally, may be viewed--the one of appreciation, the other of criticism.  The Anglo-Saxon, as we are fond of reminding ourselves, has, no doubt, many virtues, and among them is to be found a very large percentage of <em>fortiter in re</em>, but a very small percentage of <em>suaviter in modo</em>.  When, therefore, we come to the Orient, and find the vast populations of the immense Asiatic continent so greatly our superiors in the art of lubricating the friction which is sure to arise in the intercourse of man with  man, we are filled with that admiration which is the tribute of those who cannot do a thing to those wo can do it easily and well.  The most bigoted critic of the Chinese is forced to admit that they have brought the practice of politeness to a pitch of perfection which is not only unknown in  Western lands, but , previous to experience, is unthought of and almost unimaginable." (p. 35)<br />
</blockquote></p>]]>
        
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</entry>
<entry>
    <title>Sino-Japanese Relations in Film</title>
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    <link rel="service.edit" type="application/atom+xml" href="https://blog.lib.umn.edu/cgi-bin/mt-atom.cgi/weblog/blog_id=3502/entry_id=44206" title="Sino-Japanese Relations in Film" />
    <id>tag:blog.lib.umn.edu,2006:/renn0074/blog//3502.44206</id>
    
    <published>2006-04-25T08:16:32Z</published>
    <updated>2007-07-01T22:46:33Z</updated>
    
    <summary>Over the past few months I&apos;ve watched a number of movies that incorporate both Chinese and Japanese characters in a way that says something about Sino-Japanese relations and history. It&apos;s been interesting to see the different views filmmakers have taken...</summary>
    <author>
        <name>Jonathan Renner</name>
        
    </author>
            <category term="China" />
            <category term="Film" />
            <category term="History" />
            <category term="Japan" />
    
    <content type="html" xml:lang="en" xml:base="http://blog.lib.umn.edu/renn0074/blog/">
        <![CDATA[<p>Over the past few months I've watched a number of movies that incorporate both Chinese and Japanese characters in a way that says something about Sino-Japanese relations and history.  It's been interesting to see the different views filmmakers have taken on the subject.  I'll talk about the films in chronological order of production.</p>]]>
        <![CDATA[<p><strong><a href="http://www.dianying.com/en/title.php?titleid=dl-1934">Big Road</a> (大路)<br />
1934 - China - Directed by Sun Yu</strong></p>

<p><em>Big Road</em> is a republican era partially-silent film that is about a crew of workers who are, oddly enough, building a big road.  The construction of the road becomes of national importance when the Japanese army arrives.  However, the major confrontation in this film does not directly involve the Japanese.  Instead, it is between the protagonist's work group and the corrupt Chinese land owner who was accepted a bribe to stop construction of the road.  The Japanese are used as more of a plot device than a menacing antagonistic force.</p>

<p><strong><a href="http://www.dianying.com/en/title.php?titleid=qcz1959"><br />
Song of Youth</a> (Chinese:青春之歌)<br />
1959 - China - Directed by Chen Huaiai and Cui Wei</strong></p>

<p><em>Song of Youth</em> is your archetypal communist propaganda film, with a touch of <a href="http://en.wikipedia.org/wiki/Bildungsroman">bildungsroman</a>.  We learn about the evils of capitalism, individual ambition, the Nationalists, the Japanese, and even <a href="http://en.wikipedia.org/wiki/Hu_Shi">Hu Shi</a>.  The role of the Japanese in this film is again that of a distant aggressor.  They have occupied Chinese land, and are therefore a problem of prime national importance. Similar to <em>Big Road</em>, the protagonist in <em>Song of Youth</em> does not directly fight against the Japanese.  Instead, she must confront the elements of Chinese society that stand in the way of the communist revolution and Marxist-Leninism.  The only time we see a "Japanese" on screen is when a Japanese military plane flies overhead.  It seems to me that <em>Big Road</em> and <em>Song of Youth</em> are both more interested in talking about what's wrong with certain segments of Chinese society, than what's wrong with the Japanese invading China.</p>

<p><br />
<strong><a href="http://en.wikipedia.org/wiki/Fist_of_Fury">Fist of Fury</a>/The Chinese Connection (Chinese:精武門）<br />
1972 - Hong Kong - Directed by Lo Wei </strong></p>

<p>This film is pretty straightforward.  It's about an apprentice of the Jing Wu Men(精武門) martial arts school named Chen Zhen(Bruce Lee) using Chinese martial arts to beat up a group of Japanese from a Judo school in Shanghai.  It's supposedly set in the 1930s, but this is anachronistic.  The main motivation behind Bruce Lee's rampage is getting revenge for his master, <a href="http://en.wikipedia.org/wiki/Huo_Yuanjia">Huo Yuanjia</a>, an historical figure who died in 1910 after (according to this movie) being poisoned by the Japanese. The consequence of Bruce Lee's attack on the Judo school is that the Japanese get angry and attack the Jing Wu Men school, killing a good number of the Jing Wu Men teachers and students.  Despite this, the surviving members of the Jing Wu Men school who initially opposed Chen fighting with the Japanese eventually realize that he was right all along, and come to believe that resistance against oppression, even if futile and resulting in your own death, is a worthy cause.  This movie is also known for featuring the phrase "東亞病夫“ (sick man of Asia), and a scene where Chen tries to enter a park only to see a sign saying "No Chinese or dogs allowed" and have his entranced refused by a rather ridiculous looking Chinese actor in blackface playing a Sikh.</p>

