Letteratura scientifica selezionata sul tema "Imahie Jingū"

Figure 1: Peng Liu, Body Techniques. Photograph. (2014).As an academic researcher as well as practicing artist, I am interested in my bodily movement/techniques in the actions of painting which inevitably reflects the institutions enacted upon my body as representation of Chinese culture/society, and also highlight my individual practice as an artist in response to the world. According to Shilling (10-12), Turner (197), Douglas (68-78) and Mauss (75), the body is historically inherited and culturally embodied. My bodily experience of wandering in the space of the Forbidden City is mediated by its historical and cultural formations, as Turner notes that human beings “are simultaneously part of nature and part of culture […] and culture shapes and mediates nature…nature constitutes a limit in human agency” (197). Specifically, my body is affected by the concept of grand unification which is reflected in its actions and reactions. It is interested in the Confucian conditions of the limits to what is possible in the techniques of painting and how the techniques of painting rely upon and resist the grand unification promised by Confucian thought. Every action, as Douglas notes, “always sustaining a particular set of cultural meanings, a particular social order” (68).The concept of grand unification is apparent in the space of the Forbidden City in that the design of every courtyard is in hierarchical relation to each other, not only physically connected and distinguished through hidden doorways, corridors, and verandas, but also the styles and plants suggesting their coherency within/to the city as the head of the hierarchical society. My body responds to the architectural space in certain ways whereby visual perception and tactile experience of touching surfaces of wooden columns, cornerstones, and fallen roof tiles consolidate the interactions of my body with the space under the concept, as my body is forming its techniques to approach corners and details.The Forbidden City represents a dynamic fusion or hybrid setting. It is an eastern historical and cultural precinct as much as a symbol of western economic and technological exchange. Because of its particularity as the continued power centre of the nation, the Forbidden City becomes a material form of memory, like a portal to access the past. As much as immaterial form, the Forbidden City generates viewers’ affective and intuitive responses allowing the viewers to imagine ancient time and space even though they are physically in present time and space.My everyday bodily actions, embodied with historical thought and culture means as being a “cultural men” (Merleau-Ponty 7), or a cultural meme, may obtain rich sensations and experience through multiple senses in the space of the Forbidden City; however the everyday body and its actions may inadequate in expressing the bodily experience in studio. While Merleau-Ponty describes the relationship between lived object and post-impressionist painter: “The lived object (in nature) is not rediscovered or constructed on the basis of the contributions of the (human) senses; rather, it presents itself to us from the start” (5), his words imply the actions of expression in painting may require different techniques from everyday life. And Frenhofer notes the role of hand as bodily technique in studio: “A hand is not simply part of the body (in everyday perspective), but the expression and continuation of a thought which must be captured and conveyed” (Frenhofer cited in Merleau-Ponty 7), and result in brushstrokes.Apart from being social and cultural, therefore, my everyday habitual actions are re-thought and expanded to form a new series of bodily techniques in studio in order to express my bodily experience in the space. Body techniques in studio are not only cultural embodied as representation of social contexts, but also artistic – being individual in response to the world.And paint (painting) is the documentation of my body movement/techniques in studio space, as James Elkins notes: “Paint is a cast made of the painter’s movements, a portrait of the painter’s body and thoughts […] (it) records the most delicate gesture and the most tense (tensest) […] (and) tells whether the painter sat or stood or crouched in front of the canvas” (5). Each brushstroke reflects particular bodily techniques formed in studio which is the combination of both cultural embodiment and artistic expression that would barely appeared in everyday life.As a practicing artist who was trained under the influence of the concept of the grand unification, I was taught to paint relationships on canvas as one of many ways to handle the medium. Every colours and brushstrokes, painted in terms of tones, perspectives, and size of brushstrokes build the relationships in between in order to construct a coherent system which balances positive and negative shapes. There is no such “right or wrong” colour/brushstrokes. There are only appropriate or inappropriate colour/brushstrokes. The dynamics of the painting is reshuffled with every colour/brushstrokes painted on canvas at a time. Painting is a process of constant balancing. As Bernard said, “each stroke must ‘contain the air, the light, the object, the composition, the character, the outline, and the style.’ Expressing what exists is an endless task” (Bernard cited in Maurice Merleau-Ponty 5). And the task of expressing on canvas is not the showcase of our visual ability in capture shapes and colours from nature or memories, but is to see how my next brushstroke interacts with the existing marks on canvas. The photos taken in the space, may help to recall memories at first place, would have little to do with the actions to painting in studio as soon as the first brushstroke is laid.The Concept of Grand Unification in Everyday Embodied Body Movement and My Body Techniques in Studio SpaceThe concept of grand unification is understood as Dao, which originated from Laozi founder of Daoism and has variable interpretations one of which appeared as communality in some English translations. The grand unification was advocated by major ancient philosophies such as: Confucianism, Daoism, Mohism, and in processes like Legalism, in China to reflect the philosophers’ understanding about the world. For example, Confucius points out: “天下有道，则礼乐征伐自天子出” (“if the nation is unified under one centre, the nation is in good shape”). This implication of the concept of grand unification in politics encouraged centralization, which is fulfilling god’s will according to Daoism.Liu Che, the Wu emperor in Han dynasty, adopted Dong Zhongshu’s suggestion in Interactions between Heaven and Mankind, to “罢黜百家，独尊儒术” (“venerate Confucianism, meanwhile, ban the rest of philosophies and ideologies inherited from the Warring state period”). This political move established Confucianism as the only official ideology in China, which applied the grand unification in cultural/ideological perspective.The idea of the grand unification is interpreted and embedded in daily life, forming a set of body techniques in relation to the hierarchical society, for example, the mid-autumn festival which is one of the two most important festivals in China. By using the astronomical phenomena of the full moon as both a symbol and a metaphor, moon in full, represent the nation in unification as well as a family reunion.In terms of Confucian values, every common person should reunite with their family to celebrate the festival by having a family feast. The feast not only gathers the family, but also suggests the nation which is seen as a big family that shall be unified too, for example many poems from the Tang and Song Dynasty are themed on the full moon to express their nostalgia as well as the wish of a unified nation. Such as poet Li Bai wrote in Tang dynasty: “举头望明月，低头思故乡” (“I raised my head and looked out on the mountain moon; I bowed my head and thought of my far-off