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During Australia's “White Australia” policy (1901-1973), Chinese women in Sydney defied limitations through voluntary work. Starting with social clubs and local relief funds, their efforts culminated in the 1954 Chinese Women's Association of Australia (CWAA). This study explores how these women navigated inclusion and exclusion by leveraging their voluntary efforts. Fundraising, cultural events, and community activities became platforms for them to express their evolving identities and reshape social dynamics. The paper argues that cultural practices empowered women-led Chinese voluntary organizations in the diaspora. It introduces the concept of a “cosmopolitan minority,” where “Chineseness” is performed identities transcending race or ethnicity alone. Cosmopolitan life allowed these women to leverage intercultural understanding for navigating their complex situation and fostering resilience. Through collaboration and community building, they strategically performed their heritage, ultimately shaping associations and spaces to assert agency and define their ideal lives within the diaspora. [ABSTRACT FROM AUTHOR]

Chinese voluntary associations (CVAs) are often portrayed as “old people’s clubs” and extant studies have largely neglected younger generations’ experiences in these associations. Drawing on ethnographic fieldwork with younger Singaporean Chinese who engage with CVAs, this paper explores how they negotiate Chineseness in and through the spaces of CVAs. This paper contributes to extant literature in two ways. First, it sheds light on the role of migrant associations in shaping younger generations’ ethnic identity and belonging. CVAs act as sites of knowledge, relationships and connections to ancestral places. Yet at the same time, CVAs are spaces where the younger generations experience alienation during their encounters with older generations. Second, the paper responds to larger scholarly concerns about what China’s “rise” means for the Chinese diaspora. We approach CVAs as microcosms of Singapore’s balancing act in the contemporary geopolitical landscape where China’s presence is increasingly felt. [ABSTRACT FROM AUTHOR]

This paper aims to examine the origins and development of the Guanyin Shrine in Mueang Mae Hong Son, Thailand, and to investigate how its construction of Chineseness is informed by various factors at intra-ethnic, local, and national levels. Through ethnographic fieldwork, it was found that the Chineseness embodied in the Shrine is a paradigm encompassing the identities of overseas Chinese from different backgrounds. The Shrine is characterized by its use of universally recognized symbols in Chinese culture, including the selection of Guanyin as the main deity and the creation of unique trademarks using common motifs such as yin-yang and bagua. The Shrine represents a hybridization not only of Chineseness and national identity but also of Chineseness and local identity, as seen through the application of national symbols such as the Thai monarchy and Theravada Buddhism, the ritual of inviting Tai Yai guardian deities, and the procession of ethnic groups during the Annual Celebration. [ABSTRACT FROM AUTHOR]

Chinese Tofu (1971), edited by the acclaimed female writer Lin Haiyin in Taiwan, came out in a rapidly changing Cold War order in East Asia. Focusing on this previously neglected work, this article offers a close reading of how a mundane foodstuff shed light on contested Chineseness, one informed by Lin's own gendered experience in the diaspora. Rather than reifying or essentializing "Chinese" foodways, tofu opened up the possibility of a more cosmopolitan geography. That geography pointed to former imperial frontiers, the Sinitic cultural sphere, and beyond. The book's afterlife in reform-era China underscores the ongoing debate over what it means to be Chinese. [ABSTRACT FROM AUTHOR]

Citizenship education is often assigned a role in nation building as it attempts in part to bridge social divisions within society and foster a more unified national identity. As an element of citizenship education, teaching about ethnic minorities is an imperative to achieve this aim. This article examines how ethnic minorities in China are represented in recent primary and secondary textbooks for political and civic subjects, focusing on the nature of state–minority interrelations. We find that textbooks frame ethnic minorities as patriotic Chinese citizens while legitimizing Chinese rule over them. These findings expand on the past literature emphasizing unequal Han–minority relationships and shed light on how diversity is negotiated and formulated in civic education in a non-western society. [ABSTRACT FROM AUTHOR]

