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<h3 style="margin-top:0;"><a style="font-weight: 500; font-size: 21px;line-height: 30px; margin-top:25px; margin-bottom: 10px;" href="http://u.osu.edu/mclc/2016/03/30/aas-panel-on-prc-taiwan-comparative-studies/" target="_blank">AAS Panel on PRC-Taiwan Comparative Studies</a></h3>
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<p>Dear all,</p>
<p class="p1">You are cordially invited to come to our panel, "Divergences and Convergences: Comparative Studies of Contemporary Literature, Film and Theater in PRC and Taiwan" (see below for details), at AAS in Seattle. We hope to see many of you there and hear your opinions about related subjects.</p>
<p class="p1">Best regards,</p>
<p class="p1">Hongjian Wang <<a href="mailto:wang2512@purdue.edu">wang2512@purdue.edu</a>></p>
<p class="p1"><b>April 1, Friday, 12:45PM-2:45PM @ Room 611, Level 6</b></p>
<p class="p1"><b><i>Divergences and Convergences: Comparative Studies of Contemporary Literature, Film and Theater in PRC and Taiwan</i></b></p>
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<li class="li1">Native Grotesqueness: Contemporary Native-Soil Literature in China and Taiwan, Chialan Sharon Wang, Fengchia University</li>
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<li class="li1">Future Ancestors: Luo Yijun and Wang Anyi’s Postmodern Family Histories, Brian Skerratt, Chinese University of Hong Kong</li>
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<li class="li1">Sympathetic Portrayals in a Sea of Anti-Japanese War Films: <i>Café Lumiere</i> and <i>Riding Alone for Thousands of Miles, </i>James Wicks, Point Loma Nazarene University</li>
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<li class="li1">The Fraternal Twins on Stage: Experimental Theater in Mainland China and Taiwan since the 1980s, Hongjian Wang, Purdue University</li>
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<ul class="ul1">
<li class="li1">Discussant: Perry Link, Princeton University</li>
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<p class="p1"><b>Panel Abstract</b>:</p>
<p class="p1">PRC and Taiwan seem to have been developing on two parallel planes, as scholars tend to examine the cultural products from both sides of the strait separately. However, this panel sees plenty of divergences and convergences between PRC and Taiwan in terms of literature, film and theater, and believes comparative studies can foster deeper understandings of both.</p>
<p class="p1">All four papers in this panel zoom into the contemporary era in PRC and Taiwan, keeping the subjects in the political, economic and cultural contexts since the 1980s, such as the end of the Cultural Revolution, the reform and opening-up, the lift of the martial law, the Tiananmen Incident, postmodernism, commercialization and globalization. Chialan Sharon Wang traces the transformations of the native-soil literature and focuses on Yan Lianke’s and Gan Yaoming’s shared grotesque configuration of rurality and history. Brian Skerratt explores the reconstruction of history in the semi-biographical family narrative by Wang Anyi and Luo Yijun, despite their different backgrounds. James Wicks discusses the sympathetic view of Japan in Hou Hsiao-hsien’s and Zhang Yimou’s films against the anti-Japanese tradition in both PRC and Taiwan postwar cinema. Hongjian Wang uses Meng Jinghui and Lai Shengchuan as case studies to demonstrate how political and economic environments inform the similarities and differences between their respective theatrical experiments.</p>
<p class="p1">This panel aims at not only generating discussions about the above-mentioned topics, but also calling scholars’ attention to PRC-Taiwan comparative studies. It proposes to rethink the intersections and discrepancies in their cultural production from a cross-regional and transnational perspective.</p>
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by <a href="mailto:denton.2@osu.edu">denton.2@osu.edu</a> on March 30, 2016 </div>
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