home”). Moon cake is one of the festival foods made in the shape of full moon as a symbol of perfection in family reunion.Even for those people who do trading far away from home all year round, they must make their way back home in time for the family feast to celebrate and express their filial piety, which is one of essentials in Confucianism. The very first evidence of body technique occurs when the family members literally step across the doorsill back from business trip when they greet parents straight way in the principal room. A well educated person under the value of Confucianism would salute his parents with formal/full ketou in expressing filial piety. This form of address was considered “rituals of abject servitude” (181) by James L. Hevia. There were nine types of ketou which, as body techniques, were applied in everyday life and highlighted the hierarchical society orientated by the centralization.The actions of ketou involve everyone’s physical participation and cultural engagement with the idea of centralization so that the philosophical content of the idea behind the phenomenon is inscribed into common bodies. The everyday accumulated bodily memories and experience of participating in the idea drives the bodies to behave accordingly and technically and impacts upon the bodies to reinforce the ideology over and over again. The concept of grand unification is widely accepted and implemented in the nation as cultural reference, which discipline every body into a fixed role in the hierarchical society, as Michel Foucault describes culture “a hierarchical organization of values, accessible to everybody, (and) at the same time the occasion of a mechanism of selection and exclusion” (173). The senses of grand unification in the hierarchical society became a part of the national identity in centuries, not only as abstract concept but also as concrete culture embodiment in every action of everybody on daily base.With such cultural means inherited, my bodily movement in action to painting dedicatedly place and adjust every brushstroke in relation to the existing marks in order to construct a collective and systematic world. My brushstrokes, as James Elkins notes, are “the evidence of the artist’s manual devotion to his image” (3) which provide the balance between the sense of stability created by the composition and the sense of infinite possibilities created by the subtlety of the colour. (Figure 2) There is neither strong contrast in using colours, nor sharp edges painted, as the air I painted not only has softened every object, but also has integrated every object into the holistic atmosphere. The world is “a mass without gaps” (Merleau-Ponty 5) and the ultimate purpose of grand unification underneath its hierarchical structure is in ever pursuit of a virtuous circle – a mystical interpretation and expectation about the world in order in terms of Chinese ancient philosophy. The scene of painting “is not just one of my visual perceptions recalled from memory but a bodily experience as participant in the scene” (Liu 25) and my cultural embodiment which are expressed and translated through body techniques into the language of painting in studio. The constantly moving body perceives the colour of the space as infinite, and it seems as though the space itself vibrates. Figure 2: Peng Liu, The Forbidden City Study Series Two. Oil on canvas, 100cm x 170cm. Photo: Peng Liu (2010).While I physically explores and forms my very own techniques (as the language of painting), the intention on applying certain body techniques to ensure the painters’ understanding and to create an appropriate artwork is historical inherited. For example, in early tenth century, Jing Hao firstly theorized types of brushstrokes, called 笔法记 (The Theory of Brushstrokes in Chinese Landscape Painting), for depicting different objects accordingly. The theorized brushstrokes specify particular bodily movements for depicting certain objects, such as the fingers in variable ways of holding Chinese brushes and the pressure of hand’s strength put into each brushstroke. The theorized bodily movements/techniques would create sufficient communication and establish a hierarchical relation in between depicted objects, which translate the painter’s cultural understanding of the grand unification into the expression of Chinese landscape painting.Certainly, the sense of grand unification in Chinese landscape painting can be achieved in many methods and different techniques according to each individual artist. For instance, Guo Xi’s painting techniques, called “the angle of totality” or “floating perspective” which displaces the static eye of viewers by producing multiple perspectives in two-dimensional scroll painting, as his artistic interpretation of the sense of grand unification. (Figure 3) Guo, cited in R. M. Barnhart (372), describes the objects relation realized in his techniques: “山以水为血脉，以草木为毛发，以烟云为神采，故山得水而活 […] 水得山而媚” (“Mountain and water come alive through the mutual endorsement on each other. Water makes mountain vibrant; and mountain makes water vigorous”).Figure 3: Guo Xi. Early Spring. Hanging scroll, ink and colour on silk. 158.3 x 108.1. National Palace Museum, Taipei. (1072). And Guo's paper “Mountains and Waters”, cited in Grousset, notes: “The clouds and the vapours of real landscapes are not the same at the four seasons. In spring they are light and diffused, in summer rich and dense, in autumn scattered and thin, and in winter dark and solitary. When such effects can be seen in pictures, the clouds and vapours have an air of life” (195). Every lived object become full of vigour by the interaction with other lived object depicted together to create a sense of coherence as whole. The vibrant communications between depicted objects reinforce the aliveness of individuals within the atmosphere of the painting. The virtuous circle appears. Moreover, his painting express double meanings that not only eulogize the dynamic scene created by the relationship between every depicted object, but also imply the concept of grand unification that every object is supposed to play their own part, to be appropriate in the centralized atmosphere.Under the influence of the concept and with the awareness of body techniques in terms of Chinese painting, my body has brought its cultural habits into the studio while interrogate its own process of translation of the bodily experience into the language of painting through bodily movement. In particular, by depicting in paint the colour of the light, temperature, and atmosphere of spaces that are shaped by buildings, and how bodies interact with these affects, it is like unfolding communications on the canvas about what happens between my body and the space of the Forbidden City. My body, when making paintings, then, becomes a vehicle for expressing my remembered bodily responses to the resonances of the space. And through the compositional construction of the image, I am, or my body is able to find the best combination between colours, lines and forms to interpret those experiences/stories all under the unified voice. In the process of translating, from idea to object, the movement/techniques of my body help me to revive those bodily experiences from the space of the Forbidden City. During the constant movement of my arm and my hand, holding the brushes, I look for the best moment to leave a brushstroke on the canvas in the most appropriate angle. Every move of my body along with every colour left on the canvas is the representation of the ideology that my cultural embodied body from history creates the painting.The movement of my physical body in studio enacts my cultural body in the sense of provoking memories of the inscribed experience and embodied knowledge from the space of the Forbidden City to colonize the studio. The dynamics of the studio assimilate into the space of the Forbidden City, not through some display objects such as printed photos taken in the space, but through my