Teaching young Hongkongers a sense of 'Chineseness', especially in a cultural sense, was embedded in the city's colonial history. Yet moulding the young generation to be patriotic citizens of the People's Republic of China was a new objective for the Hong Kong Special Administrative Region Government after 1 July 1997. This study analyses civic and citizenship curriculum guidelines issued in Hong Kong from 1997 to 2022 to explore how a new construct of national identity was pedagogized in the post-handover context. The research findings of this study suggest that the pedagogical discourse of national identity in the curriculum guidelines has tended to prioritize an ethno-cultural sense of Chineseness as an external entity and orient Hong Kong students as passive recipients for this new identity after the handover. The article concludes by considering the implications of these findings for the teaching of national identity in Hong Kong's new political context after the implementation of the National Security Law in 2020. [ABSTRACT FROM AUTHOR]

In this study, I consider the practice of sharenting mixed-blood children on Douyin as a particular case to explore how a racialized discourse facilitates and complicates the mechanism of sharenting in the Chinese context. Through digital ethnography and a qualitative content analysis of short video and audience comments on selected hunxue'er accounts, I explore how three racialized sharenting strategies – performances of Eurasianness, Chineseness, and cosmopolitanism, built around the concept of hunxue, or mixed-blood, are in fact forms of racialized digital labor for increasing visibility and monetizing creativity. The findings demonstrate that through a seemingly agentic and definitely conscious play of mixed identities, these sharenting strategies, exclusive to hunxue'er accounts, justify a distinctive use of children's digital labor in Chinese society. This study also shows that in Douyin's landscape, sharenting children from Chinese-Caucasian families appears to be more visible and favored, which not only reveals the insidious logic of global racial hierarchies but also reinforces the structures of dominance in the digital sphere. [ABSTRACT FROM AUTHOR]

Chinese identity in Southeast Asia has become complex and multifaceted over the past few decades. The Chinese diaspora in Southeast Asia has faced political challenges that pressure acculturation and assimilation, transforming its identity. This critical literature review outlines how Chinese identity in Southeast Asia has been viewed in connection with international relations and global politics. Using a taxonomic approach to scholarly works on the subject, the findings show that Chinese identity in Southeast Asia is a multi-dimensional one composed of diverse and unique community identities. Chinese identity is also viewed as a spectrum that is imagined both by nation-states and the community itself. Consequently, members of the Chinese diaspora are not simply viewed as actors, agents, or political instruments in international politics but also as independent subjects with their own stories and experiences. [ABSTRACT FROM AUTHOR]

This article examines “China” in contemporary American poetry using the example of Timothy Yu’s poems, titled “Chinese Silence,” which rewrite and / or parody texts from the American literary canon as well as public communication. It proposes a hall-of-mirrors reading of these poems in order to show how Yu’s poems refer to, reflect on, and relocate other authors’ writing of “China.” It argues that Yu’s poems, instead of making claims for an authentic “China,” attempt to bring Chinese Americans’ lived experience into the American literary tradition.

With an increasingly assertive China and the intensifying influence of the Sinocentre, Chinese overseas who have access to Chineseness can exercise their agentic power in using their cultural capital for economic gains. Beijing has recognised the potential for diasporic Chinese entrepreneurs to contribute to the Belt and Road Initiative (BRI) given their influence in Southeast Asia's economy. Correspondingly, these entrepreneurs hail the BRI as a strategic opportunity for them to turn their cultural capital into fiscal capital. Considering the increased global connectivity and new Chinese migration geographies led by the BRI, this article examines the case of Chinese business associations in Brunei Darussalam. The heterogenous responses of these ethnic Chinese and their associations to China and the BRI attest to the multiplicity and contestations of Chineseness based on different migration histories and sentiments to their ancestral land. We focus on the dynamics between the old Chinese Bruneian business elites and the more recent Chinese business migrants from Malaysia and China. An investigation of the cultural and economic politics within the Chinese Bruneian business community will provide insights into the modality of Chineseness as an economic asset that can be tactically used by diasporic Chinese entrepreneurs to maintain their social position and to respond to China's economic rise. [ABSTRACT FROM AUTHOR]