<p><br />
<strong><a href="http://en.wikipedia.org/wiki/Guizi_lai_le">Devils on the Doorstep</a> (Chinese:鬼子来了,Japanese:鬼が来た!)<br />
2000 - China - Directed by Jiang Wen</strong></p>

<p>This is the first Jiang Wen film I've seen and I'm quite impressed, it's one of the better films I've seen in a long time. It's not only stimulating on an intellectual level but also quite entertaining as well.  The film focuses on a village in northern China near the end of the Sino-Japanese war in 1945.  The villagers receive two prisoners of war, one Japanese soldier and one Chinese(possibly Taiwanese), who is a translator for the Imperial army.  They are given instructions to interrogate the prisoners and hold on to them until they can be picked up.  Many humorous antics ensue as the villagers do their best to deal with each other, the prisoners, and the Japanese soldiers from a nearby base.<br />
This film was banned in China in part due to it's positive view of the Japanese and critical view of the Chinese, but I can't say I see this present in the film.  The Japanese in this movie are given a degree of human character absent from most of the other films on this list, but they are humanized in a negative fashion; the emotions they exhibit are predominantly anger and fear.  In other war movies, such as Mel Gibson's <a href="http://en.wikipedia.org/wiki/We_Were_Soldiers">We Were Soldiers</a> that attempt to portray the enemy in a positive light, the enemy is humanized in a positive way by showing his attachments to home or family.<br />
Unlike <em>Fist of Fury</em>, <em>Devils on the Doorstep</em> features a large cast of Japanese actors, with quite a bit of Japanese dialogue.  Derogatory terms such as 畜生(mongrel)、支那人(chinaman)、and チャンコロ(another slur for chinese) are often used.  However, I have difficulty deciding what this film is ultimately trying to say about the war and Sino-Japanese relations.  On the one hand, it seems to be making a grand statement about the ridiculousness of war and violence, but on the other hand  the Japanese characters are so brutal and the Chinese villagers so naive that it's hard to identify with any of the Japanese characters or justify their actions.  I think this complexity is a big part of what makes this an interesting film for me.</p>

<p><br />
<strong><a href="http://www.aboutlove-movie.com/eng/index.html">About Love</a> (Chinese:戀愛地圖, Japanese:アバウト・ラブ)<br />
2004 - China/Japan/Taiwan - Directed by Zhang Yibai (Shanghai), Ten Shimoyama (Japan), Yee Chih-yen (Taipei)<br />
</strong></p>

<p>This movie is a collection of three different stories from three different locations: Japan, Taiwan and China.  In each case we have a relationship with elements of sexuality or attraction between a Japanese and Chinese/Taiwanese.  The film was made by three different directors, each one directing the part of the movie filmed in their home country.  <em>About Love</em>definitely seems to be a part of the Pan-asian film trend, attempting to increase the size of its market by including actors from different countries.  The emphasis on romantic relationships between Japanese and Chinese leads me to believe that this film was at least partially made with the intent of improving retions and promoting a sense of international brotherhood.  I personally found the Tokyo and Shanghai portions of the film to be rather bland, but the Taipei portion featured great cinematography and some long shot lengths that made for interesting scenes (for those of you who have seen it, I'm specifically thinking of the “康計康概伊啞" scene).</p>

<p><br />
<strong><a href="http://en.wikipedia.org/wiki/Fearless_%282006_film%29">Fearless</a> (Chinese:霍元甲)<br />
2006 - Hong Kong - Directed by Ronny Yu</strong></p>

<p><em>Fearless </em>stars Jet Li as <a href="http://en.wikipedia.org/wiki/Huo_Yuanjia">Huo Yuanjia</a>, the same martial artist whose death Chen Zhen takes revenge for in <em>Fist of Fury</em>.  After bringing disaster to his family through his arrogance, Huo heads to the rural hinterlands to learn about humility.  After learning his lesson, he returns to urbanity and realizes China needs a national hero to defeat the arrogant imperialist fighters.  He eventually finds himself in a four-on-one competition against fighters from various Western nations and Japan, where he will prove that China is not the sick man of Asia.<br />
There are two characters who represent Japan in this movie.  The first is the businessman Mita, played by Masato Harada.  He is cunning and deceitful, willing to do whatever it takes to make sure he and the other Western businessmen he is in league with win their bet against Huo, including poisoning him so that he becomes seriously ill as he tries to fight the final round against the Japanese fighter.  The fighter is Tanaka Anno, played by Shido Nakamura, and he is the pinnacle of virtue.  He and Huo are able to forge a friendship based on a meeting they have before the fight.  They find that they share similar ideologies regarding martial arts and life.  During the fight, Huo succumbs to the poison and collapses on the mat.  Tanaka responds by helping him to his feet and declaring him the winner of the fight.  Mita and Tanaka have a confrontion in which Mita demands to know why Tanaka forfeited the match.  Tanaka responds "I cannot deceive my heart."(私の心を騙せない) and "You are the shame of the Japanese people."(お前は日本人の恥だ).<br />
What <em>Fearless</em> wants to tell us is that the Japanese are not an evil people, but it was under the leadership of certain evil people that evil things were done.<br />
<strong></p>

<p>Conclusion?</strong><br />
I would have to do more reading and see more films(if you have any suggestions I'd love to hear them in the comments) before I'd be willing to say anything conclusively on the subject, but I have noticed a couple interesting things:</p>

<p>1. The films that were produced closer in time to the events of the Sino-Japanese war are less concerned about demonizing the Japanese.  They are evil, but they are distant.</p>

<p>2.  The newer batch of films contain increasingly complicated views of the Japanese people and their actions in China.  None of these films forgives Japan for what happened, but some admit that Japanese are humans too.</p>]]>
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