body’s physical and cultural presence in actions to painting. Apart from interacting with brushstrokes, the bodily movement also involve the rest of the studio into actions, such as wall, lights, tables, palette, little things placed behind easels, and the air around my bodies which are inevitably caught in my sight as background while travelling between canvas and palette. The bodily actions in studio, as Merleau-Ponty notes, “is a process of expression […] to grasp the nature of what appears to us in a confused way and to place it (on canvas) before us as a recognizable object” (6). Such bodily movement and techniques housed within, which may be differentiated from everyday actions, are culturally embodied and individual artistic. Therefore, as result of it, the painting, as a technique, becomes a post-colonial, which indicates the embodied knowledge and experience colonized in, as a material form of memory at the same time as an immaterial form to generate viewers’ affective and intuitive responses by allowing the viewers to imagine.To continually consider the painting as the techniques of my bodily movement in studio, the rhythm of my painting (constructed by composition, colour, and brush marks) is connected with my variable perceptions sensed in the space, reflecting my bodily experience, and affecting my viewers through its pictorial depiction. My use of colour is subtle, vivid and individualized, as the original colours of the buildings merely serves as a reference point. (Figure 4) Specifically, the colours shown in my paintings display a collection of colours that my body perceives while moving in the space at a particular time; rather than the actual colour of the paint on the building itself perceived through a fixed geometric or photographic perspective. This is called “the lived perspective” (Cezanne cited in Merleau-Ponty 4), emphasising on expressing the colours perceived by my body constantly changing in subtle ways with every step my body taken in the space over a period of time. And “this visual rhythm is the translation of my bodily experience in the space, not only representing a still scene at a specific moment, but also visualizing a set of body movements/techniques accumulated in the space over a period of time” (Liu 25-26); as well as in studio.Figure 4: Peng Liu. The Forbidden City Study Series Three. Oil on canvas. 170cm x 300cm. Photo: Peng Liu (2013).ConclusionAcknowledging my body is historically inherited and culturally embodied as the result of participating in different societies and my bodily experience is perceived “through the mediation of cultural categories” (Douglas 68); “it is certain that a person’s life does not explain his (art) work” (Merleau-Ponty 8). My body techniques in dealing with everyday society are re-thought and expanded in studio space, which highlight my bodily movement not only representing my body as cultural embodied being, but also exposing my individual as an artist in response to the world.ReferencesBarnhart, R.M., et al. Three Thousand Years of Chinese Painting. New Haven: Yale University Press, 1997.Confucius. The Analects of Confucius. Trans. P, Liu. No. 16. Written 770-476BC.Dong, Zhongshu. 天人策 [Interactions between Heaven and Mankind]. Written 179-104BC.Douglas, Mary. “The Two Bodies.” The Body: A Reader. Edited by Mariam Fraser and Monica Greco, New York: Routledge, 2005. 68-78.Elkins, James. What Painting Is. New York: Routledge, 1998. 3-5.Foucault, Michel. L'hermeneutique du sujet: Cours au Collège de France, 1981-1982. Paris: Gallimard Seuil, 2001.Grousset, Rene. The Rise and Splendour of the Chinese Empire. Barnes & Noble Inc, 1995.Guo, Xi. 林泉高致集 – 山水训 [Chinese Landscape]. 1020-1090AD.Hevia, James L. “Sovereignty and Subject: Constituting Relations of Power in Qing Guest Ritual.” Body, Subject & Power in China. Eds. Angela Zito and Tani E. Barlow. Chicago: University of Chicago Press, 1994.Jing, Hao. 笔法记 [The Theory of Brushstrokes in Chinese Landscape Painting]. Written 923-936AD.Li, Bai. 静夜思 [On a Quiet Night]. Trans. S. Obata.Liu, Peng. “The Impact of Space upon the Body in the Forbidden City: From the Perspective of Art.” Body Tensions: Beyond Corporeality in Time and Space. UK: Inter-Disciplinary Press, 2014. 22-34.Mauss, Marcel. “Techniques of the Body.” The Body: A Reader. Edited by Mariam Fraser and Monica Greco, New York: Routledge, 2005.Merleau-Ponty, Maurice. “Cezanne’s Doubt.” Sense and Non-Sense. Trans. Hubert and Patricia Dreyfus. Evanston: Northwestern University Press, 1964. 9-25.Shilling, Chris. The Body and Social Theory. London: SAGE Publication, 1993. 10-12.Turner, Bryan S. The Body & Society Second Edition. London: SAGE Publication, 1996.

As the name suggests, the humanities is largely a study of the human condition, in which history sits as a discipline concerned with the past. Environmental history is a new field that brings together scholars from a range of disciplines to consider the changing relationships between humans and the environment over time. Critiques of anthropocentrism that place humans at the centre of the universe or make assessments through an exclusive human perspective provide a challenge to scholars to rethink our traditional biases against the nonhuman world. The movement towards nonhumanism or posthumanism, however, does not seem to have had much of an impression on history as a discipline. What would a nonhumanist history look like if we re-centred the historical narrative around pigs? There are histories of pigs as food (see for example, The Cambridge History of Food which has a chapter on “Hogs”). There are food histories that feature pork in terms of its relationship to multiethnic identity (such as Donna Gabaccia’s We Are What We Eat) and examples made of pigs to promote ethical eating (Singer). Pigs are central to arguments about dietary rules and what motivates them (Soler; Dolander). Ancient pig DNA has also been employed in studies on human migration and colonisation (Larson et al.; Durham University). Pigs are also widely used in a range of products that would surprise many of us. In 2008, Christien Meindertsma spent three years researching the products made from a single pig. Among some of the more unexpected results were: ammunition, medicine, photographic paper, heart valves, brakes, chewing gum, porcelain, cosmetics, cigarettes, hair conditioner and even bio diesel. Likewise, Fergus Henderson, who coined the term ‘nose to tail eating’, uses a pig on the front cover of the book of that name to suggest the extraordinary and numerous potential of pigs’ bodies. However, my intention here is not to pursue a discussion of how parts of their bodies are used, rather to consider a reorientation of the historical narrative to place pigs at the centre of stories of our co-evolution, in order to see what their history might say about humans and our relationships with them. This is underpinned by recognition of the inter-relationality of humans and animals. The relationships between wild boar and pigs with humans has been long and diverse. In a book exploring 10,000 years of interaction, Anton Ervynck and Peter Rowley-Conwy argue that pigs have been central to complex cultural developments in human societies and they played an important role in human migration patterns. The book is firmly grounded within the disciplines of zoology, anthropology and archaeology and contributes to an understanding of the complex and changing relationship humans have historically shared with wild boar and domestic pigs. Naturalist Lyall Watson also explores human/pig relationships in The Whole Hog. The insights these approaches offer for the discipline of history are valuable (although overlooked) but, more importantly, such scholarship also challenges a humanist perspective that credits humans exclusively with historical change and suggests, moreover, that we did it alone. Pigs occupy a special place in this history because of their likeness to humans, revealed in their use in