This article sheds light on the intricate relationship between the revival of Hanfu, traditional couture from the Han Dynasty, and rising Chinese nationalism among Chinese youth living in the United Kingdom. Mobilizing the theoretical tool 'affective economies', we explore how particular feelings and values are assigned and attached to Hanfu, and thereby circulate among young Chinese migrants. We begin by examining the Hanfu movement to interrogate how Hanfu is reinvented based on a selective historicity of the past, serving as a specific cultural product for China's rejuvenation. We then move on to analyze a series of in-depth interviews conducted between December 2019 and July 2020. We probe the lived experiences of young Hanfu supporters, who are members of the UK Han Culture Association, and the cultural events organized by the Association, in order to scrutinize the ways Hanfu conjures up an imagined community suffused with nationalism. Drawing upon on the affective economies of Hanfu, we discern the following three key findings: First, we argue that there are both positive and negative affective attachments to Hanfu, such as homesickness, loneliness, alienation, happiness, pride and beauty, which impinge on migrant bodies, assigning values to Hanfu and the Hanfu-related cultural events. Second, we show through the analysis of the fieldwork materials the paradoxical desire for chuguo (going abroad) and huiguo (returning to the nation) in the hearts of the young migrants. Finally, we argue that Hanfu circulates as a 'mnemonic thing' that signifies a specific imaginary of Ancient China, where young migrant's aiguo (love of the nation) sentiments are then 'stuck' to this reinvented fashion. [ABSTRACT FROM AUTHOR]

After its global popularity and commercial success, Genshin Impact, a Chinese-developed, Japanese anime-style mobile game, provokes online discussions on whether such a game of cultural hybridity exemplifies "authentic Chineseness." Based on online ethnography in the fan communities, this article investigates a two-year debate on whether GI should be considered a symbol of China's "cultural export" to other countries. It reveals that players construct multiple meanings of authentic Chineseness, including GI's integration of Chinese cultural elements, telling "the China story," and its patriotism and "political correctness" in China. This article contributes to the project of de-westernizing cultural studies by revealing how the meanings of cultural authenticity are constructed in a Global South context. Moreover, players situate "Chineseness" in the power relations among China, Japan, and the West, and associate cultural appropriation in the increasing hybridization process with global soft power competition. It reveals that the construction of cultural authenticity as a relational concept is shaped by others defined in a contingent, contextual, and multilateral way, and that the construction process is conditioned by domestic and international power relations, thus contributing to the project of going beyond dichotomous thinking in cultural studies. [ABSTRACT FROM AUTHOR]

The screening of colour cel animation Why Is the Crow Black at the 1956 Venice Film Festival was seen as a pivotal moment in Chinese animation history. It is recorded that Why Is the Crow Black was misidentified as a Soviet animation by international judges, which made this film an epic failure. Frustrated Chinese animators, led by Te Wei, reflected on the imitation of the Soviet styles and commenced the exploration of a Chinese style. This ultimately led to the foundation of the Chinese School of Animation, marked by the release of Te Wei's film The Conceited General in 1956. However, many of the widely believed 'facts' in this narrative are false. There is no evidence of an actual award, nor of the mis-identification of Why Is the Crow Black. A series of false assumptions have converged to form an entirely mistaken narrative of causality that the Crow's reception transformed the production of the General. This narrative has become ingrained in Chinese animation historiography, and the doubters remain marginal. This article argues that the 'Crow Incident' was a 1980s fabrication, arising from transcultural misunderstandings, translation errors, and perhaps even deliberately misleading assertions. The alleged Crow Incident has been used to explain and justify the urgency and necessity of exploring the Chinese minzu style in the 1950s, yet it devalues the subjectivity, initiative and self-awareness of Chinese animators. [ABSTRACT FROM AUTHOR]

