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"Moskowitz, Marc L"
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Go nation
Go (Weiqi in Chinese) is one of the most popular games in East Asia, with a steadily increasing fan base around the world. Like chess, Go is a logic game but it is much older, with written records mentioning the game that date back to the 4th century BC. As Chinese politics have changed over the last two millennia, so too has the imagery of the game. In Imperial times it was seen as a tool to seek religious enlightenment and was one of the four noble arts that were a requisite to becoming a cultured gentleman. During the Cultural Revolution it was a stigmatized emblem of the lasting effects of feudalism. Today, it marks the reemergence of cultured gentlemen as an idealized model of manhood. Marc L. Moskowitz explores the fascinating history of the game, as well as providing a vivid snapshot of Chinese Go players today. Go Nation uses this game to come to a better understanding of Chinese masculinity, nationalism, and class, as the PRC reconfigures its history and traditions to meet the future.
eBook
Seeing Visual Anthropology
[...] we hope to have more reviews pertaining to ethnographic films in relation to their written components.
Journal Article
Mandopop under siege: culturally bound criticisms of Taiwan’s pop music
This article examines the cultural biases embedded in critiques of Mandopop (Mandarin Chinese pop music). Contemporary commercialised Mandopop is generally recognised as beginning around 1980, drawing on musical traditions from the early twentieth century. In the 1980s and early 1990s, Taiwan’s popular music swept across China and many in the PRC government reacted to the values embedded in Taiwan’s lyrics with mistrust and disdain, expressing a fear that Taiwan and Hong Kong’s cultural incursion would result in the PRC’s loss of national identity. On the other side of the strait, people in Taiwan complained of Mandopop’s fast pace and changing nature and linked this to similar trends in Taiwan’s society. More recently, several of Taiwan’s scholars have critiqued Mandopop for promoting patriarchal gender roles, and English language publications complain of a lack of individualism in that songs are produced in teams of composers, lyricists and performers. I examine the cultural contexts of these critiques in order to come to a better understanding of the most popular Chinese language music in the world.
Journal Article
Message in a Bottle: Lyrical Laments and Emotional Expression in Mandopop
This article explores the ubiquitous themes of loneliness, isolation and anomie in Mandopop (Mandarin Chinese language pop music). This is not to imply that people in the PRC and Taiwan are lonelier than people from other countries but, rather, that being human they experience these emotions. What is distinctive here is that Mandopop becomes a primary conduit to express feelings that are sanctioned in daily speech. The article addresses these concerns and uses in-depth interviews in Shanghai and Taipei to find out why Mandopop's themes of loneliness and isolation are so resonant to its fans.
Journal Article
Retirement and Constructions of Masculinity among Working-Class Weiqi Players
On my first day at the park I accepted an offer to play a game of Weiqi with seventy-two-year-old Mr. Yu. Because I had watched him lose to a much stronger opponent I had underestimated him. Because I am American he underestimated me. The result was a strange beginning, full of unreasonable moves on both sides. A stream of passersby stopped to watch because of the anomaly of my presence in this decidedly non-Western arena. For the same reason, a crowd of Weiqi-playing regulars at the park gathered to provide a steady commentary to the effect of “Hey, the foreigner
Book Chapter
Nation, Race, and Man
Many people i interviewed made direct comparisons with Weiqi strategies and Sunzi’sArt of War. Sunzi’s statement above perfectly captures the nuances of the Weiqi concept of seizing the initiative (xianshou), in which the player who can force his opponent to follow his lead is thought to have a tremendous advantage. Similarly, Weiqi rhetoric asserts that one’s playing style reflects one’s personality and one’s place in the world in direct comparison with other men. This form of manhood relies on controlled aggression, the will to maximize one’s gain, and the ability to assert one’s dominance.
The second opening quote of
Book Chapter
A Certain Man
Weiqi is thought to attract a particular kind of man and, in turn, to train him to become certain—to address the world with confidence and to fearlessly rely on his intellect to overcome all obstacles. One of the central tenets of being a Confucian gentleman is to display an unwavering integrity. For Peking University students, the idea that a proper man should consistently display virtue and strength also arose with remarkable frequency. Regardless of whether or not they play Weiqi, Peking University students represent the ideal personhoods associated with Weiqi, for they have overcome incredible odds to gain entrance
Book Chapter
Becoming Men
Teaching children weiqi is part of a larger discourse on training boys to become men who will thrive in China’s highly competitive economy. This has been linked with the concept ofsuzhi(often defined as “quality”), which is more often than not associated with middle-class aesthetics, consumerism, and a grueling work ethic.Suzhiis used by the Chinese government, popular press, and educational leaders to encourage its citizenry to be industrious, to seek education, and to behave in a genteel fashion.Suzhiis also used in disciplining children to become model citizens. In elementary school classes, In elementary school classes,
Book Chapter