transplant technology, as well as because of the iconic and paradoxical status they occupy in our lives. As Ervynck and Rowley-Conwy explain, “On the one hand, they are praised for their fecundity, their intelligence, and their ability to eat almost anything, but on the other hand, they are unfairly derided for their apparent slovenliness, unclean ways, and gluttonous behaviour” (1). Scientist Niamh O’Connell was struck by the human parallels in the complex social structures which rule the lives of pigs and people when she began a research project on pig behaviour at the Agricultural Research Institute at Hillsborough in County Down (Cassidy). According to O’Connell, pigs adopt different philosophies and lifestyle strategies to get the most out of their life. “What is interesting from a human perspective is that low-ranking animals tend to adopt one of two strategies,” she says. “You have got the animals who accept their station in life and then you have got the other ones that are continually trying to climb, and as a consequence, their life is very stressed” (qtd. in Cassidy). The closeness of pigs to humans is the justification for their use in numerous experiments. In the so-called ‘pig test’, code named ‘Priscilla’, for instance, over 700 pigs dressed in military uniforms were used to study the effects of nuclear testing at the Nevada (USA) test site in the 1950s. In When Species Meet, Donna Haraway draws attention to the ambiguities and contradictions promoted by the divide between animals and humans, and between nature and culture. There is an ethical and critical dimension to this critique of human exceptionalism—the view that “humanity alone is not [connected to the] spatial and temporal web of interspecies dependencies” (11). There is also that danger that any examination of our interdependencies may just satisfy a humanist preoccupation with self-reflection and self-reproduction. Given that pigs cannot speak, will they just become the raw material to reproduce the world in human’s own image? As Haraway explains: “Productionism is about man the tool-maker and -user, whose highest technical production is himself […] Blinded by the sun, in thrall to the father, reproduced in the sacred image of the same, his rewards is that he is self-born, an auto telic copy. That is the mythos of enlightenment and transcendence” (67). Jared Diamond acknowledges the mutualistic relationship between pigs and humans in Guns, Germs and Steel and the complex co-evolutionary path between humans and domesticated animals but his account is human-centric. Human’s relationships with pigs helped to shape human history and power relations and they spread across the world with human expansion. But questioning their utility as food and their enslavement to this cause was not part of the account. Pigs have no voice in the histories we write of them and so they can appear as passive objects in their own pasts. Traces of their pasts are available in humanity’s use of them in, for example, the sties built for them and the cooking implements used to prepare meals from them. Relics include bones and viruses, DNA sequences and land use patterns. Historians are used to dealing with subjects that cannot speak back, but they have usually left ample evidence of what they have said. In the process of writing, historians attempt to perform the miracle, as Curthoys and Docker have suggested, of restoration; bringing the people and places that existed in the past back to life (7). Writing about pigs should also attempt to bring the animal to life, to understand not just their past but also our own culture. In putting forward the idea of an alternative history that starts with pigs, I am aware of both the limits to such a proposal, and that most people’s only contact with pigs is through the meat they buy at the supermarket. Calls for a ban on intensive pig farming (RSPCA, ABC, AACT) might indeed have shocked people who imagine their dinner comes from the type of family farm featured in the movie Babe. Baby pigs in factory farms would have been killed a long time before the film’s sheep dog show (usually at 3 to 4 months of age). In fact, because baby pigs do grow so fast, 48 different pigs were used to film the role of the central character in Babe. While Babe himself may not have been aware of the relationship pigs generally have to humans, the other animals were very cognisant of their function. People eat pigs, even if they change the name of the form it takes in order to do so:Cat: You know, I probably shouldn’t say this, but I’m not sure if you realize how much the other animals are laughing at you for this sheep dog business. Babe: Why would they do that? Cat: Well, they say that you’ve forgotten that you’re a pig. Isn't that silly? Babe: What do you mean? Cat: You know, why pigs are here. Babe: Why are any of us here? Cat: Well, the cow’s here to be milked, the dogs are here to help the Boss's husband with the sheep, and I’m here to be beautiful and affectionate to the boss. Babe: Yes? Cat: [sighs softly] The fact is that pigs don’t have a purpose, just like ducks don’t have a purpose. Babe: [confused] Uh, I—I don’t, uh ... Cat: Alright, for your own sake, I’ll be blunt. Why do the Bosses keep ducks? To eat them. So why do the Bosses keep a pig? The fact is that animals don’t seem to have a purpose really do have a purpose. The Bosses have to eat. It’s probably the most noble purpose of all, when you come to think about it. Babe: They eat pigs? Cat: Pork, they call it—or bacon. They only call them pigs when they’re alive (Noonan). Babe’s transformation into a working pig to round up the sheep makes him more useful. Ferdinand the duck tried to do the same thing by crowing but was replaced by an alarm clock. This is a common theme in children’s stories, recalling Charlotte’s campaign to praise Wilbur the pig in order to persuade the farmer to let him live in E. B. White’s much loved children’s novel, Charlotte’s Web. Wilbur is “some pig”, “terrific”, “radiant” and “humble”. In 1948, four years before Charlotte’s Web, White had published an essay “Death of a Pig”, in which he fails to save a sick pig that he had bought in order to fatten up and butcher. Babe tried to present an alternative reality from a pig’s perspective, but the little pig was only spared because he was more useful alive than dead. We could all ask the question why are any of us here, but humans do not have to contemplate being eaten to justify their existence. The reputation pigs have for being filthy animals encourages distaste. In another movie, Pulp Fiction, Vincent opts for flavour, but Jules’ denial of pig’s personalities condemns them to insignificance:Vincent: Want some bacon? Jules: No man, I don’t eat pork. Vincent: Are you Jewish? Jules: Nah, I ain’t Jewish, I just don’t dig on swine, that’s all. Vincent: Why not? Jules: Pigs are filthy animals. I don’t eat filthy animals. Vincent: Bacon tastes gooood. Pork chops taste gooood. Jules: Hey, sewer rat may taste like pumpkin pie, but I’d never know ’cause I wouldn’t eat the filthy motherfucker. Pigs sleep and root in shit. That’s a filthy animal. I ain’t eat nothin’ that ain’t got sense enough to disregard its own feces [sic]. Vincent: How about a dog? Dogs eats its own feces. Jules: I don’t eat dog either. Vincent: Yeah, but do you consider a dog to be a filthy animal? Jules: I wouldn’t go so far as to call a dog filthy but they’re definitely dirty. But, a dog’s got personality. Personality goes a long way. Vincent: Ah, so by that rationale, if a pig had a better personality, he would cease to be a filthy animal. Is that true? Jules: Well we’d have to be talkin’ about one charming motherfuckin’ pig. I mean he’d have to be ten times more charmin’ than that Arnold on Green Acres, you know what I’m sayin’? In the 1960s television show Green Acres, Arnold was an exceptional pig who was allowed to do whatever he wanted. He was talented enough to write his own name and play the piano and his