"'Us' and 'Others': The Chinese Diaspora in Japan and the Negotiation of Their Membership in the Sphere of Chineseness" examines the way first-generation Chinese diaspora in Japan make sense of their relationships with the Chinese nation. With empirical evidence collected from both the in-depth interview with 69 informants and the media ethnographic observation with 26 research participants, this thesis contributes to conceptualize the diasporic experiences as well as the identity politics of the Chinese diaspora who live in a crucial era – while we have witnessed China's rise and its transition from a diminishing to a returning power, as a response to this Japan has continuously articulated a "China threat" discourse, which not only further promotes its ethno-nationalistic ideology, but also directing the ethnicity-based marginality toward the Chinese diaspora in Japan. In this context, this thesis contributes to present that while these events create complex Sino-Japanese power dynamics, the presence of digital media means that the Chinese diaspora in Japan are influenced by them in a new way – "new" in the sense that the digital mediation fills those power and forces into every dimension of their lives, making their daily reality a constant identity negotiation. [ABSTRACT FROM AUTHOR]

Landscape performing arts (LPA) is a series of large-scale performances that was developed in China. The performances use natural scenery in open-air theatres, characterized by fixed locality and daily performances, coupled with spectacular visual and audio effects using modern stage technologies. They employ hundreds of local amateur performers who display their traditional culture through music and dance to both domestic and international tourists. Chinese media present the LPA form of theatre as a 'Chinese invention'. The general concept of LPA highlights the Chinese traditional philosophy of harmony between humans and nature, and the traditional aesthetic shanshui (mountain water) to evoke a quintessential 'Chinese' scene, essence and tradition. The first 2003 performance of Impression Liu Sanjie has spawned a colossal LPA industry, each LPA adopting regional cultural characteristics. LPA has become a national brand for Chinese theatre. The format is internationalizing (it has been exported to Vietnam and Malaysia, for example), thereby allowing China to assist other countries in developing their cultural tourism industry. This paper examines how the power of the Chinese landscape has been exploited by the partystate to propagate Chinese invention through LPA. One critical question about the development of the creative industry in China involves the paradox between mobilization (encouraging public creativity) and control (limiting liberality of ideology). China's authorities in the reign of President Xi have focused on both strategies simultaneously. To explore the underlying principle of this seemingly self-contradictory policy, LPA is used to analyse the nationalistic affirmation of 'Chinese invention'. The paper appropriates theories related to landscape and the sublime. Concepts relating to the sublime from Kant, Burke, Li Zehou and Wang Ban will be employed as theoretical instruments to deconstruct the notion of 'Chinese invention' within LPA and to expose the misguided discourse and nationalistic propaganda created to justify and promote it. The research finding is that, on the one hand, the sublime emotionality of Chinese invention centres and unifies the loose contingency of individual experiences and the heterogeneity of subject-positions in the interest of covertly resolving the tension between mobilization and control of the creative industry. On the other hand, it cultivates aggressive individual and collective voices recruited in the party-state's interest while resisting foreign forces. Arguably, hegemonic sensations are fabricated by the state apparatus in the country's cultural landscape in order to cultivate belief in the inventiveness of the nation. [ABSTRACT FROM AUTHOR]

This paper explores how being Peranakan is related to (not) being Chinese in Singapore, intertwining descent, racial categorization, cultural practice and choice. Tracing the complex history of Peranakan identity, it highlights how the social construction of race has created a hybrid yet ethnically Chinese identity, with a rich cultural heritage largely relegated to the past. Drawing on theories of racial formation and the racial state, this study illuminates racial ascription and categorization in Singapore. Interviews with 32 Peranakan individuals highlight the positioning of Peranakan identity within the multiracial framework, subsumed within the Chinese category. Examining the idea of being 'Orang Cina Bukan Cina/Chinese but not Chinese', the paper addresses nuances of locating the mixedness of hybridity in a racially structured context. Juxtaposed against the recent revitalization of Peranakan material culture, Peranakan as 'locally born' illustrates how this complex identity is used in everyday life by individuals and the state. [ABSTRACT FROM AUTHOR]