attempts at painting earned him the nickname “Porky Picasso”. These talents reflected values that are appreciated, and so he was. The term “pig” is, however, chiefly used a term of abuse, however, embodying traits we abhor—gluttony, obstinence, squealing, foraging, rooting, wallowing. Making a pig of yourself is rarely honoured. Making a pig of the humanities, however, could be a different story. As a historian I love to forage, although I use white gloves rather than a snout. I have rubbed my face and body on tree trunks in the service of forestry history and when the temperature rises I also enjoy wallowing, rolling from side to side rather than drawing a conclusion. More than this, however, pigs provide a valid means of understanding key historical transitions that define modern society. Significant themes in modern history—production, religion, the body, science, power, the national state, colonialism, gender, consumption, migration, memory—can all be understood through a history of our relationships with pigs. Pigs play an important role in everyday life, but their relationship to the economic, social, political and cultural matters discussed in general history texts—industrialisation, the growth of nation states, colonialism, feminism and so on—are generally ignored. However “natural” this place of pigs may seem, culture and tradition profoundly shape their history and their own contribution to those forces has been largely absent in history. What, then, would the contours of such a history that considered the intermeshing of humans and pigs look like? The intermeshing of pigs in early human history Agricultural economies based on domestic animals began independently in different parts of the world, facilitating increases in population and migration. Evidence for long-term genetic continuity between modern and ancient Chinese domestic pigs has been established by DNA sequences. Larson et al. have made an argument for five additional independent domestications of indigenous wild boar populations: in India, South East Asia and Taiwan, which they use to develop a picture of both pig evolution and the development and spread of early farmers in the Far East. Domestication itself involves transformation into something useful to animals. In the process, humans became transformed. The importance of the Fertile Crescent in human history has been well established. The area is attributed as the site for a series of developments that have defined human history—urbanisation, writing, empires, and civilisation. Those developments have been supported by innovations in food production and animal husbandry. Pig, goats, sheep and cows were all domesticated very early in the Fertile Crescent and remain four of the world’s most important domesticated mammals (Diamond 141). Another study of ancient pig DNA has concluded that the earliest domesticated pigs in Europe, believed to be descended from European wild boar, were introduced from the Middle East. The research, by archaeologists at Durham University, sheds new light on the colonisation of Europe by early farmers, who brought their animals with them. Keith Dobney explains:Many archaeologists believe that farming spread through the diffusion of ideas and cultural exchange, not with the direct migration of people. However, the discovery and analysis of ancient Middle Eastern pig remains across Europe reveals that although cultural exchange did happen, Europe was definitely colonised by Middle Eastern farmers. A combination of rising population and possible climate change in the ‘fertile crescent’, which put pressure on land and resources, made them look for new places to settle, plant their crops and breed their animals and so they rapidly spread west into Europe (ctd in ScienceDaily). Middle Eastern farmers colonised Europe with pigs and in the process transformed human history. Identity as a porcine theme Religious restrictions on the consumption of pigs come from the same area. Such restrictions exist in Jewish dietary laws (Kashrut) and in Muslim dietary laws (Halal). The basis of dietary laws has been the subject of much scholarship (Soler). Economic and health and hygiene factors have been used to explain the development of dietary laws historically. The significance of dietary laws, however, and the importance attached to them can be related to other purposes in defining and expressing religious and cultural identity. Dietary laws and their observance may have been an important factor in sustaining Jewish identity despite the dispersal of Jews in foreign lands since biblical times. In those situations, where a person eats in the home of someone who does not keep kosher, the lack of knowledge about your host’s ingredients and the food preparation techniques make it very difficult to keep kosher. Dietary laws require a certain amount of discipline and self-control, and the ability to make distinctions between right and wrong, good and evil, pure and defiled, the sacred and the profane, in everyday life, thus elevating eating into a religious act. Alternatively, people who eat anything are often subject to moral judgments that may also lead to social stigmatisation and discrimination. One of the most powerful and persuasive discourses influencing current thinking about health and bodies is the construction of an ‘obesity epidemic’, critiqued by a range of authors (see for example, Wright & Harwood). As omnivores who appear indiscriminate when it comes to food, pigs provide an image of uncontrolled eating, made visible by the body as a “virtual confessor”, to use Elizabeth Grosz’s term. In Fat Pig, a production by the Sydney Theatre Company in 2006, women are reduced to being either fat pigs or shrieking shallow women. Fatuosity, a blog by PhD student Jackie Wykes drawing on her research on fat and sexual subjectivity, provides a review of the play to describe the misogyny involved: “It leaves no options for women—you can either be a lovely person but a fat pig who will end up alone; or you can be a shrill bitch but beautiful, and end up with an equally obnoxious and shallow male counterpart”. The elision of the divide between women and pigs enacted by such imagery also creates openings for new modes of analysis and new practices of intervention that further challenge humanist histories. Such interventions need to make visible other power relations embedded in assumptions about identity politics. Following the lead of feminists and postcolonial theorists who have challenged the binary oppositions central to western ideology and hierarchical power relations, critical animal theorists have also called into question the essentialist and dualist assumptions underpinning our views of animals (Best). A pig history of the humanities might restore the central role that pigs have played in human history and evolution, beyond their exploitation as food. Humans have constructed their story of the nature of pigs to suit themselves in terms that are specieist, racist, patriarchal and colonialist, and failed to grasp the connections between the oppression of humans and other animals. The past and the ways it is constructed through history reflect and shape contemporary conditions. In this sense, the past has a powerful impact on the present, and the way this is re-told, therefore, also needs to be situated, historicised and problematicised. The examination of history and society from the standpoint of (nonhuman) animals offers new insights on our relationships in the past, but it might also provide an alternative history that restores their agency and contributes to a different kind of future. As the editor of Critical Animals Studies, Steve Best describes it: “This approach, as I define it, considers the interaction between human and nonhuman animals—past, present, and future—and the need for profound changes in the way humans define themselves and relate to other sentient species and to the natural world as a whole.” References ABC. “Changes to Pig Farming Proposed.” ABC News Online 22 May 2010. 