While proponents of Chinese IR pursue a national school based on the identification of Chineseness with the Chinese national culture, its critics find a limited value in the 'Chinese' school as a mere temporary site for non-Western agencies. In contrast, I argue a distinctive and enduring Chinese IR is possible if it adopts a non-national and non-essentialised transcultural conception of Chineseness. This transcultural Chinese IR is based first on the contested and transcultural conception of Chineseness and second on the ontology of Chineseness as immanent humanity. Chineseness has been a fiction of a privileged descent from antiquity, which various contestants claimed by redefining the meaning of Chineseness. The shi elites, in particular, developed Chineseness as an aspirational ethos that propelled it to transcend its cultural boundary by incorporating foreign influences and thereby rendered Chineseness transcultural. Also, drawing on the ontological turn and Roy Wagner's work in anthropology, I show how Chineseness as immanent humanity transcends the category of culture, transforming the division of innate nature and constructed culture. The transcultural Chinese IR, with its own complexity and universal aspiration, uses its history and ontology to complexify both its tradition internally and other IR traditions externally, promoting the pluralisation of IR. [ABSTRACT FROM AUTHOR]

Ever since Jean-François Millet (1814–75) was introduced to China in the 1920s through translations, Chinese artists' fascination with him has resulted more from his life story than from the poor reproductions of his artworks. Millet's focus on the imagery of the peasantry and his purported identification with the peasant made him a unique figure in the rise of a discourse on native soil, which conflates peasants, the land, the Communist revolution, and a distinctive Chineseness in art. This discourse first took form during the War of Resistance against Japan (1937–45) and continues to thrive in China today. This article examines the growing list of artists—from the well-known masters Gu Yuan (1919–96) and Luo Zhongli (1948–) to lesser-known artists whose professional work was supported by state painting academies and teaching institutions—who have been named the "Chinese Millets." I propose that "Millet" continues to be effective as a trope in the discussion and imagination of art in China today because his life story provides multiple thrusts—the rapport with peasants, the simplicity and nobility of an artist's character, an unflinching insistence on one's own style in opposition to more fashionable trends—in support of a vague conviction of the vitalist force of the native soil. This simultaneously eases Chinese artists' anxiety over their distinction in the international contemporary art world and echoes the civilizational nationalism increasingly promoted by the party state. Foregrounding the persistent phenomenon of likening to Millet in art discourse in China, this study reveals the challenges and dilemmas of an art world that simultaneously strives to rise in the global order and manages to work with an authoritarian state that both promises generous patronage and demands cooperation. [ABSTRACT FROM AUTHOR]

This paper examines how Chinese politician tactically builds a dream narrative in political speech, namely, the Chinese Dream. By combining the discourse-historical approach, corpus-assisted methods and framing analysis, the study forms a complementary framework to examine the discursive construction of the Chinese Dream in President Xi Jinping's representative speeches between 2012 and 2022. It identifies four key thematic representations, i.e. NATIONAL REJUVENATION, CPC'S LEGITIMACY, CHINESE PEOPLE'S INTERESTS and WORLD'S INTERESTS and also finds that the strategies of nomination, predication, argumentation and perspectivization are skillfully used and reveals the Chinese-centric narrative frame. Beyond that, it further discusses Chineseness in the dream narrative. The paper argues that the Chinese Dream is an artificially discursive construct in a grand narrative used to build an ultimate national consensus and to serve the ideological legitimacy of the ruling class. [ABSTRACT FROM AUTHOR]

This article analyzes Chineseness in premodern Vietnam and its influence on Vietnam's foreign policy toward China and Southeast Asia both past and present. The term Chineseness refers to the practice and preservation of Confucian ideas and values in Vietnam, which arguably consists of the Mandate of Heaven and Confucian Orthodoxy concepts and their subsequent orthodox lineage issue. Being considered culturally closer to China than Korea and Japan, Vietnam, throughout history, has relied on these concepts to position itself strategically and navigate its relations vis-à-vis China and other smaller countries in Southeast Asia. Vietnamese courts used to question the legitimacy and orthodox lineage of the Manchu-led Qing dynasty because they imagined themselves as part of the Sinic world. The sense of superiority over Manchus and of being the guardian of Sinic civilization reached a climax during the Nguyen dynasty, in part shaping Vietnam's foreign policy toward China and other Southeast Asian countries at that time. In addition, this deep-seated Chineseness also helps Vietnam's decision-makers to understand contemporary China, and subtly guides the creation of Vietnam's foreign policy today. [ABSTRACT FROM AUTHOR]