10 Aug. 2010 http://www.abc.net.au/news/stories/2010/05/22/2906519.htm Against Animal Cruelty Tasmania. “Australia’s Intensive Pig Industry: The Intensive Pig Industry in Australia Has Much to Hide.” 10 Sep. 2010 http://www.aact.org.au/pig_industry.htm Babe. Dir. Chris Noonan. Universal Pictures, 1995. Best, Steven. “The Rise of Critical Animal Studies: Putting Theory into Action and Animal Liberation into Higher Education.” Journal for Critical Animal Studies 7.1 (2009): 9-53. Cassidy, Martin. “How Close are Pushy Pigs to Humans?”. BBC News Online 2005. 10 Sep. 2010 http://news.bbc.co.uk/2/hi/uk_news/northern_ireland/4482674.stmCurthoys, A., and Docker, J. “Time Eternity, Truth, and Death: History as Allegory.” Humanities Research 1 (1999) 10 Sep. 2010 http://www.anu.edu.au/hrc/publications/hr/hr_1_1999.phpDiamond, Jared. Guns, Germs and Steel: The Fates of Human Societies. New York: W. W. Norton, 1999. Dolader, Miguel-Àngel Motis. “Mediterranean Jewish Diet and Traditions in the Middle Ages”. Food: A Culinary History. Eds. Jean-Louis Flandrin and Massimo Montanari. Trans. Clarissa Botsford, Arthus Golhammer, Charles Lambert, Frances M. López-Morillas and Sylvia Stevens. New York: Columbia UP, 1999. 224-44. Durham University. “Chinese Pigs ‘Direct Descendants’ of First Domesticated Breeds.” ScienceDaily 20 Apr. 2010. 29 Aug. 2010 http://www.sciencedaily.com/releases/2010/04/100419150947.htm Gabaccia, Donna R. We Are What We Eat: Ethnic Food and the Making of Americans. Cambridge: Harvard University Press, 1998. Grosz, Elizabeth. Volatile Bodies: Toward a Corporeal Feminism. St Leonards: Allen & Unwin, 1994. Haraway, D. “The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others.” The Haraway Reader. New York: Routledge, 2005. 63-124. Haraway, D. When Species Meet: Posthumanities. 3rd ed. London: University of Minnesota Press, 2008. Henderson, Fergus. Nose to Tail Eating: A Kind of British Cooking. London: Bloomsbury, 2004. Kiple, Kenneth F., Kriemhild Coneè Ornelas. Cambridge History of Food. Cambridge: Cambridge University Press, 2000. Larson, G., Ranran Liu, Xingbo Zhao, Jing Yuan, Dorian Fuller, Loukas Barton, Keith Dobney, Qipeng Fan, Zhiliang Gu, Xiao-Hui Liu, Yunbing Luo, Peng Lv, Leif Andersson, and Ning Li. “Patterns of East Asian Pig Domestication, Migration, and Turnover Revealed by Modern and Ancient DNA.” Proceedings of the National Academy of Sciences, United States 19 Apr. 2010. 10 Sep. 2010 http://www.pnas.org/cgi/content/full/0912264107/DCSupplemental Meindertsma, Christien. “PIG 05049. Kunsthal in Rotterdam.” 2008. 10 Sep. 2010 http://www.christienmeindertsma.com/index.php?/books/pig-05049Naess, A. “The Shallow and the Deep, Long-Range Ecology Movement.” Inquiry 16 (1973): 95-100. Needman, T. Fat Pig. Sydney Theatre Company. Oct. 2006. Noonan, Chris [director]. “Babe (1995) Memorable Quotes”. 10 Sep. 2010 http://www.imdb.com/title/tt0112431/quotes Plumwood, V. Feminism and the Mastery of Nature. London: Routledge, 1993. Pulp Fiction. Dir. Quentin Tarantino. Miramax, 1994. RSPCA Tasmania. “RSPCA Calls for Ban on Intensive Pig Farming.” 10 Sep. 2010 http://www.rspcatas.org.au/press-centre/rspca-calls-for-a-ban-on-intensive-pig-farming ScienceDaily. “Ancient Pig DNA Study Sheds New Light on Colonization of Europe by Early Farmers” 4 Sep. 2007. 10 Sep. 2010 http://www.sciencedaily.com/releases/2007/09/070903204822.htm Singer, Peter. “Down on the Family Farm ... or What Happened to Your Dinner When it was Still an Animal.” Animal Liberation 2nd ed. London: Jonathan Cape, 1990. 95-158. Soler, Jean. “Biblical Reasons: The Dietary Rules of the Ancient Hebrews.” Food: A Culinary History. Eds. Jean-Louis Flandrin and Massimo Montanari. Trans. Clarissa Botsford, Arthus Golhammer, Charles Lambert, Frances M. López-Morillas and Sylvia Stevens. New York: Columbia University Press, 1999. 46-54. Watson, Lyall. The Whole Hog: Exploring the Extraordinary Potential of Pigs. London: Profile, 2004. White, E. B. Essays of E. B. White. London: HarperCollins, 1979. White, E. B. Charlotte’s Web. London: HarperCollins, 2004. Wright, J., and V. Harwood. Eds. Biopolitics and the ‘Obesity Epidemic’. New York: Routledge, 2009. Wykes, J. Fatuosity 2010. 29 Aug. 2010 http://www.fatuosity.net

碩士
靜宜大學
中國文學研究所
93
This thesis outline any six.Test to release with a thing particularly the research result of the book,folk cultural data,modern science, ascend the times of the 《Shi-Jing》, the study a thing is in《Shi-Jing》the idea application that rise.Account the birds are 35 kinds of,animals are 25 kinds of,insects are 29 kinds of,fishes are kinds of 12.Its content main idea is as follows: An introduction, elaborate the research motive of this thesis and study the method, and look back the predecessors the research result. Chapter 2 starts into a thing analysis – birds idea.Add up to discuss to have 35 kinds of birds in《Shi-Jing》each literary piece the effect that rise.《Shi-Jing》medium topic concerning the birds idea usage, have four in rough reckoning:The conduct and actions hunts the object and carries dance the feather decorations that use,the motherland clansmen keeps in mind to think,the exchanges of the humanities relation. Chapter 3- animals idea.Add up to 25 kinds of monsters in《Shi-Jing》each literary piece the effect that rise.《Shi-Jing》medium topic concerning the monster idea usage, about can be divided into five:Transportation tool,find,offer sacrifices to the exchanges of the trillion,the humanities relation of sacrifice,the spirit good omen. Chapter 4- insects idea.Add up to 29 kinds of insects in《Shi-Jing》each literary piece the effect that rise.《Shi-Jing》medium topic concerning the insect idea usage, about can be divided into four:The destructive insect corrupt is lousy,the parable of the appearance ,humanities of the insect,appearance of the season relates to it to reflect to shoot. Chapter 5- fishes idea.Add up to 12 kinds of fishes at《Shi-Jing》each literary piece rises of effect.《Shi-Jing》medium topic concerning the fish idea usage, about can be divided into the two major type:Call the "fish" while ising general,two grow for the fish of the detailed row category. A conclusion.The overview is the research result of the thesis originally, insight with the research.

碩士
國立臺中教育大學
美術學系碩士班
97
This research investigated audiences considered the subject of peony became commodities that were gaudy and inartistic for a creator, which were tagged with misgivings. Therefore, literature review explored the drawing and painting of peony during the Tang and Sung Dynasty, which used sketch skill to reclaim the rigid impression of the subject of peony. Research methodology adopted the foundation of Erwin Panofsky’s Iconology to inspect cultural origin of peony prototype, and adopted the definition of third level to connect image of woman and peony for attempting to explain the definition of peony to maternity and family. This creation displayed there styles: remindful style, decorative style, and surreal style, and then planed three glue watercolor creative series that were “guardian series”, “flowerage series”, and “riches as floating clouds series”. The pattern of this composition displayed the author’s broken memory of homeland and the abstract peony form. The author made material watercolor and put it on the basic layer of this glue-watercolor creative composition which displayed unique and unimaginable. Paper rubbing was used on canvas in order to show the antique and mournful. This composition displayed effect as traditional frescoes, and it also solve inconvenience of carry. The composition of Ancients’s peony pattern was transformed as subject matter. The surrealistic technique was used to blend the Lu-gang’s historic ally and architecture, peony’s original pattern, and Dunhung’s flying pattern. Finally, riches as floating clouds and traditional family concept were adopted as subject for extending the rich, vulgar and rigid impression of peony.