This article examines the current narrative of Chineseness in the context of higher education in Southeast Asia. We hypothesise that the concept of Chineseness at the macro-level has shifted beyond historical, ethnic, and cultural to include geopolitical, socio-political and economic considerations. At the meso level, we focus on unpacking Chineseness through the development of higher education institutions studying the case of Chinese established educational institutions in Malaysia, particularly in how these institutions articulate and portray their Chineseness in a multi-cultural higher education context. Having examined both macro and meso levels, the article discusses the importance and complexity of exploring Chineseness at the micro-level while also highlighting areas and gaps that have not allowed a more thorough understanding of Chineseness in the given context. Understanding this phenomenon allows us to explore the hypothesis of a shifting conceptualisation of Chineseness and thereby contribute to a more nuanced understanding of internationalisation and international students in higher education. [ABSTRACT FROM AUTHOR]

This introductory essay briefly reviews existing academic understandings and sociocultural imbrications of queer representations of and research on contemporary Chinese-language media and culture. We propose to conceptualize 'queer Chinese screen studies' as a critical field of inquiry to interrogate the limitations of identity-politics-based and media-text-focused Chinese cinema studies and queer cinema studies. We emphasize the proliferated forms and intersections of queerness, Chineseness, and screen cultures situated in specific historical, social, cultural, and industrial contexts in the twenty-first century. The seven articles included in this special issue uncover the multiple forms of presence, interconnection, and significance concerning identity-norm-contesting practices, performances, embodiments, and desires, made possible through the production, distribution, regulation, adaptation, mediation, and convergence of queer Chinese screens in the new millennium. These articles make a strong case for a queer Chinese screen studies that acknowledges the complexities and ambivalences of contemporary Chinese screen cultures as constantly oscillating between and negotiating with both queerness and normativities. [ABSTRACT FROM AUTHOR]

The existence of Chinese Muslims in Indonesia is surrounded by a heavily prejudiced belief that Chinese-ness and Islam are considered "unsuitable". Chinese Muslims, particularly 'converts- turned-preachers', are still considered a unique identity. However, the rise of online Islamic piety on Instagram has become one of many ways for Chinese Muslims' to represent themselves and, to some extent, "normalize" their identities. This paper discusses how Chinese-Muslim preachers, namely Felix Siauw and Koko Liem, represent their versions of Chinese-ness and Islam on Instagram, a popular visual-based social media platform in Indonesia. This research uses Multimodal Discourse Analysis (MDA) to observe the preachers' identity narratives and ways to articulate their Chinese-ness and Islam on their respective accounts posts. It is shown that the heterogeneous stances and contesting interpretations on and about Chinese-ness and Islam in the Chinese-Muslim minority group are to some extent represented through the visual appearance and narrative on Instagram of both preachers. From these two figures, the researcher concludes that elements of Islamic religious identity tend to dominate and even fade ethnic Chinese identity in the negotiations between Chinese and Muslim identities. However, their Chinese-ness was strategically used and symbolically commodified to attract the masses. These two preachers become part of the heterogeneous spectrum of Chinese-Muslim representation in Indonesia and the "pavement" for a common image of the combination of the two identities in Indonesia.