碩士
國立政治大學
國際傳播英語碩士學位學程(IMICS)
99
The main purpose of this research is to explore Taiwanese celebrities’ use of blogs to repair their image and the change in the interaction among media, celebrities and audiences when celebrities start to blog. In conducting this research, the researcher intends to further clarify the relationship among these three actors in the new media era, as well as understanding how celebrities attempt to repair their image in cyberspace. Yi Neng Jing (伊能靜), a Taiwanese celebrity, is chosen as the case study in this research. A content analysis is adopted as the research method to investigate the way in which she remedied her image in a blog when it was jeopardized by news of her extramarital affair in 2008. Apart from her blog content, the mass media’s coverage and audience’s response to her in a specific time segment are also analysed. The research findings show that Yi used bolstering, transcendence, attacking one’s accuser and denial as the major strategies to restore her image. These strategies are basically consistent with Benoit’s research into Hugh Grant’s case of lewd behavior (1997). The research findings also show that the mass media does not necessarily take what celebrities say as being fact and often makes its own interpretation of celebrities’ blogging texts. Thus, celebrities’ efforts to repair their image tend to be offset in a mass media framework.

碩士
臺北市立教育大學
中國語文學系碩士班
101
This paper’s subject is “Tao Yuanming’s Image In The Poems Of Dan Bei Chen Wei-Ying And Two Jing.” Therefore, the research question is the reason Chen Wei-Ying And Two Jing who lived in the Ching Dynasty governance had written the poems which were written by Tao Yuanming lived in the Eastern Jin Dynasty.The chapter one is a foreword, the research motive and purpose is I have the interest about Tao Yuanming and want to research Tao Yuanming’s poems. Through the poets in Dan Bei, we can understand the original meaning of Tao Yuanming’s poems and learn they’re methods that rewrite Tao Yuanming’s image in poems. The research methods are space theory, accept theory and Nidai. The chapter two is the times and region, it will depart two times Dan Bei was dominated by the Ching Dynasty and the Eastern Jin Dynasty and Song of the Southern dynasties. The similar characteristic between the two times are the disorder society and uneasy peoples sought mind consolation. The chapter three is mentality and experience, and the main research question is Chen Wei-Ying ,Two Jing and Tao Yuanming’s life. Hoping find they’re common points by researching they’re life. Chen Wei-Ying, Two Jing and Tao Yuanming had a valuing feeling mind and strived studying and lived in a beauty place. The chapter four is researching Tao Yuanming’s image in the poems. First, get the same images together and put the words to the focal point. The countryside category and name category are the most, and they most liked to write chrysanthemum. Aside from countryside category and name category, withdraw from society and live in obscurity category and drink wine category were be used to enthrone Tao Yuanming’s personality. The chapter five is conclusion, the reason for Chen Wei-Ying and Two Jing wrote the poems that including Tao Yuanming’s image is they’re external quality and inherent quality were same to Tao Yuanming in some sides. Therefore they accepted and identified Tao Yuanming and use these Tao Yuanming’s image to expressed they’re aspirations.

碩士
國立彰化師範大學
地理學系
96
The purpose of this research is to inspect the development of the Jingming 1st street and the previous problems which have been solved or not by investigating the Jingming 1st street present situation, and to further appraise the effect of the image business cluster plan, its limitation and the improvement. Summering over ten year’s development of the Jingming 1st street can be the reference of the present continuous or the future business street plan. The findings discovered that since 1980 the Jingming 1st street has been through the start stage from1991 to 1995, and during 1995-1996 it had the peak of electing for the first demonstration shopping street in Taiwan. But hereafter some questions and the bottleneck also appeared along with it. This research bases on the balanced scorecard. By penetrating the merchant and consumer’s questionnaire survey and fieldwork, the research discusses the Jingming 1st street’s present development situation and the results separately from the customer perspective, the internal process perspective, the learning and growth perspective, and the financial perspective. With the assistance of the different periods’ correlative researches which the predecessors made, establish the development course of the Jingming 1st street and the development result of the various stages. On the whole of the Jingming 1st street development result, from the aspect of the customer and the service, the merchant thought the service is more satisfying, but consumers generally thought the vivid attraction that the entire business cluster presents is higher. In the internal process aspect, most of the participants thought holding activates is helpful to the business opportunities, but the result of the actual operations isn’t necessarily the same as the anticipation. In the aspect of the learning and growth, it lacks the system of learning, and the operation of the management meeting and the union of the block’s intention is not perfect. Finally from the financial perspective, during recent years the growth scope of the turnover was smaller, and even it was the negative growth. And the rent still is the biggest one of the problems, which affect the financial construction surface. In view of this development characteristic and the problems, the suggestion about the business cluster may be to make the intention and mutual recognition stronger, to establish the development direction of the business cluster, and to diligently combine the original characteristics of the business clusters and activities, which other shops cooperate to hold. To the government, the improvement of the transportation system, the complete laws of rental and so on, will be helpful to make the business clusters operation smooth. To create the high peak of the Jingming 1st street again, the most important key still lies in the interior and mutual recognition of the business cluster and the characteristic establishment. Being the first demonstration-shopping street in Taiwan, the development course of the Jingming 1st street and the problems, which they face, might be the references of building other similar business clusters. In the future, we hope to see that the Jingming 1st street can retrieve the power, which the initial and supportive business cluster had to build, and continues to develop the high quality shopping street.