This paper presents the argument that the practice of modern theatre constitutes a crucial method for reorienting the particular traumas of the Chinese diaspora in contemporary Taiwan. In particular, it offers a close reading of Far Away from Home (西出陽關, Xichu yangguan , 1988) by Taiwanese playwright Lee Kuohsiu (李國修, 1955‒2013) and its performance archive of 2004. Lee deploys theatre as a negotiating space in which to reflect the social formations, identities, and history of Taiwan in the late 1980s—a period that saw Taiwan's complicated relationship with China become the subject of intense scrutiny as the Cold War came to an end and the pressures of rapid globalisation mounted. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Hassasiyetler is the property of Huzeyfe Suleyman Arslan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In recent decades, highly heterogeneous literary and artistic articulations harking back to China's classical past have gained increasing currency in the global Sinophone space and cyberspace. Instead of dismissing them as "fetishisms" or authenticating them as "Chinese traditions," I propose "Sinophone classicism" as a new critical expression for conceptualizing this diverse array of articulations. It refers to the appropriation, redeployment, and reconfiguration of cultural memories evoking Chinese aesthetic and intellectual traditions for local, contemporary, and vernacular uses, by agents identified or self-identified as Chinese. This essay proposes a subjective, intimate, and reflexive way to experience an individual's culturally acquired "Chineseness" that is temporal, mnemonic, and often mediated by digital media. It joins recent scholarly efforts to dismantle the view of "Chinese modernity" as a monocentric and homogenous experience by refocusing on classicism as a kind of "antimodern modernism." It also joins the post-Eurocentric turn in global academia by hinting at a future of "global classicisms." [ABSTRACT FROM AUTHOR]

Copyright of Landscape Architecture Frontiers is the property of Higher Education Press Limited Company and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

В статье впервые рассмотрено своеобразие языка исторического текста Бодонгут Абиды на старописьменном монгольском языке, посвященном истории агинских бурят, эмигрировавших в Китай в начале XX в. Долгое время тема эмиграции бурят в Китай была закрытой в отечественной науке. Природа эмиграции бурятской диаспоры в Баргу Китая носила этнозащитный характер и связана с политическими событиями в России в начале XX в. Для того чтобы выжить в чужой стране небольшой бурятской общине пришлось усвоить монгольский, китайский, маньчжурский, дагурский языки, заимствованные элементы из которых отражены в языке исследуемого текста. В целом язык летописи Бодонгут Абиды богатый, образный. Лексика текста, в основном, общемонгольская, по языковой принадлежности охватывает монгольский, бурятский, русский, китайский, тунгусо-маньчжурские языки.

The formation of queer psychology has been a critical intervention in breaking apart the psychological tendency of reifying categories of gender and sexuality. Nonetheless, latent Orientalism and white-centered epistemologies in psychology have continued to produce culturally essentialist depictions of a repressive "Chinese sexuality" and "backward Asian culture." In this article, I present three main problems in psychological representations of Sinophone queers: (a) "cultural colorblindness" resulting from the conflation of race and culture, (b) the problematic analytical category of "Chineseness," and (c) race and culture being theorized as a burden for Sinophone and Asian queers. In order for psychology and queer studies scholars to destabilize these epistemologically violent interpretations, this article argues that we must engage with Sinophone critique and shift away from a framework of culture to one of "concerns" in order to capture the heterogeneity of queer Sinophone subjectivities. [ABSTRACT FROM AUTHOR]

Kinmen is an island right next to the People's Republic China but governed by Taiwan. Kinmen was under military rule for more than 40 years. After the military rule ended in 1992, Kinmenese people have been faced with a different set of political ideologies in Taiwan. While Kinmenese young people have been observed shifting to the lifestyles in Taiwan, Kinmenese Hokkien is seen as an important identity marker of Kinmenese people. This article takes a perspective of peripheral multilingualism to examine how the contrast between Taiwanese Hokkien and Kinmenese Hokkien has been ideologized in response to the ongoing peripheralization of Kinmen in the dominant political agenda in Taiwan. By analyzing top-down and bottom-up metalinguistic discourses, this paper argues that Kinmenese people resist peripheralization by engaging with an alternate center – an imagined Chinese spatio-temporal regime – to claim Chinese authenticity of Kinmenese Hokkien and highlight how Taiwanese Hokkien is an unauthentic Hokkien variety, serving as the icon of Taiwanese nationalism which excludes the will of Kinmenese people. • Islanders do not naturally tend to differentiate themselves from mainlanders. • Island-mainland relationship should be considered periphery-center relationship. • Geopolitical contexts shape language ideologies concerning island speech. • Chinese authenticity of Kinmenese Hokkien is emphasized to resist peripheralization. [ABSTRACT FROM AUTHOR]