碩士
國立臺灣師範大學
美術學系在職進修碩士班
99
This study focuses on the image composition and differences of the Classic of Mountains and Seas (Shan Hai Jing), analyzing and summarizing the application models, coupled with the social issues to be practically applied in a series of image creations. From the literature part, the origin of the Classic of Mountains and Seas (Shan Hai Jing) and the development of the different versions of images were explored. In addition, based on the features of the versions of the Classic of Mountains and Seas (Shan Hai Jing) during the Ming and Qing dynasties, the development context was clarified. Also, through the constitution forms, the image version types were classified. The image constitution forms can be divided into: “One God or many Gods with mountains and rivers in the back,” and “One God or Many Gods without a background.” After gaining an insight into the Classic of Mountains and Seas (Shan Hai Jing) related case analysis, the four concepts of “imagination, description, creation, and acquisition” served as the creation design basis. In this study, with the social issues as the themes, the Classic of Mountains and Seas (Shan Hai Jing) image was redesigned and redeveloped into four themes: “career, worship, flowers, and politics.” In addition, four contrasting colors were used to match the themes to express the uniqueness of the personal image designs and interpret the concept of the traditional images in modern expression. In this study, the introduction in Chapter 1 covers the research motivation, purpose, and creative research methods; Chapter 2 covers the Classic of Mountains and Seas (Shan Hai Jing) related theoretical discussions, including the research analysis of the different versions of images, analysis of the relevant case studies, and analysis and descriptions of the expression style; Chapter 3 covers descriptions of the creation concepts and processes, including the creation concept and creation development process, and descriptions of the works; the final chapter covers the specific conclusions and recommendations, as well as the possibility of future development of creations. The specific research value of this study lies in the possibility of analyzing and applying the social issues in image creations through the theoretical basis of the Classic of Mountains and Seas (Shan Hai Jing). In terms of creation style, lines and strong color contrasts were used as the main form of visual expression. Through image creation, criticisms in modern life were reflected, thus attempting to elicit resonance with viewers and inner reflection through image creation. The four image design work series are a reflection of the values and ethics of modern society, which in turn are extended into a series of creation designs that are in line with the contemporary Classic of Mountains and Seas (Shan Hai Jing).

碩士
國立中興大學
土木工程學系所
99
Currently, in the land history drawing preserved by land administration office in each area nationwide, there are still some paper drawing data, and most of them are used ever since Japanese-colonized period. However, since it is very difficult to keep the paper drawing, for example, the paper could get stretched and indented and different change of scale due to years and years of use, high utilization frequency and different utilization habit, etc. Therefore, most of the original land history drawings preserved by each land administration office can longer be useable. Not only the accuracy is bad, but also the land data is not clear or is in mistake, which in turn leads to bad accuracy (or error) in double measurement operation. The above mentioned situation is more serious for mountain area, not only because the slow re-measurement process of the digital map (or landscape map), but because steep mountain here in Taiwan as well as the frequent occurrence of earthquake, heavy rain, which could lead to land collapse, or even large area plate shift such as “land slide”, hence, the data accuracy is seriously irregular and erroneous. To solve the above issues, the best way is to use high accuracy numerical operation model to make re-measurement. However, since the scope to be tested and the budget are all very huge, which cannot be implemented in very short term. But in tedious transitional period, the re-measurement operation still needs to be done continuously, hence, this study has proposed to use VRS-RTK accompanied with ortho image re-measurement method to enhance operation efficiency and accuracy. This study has used Ching Jing Farm in Jenai Township of Nantou County as experimental area, and VRS-RTK dynamic positioning measurement accompanied with 1/5000 ortho image as measured by Aerial Survey Office of Forestry Bureau of Ministry of Interior in 2006 has been used to perform land re-measurement work. From the research result analysis, we can obtain: The VRS-RTK measurement operation model, as compared to traditional plane table re-measurement method, can greatly enhance the measurement efficiency, and the result can reach the standard of mountain area land re-measurement of land history measurement implementation rule. It is hoped that through the promotion of this research model, the current less accurate mountain re-measurement operation can be improved, and the right of the public can be maintained, eventually, the land re-measurement efficiency can be enhanced.

This chapter is the translation of chapter 35 of the Expository Commentary to the Daode jing by Cheng Xuanying. Cheng reads the ancient Daode jing in the light of early Tang dynasty Daoism. In the early medieval period up to the Tang, Daoism had developed in close contact with Buddhism, adopting and co-opting many concepts and ideas from Buddhism. Cheng brings these originally Buddhist concepts into the exegesis of the classic Daode jing. In addition, he ties the Daode jing closely to the Zhuangzi and to Confucian classics by citing them in his commentary to every chapter of the Daode jing. He also uses the Buddhist method of kepan to structure the text of the single chapter into smaller subunits and also to create a framework explaining the specific sequence of the single chapters in the Daode jing.

The Ise Shrines (Ise Jingū 伊勢神宮), which venerate the tutelary deities of the imperial lineage, are today presented as sites of an enduring and immutable native tradition. However, the image of Ise as the homeland of an indigenous religion untouched by Buddhism is one created by eighteenth- and nineteenth-century Nativists, promulgated by the Japanese government until the end of the Pacific War, and promoted by the Ise Shrines until today. The Separation Edicts of 1868, which segregated religious deities, clergy, institutions, and images, into the mutually exclusive categories of Buddhist or Shinto, was one of the most radical events in the history of Japanese religion and one that forever changed the status, structure, and administration of Ise. But for the previous thousand years, Buddhist practices, texts, deities, and beliefs were an integral part of Ise’s religious and institutional culture. Yet the relationship between the gods and the buddhas at Ise is neither simple nor self-evident. This article seeks to excavate one piece of that complex history.

This chapter discusses the origins of the two major “schools” of Yijing interpretation: the xiangshu or “image and number” approach and the yili or “meaning and principle” approach, from the 2nd century BCE to the 3rd century CE. The major figures in each group are introduced with examples of some of their interpretive techniques. The xiangshu group includes Meng Xi, Jiao Yanshou, Jing Fang, and Yu Fan, all during the Han dynasty (206 BCE–220 CE). The so-called “Yi apocrypha” are also briefly discussed, including two numerological diagrams, the Hetu (River Chart) and Luoshu (Luo Text), which became more influential during the Song dynasty (960–1279). The last section of the chapter is on Wang Bi (3rd century CE), the first great exemplar of the yili approach.

The kabuki play Osome Hisamatsu ukina no yomiuri was written by kabuki playwright Tsuruya Nanboku IV and first performed at the Morita za theatre in Edo (Tōkyō) in 1813. The plot of the play includes a fraud scene with a corpse, which is based on seventeenth-century Chinese popular novel Jingu qiguan. One of the features of Osome Hisamatsu ukina no yomiuri is that it showcases the attempted fraud by a woman of the lower classes, Dote no Oroku, first performed by onnagata actor Iwai Hanshirō V. Oroku belongs to the kabuki type cast known as akuba, which realistically depicts the life of women of the lower classes. This type of role was first made popular by onnagata actor Iwai Hanshirō IV’s performance in 1792, though lead actor Onoe Matsusuke I already performed evil female fraudsters as early as 1789. There is a possibility that the kabuki actors and playwrights were made aware of this particular female image in the Chinese novel by Dutch scholar and writer Morishima Chūryō. This paper discusses the social interactions between Tsuruya Nanboku, Onoe Matsusuke and Morishima Chūryō, and how Iwai Hanshirō V’s enacting of Dote no Oroku was influenced by Hanshirō IV’s and Matsusuke’s evil old women.