K. Mcintyre, Qin Fang, Andrew Roberts, Carly Weetman
Tiehua (wrought iron painting) is a folk art originating in Anhui Province, China. The tiehua industry has changed drastically over the last 25 years as China's economy has liberalized: Wuhu Tiehua Factory, a heretofore state monopoly, underwent bankruptcy restructuring in 1992, 2002, and 2013, while several new, smaller and more competitive firms have entered the market. The marketization of tiehua has become a meaningful local and regional issue centering on the ownership structure of the tiehua firms, and has proven to be an excellent case study in basic economic theory.
{"title":"Privatizing the Chinese Tiehua Industry: A Qualitative Economic Case Study","authors":"K. Mcintyre, Qin Fang, Andrew Roberts, Carly Weetman","doi":"10.16995/ane.8150","DOIUrl":"https://doi.org/10.16995/ane.8150","url":null,"abstract":"Tiehua (wrought iron painting) is a folk art originating in Anhui Province, China. The tiehua industry has changed drastically over the last 25 years as China's economy has liberalized: Wuhu Tiehua Factory, a heretofore state monopoly, underwent bankruptcy restructuring in 1992, 2002, and 2013, while several new, smaller and more competitive firms have entered the market. The marketization of tiehua has become a meaningful local and regional issue centering on the ownership structure of the tiehua firms, and has proven to be an excellent case study in basic economic theory.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87261615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A Japanese colony from 1895 to 1945, and then a retreat for the defeated Nationalist government beginning in 1949, Taiwan has been struggling to find its identity. Remnants of this identity crisis can be seen in political realm, with its extreme polarization on various social, political, and historical issues. This article explores the ongoing textbook controversy in Taiwan, situating it in evolving domestic and international contexts. It suggests that Taiwan society’s representation of its colonial and Cold War past is highly contested, which was influenced by democratization. It attempts to provide an overview of the course of the textbook controversy in Taiwan from a historical perspective, and to show the reactions from educators, students, and the general public. Through an analysis of the different ways that Taiwan’s history was interpreted and represented in its history textbooks, this article shows how these factors help construct Taiwan’s contested identity.
{"title":"Contested Memories of the Past: The Politics of History Textbooks in Taiwan","authors":"Lei Duan","doi":"10.16995/ane.8155","DOIUrl":"https://doi.org/10.16995/ane.8155","url":null,"abstract":"A Japanese colony from 1895 to 1945, and then a retreat for the defeated Nationalist government beginning in 1949, Taiwan has been struggling to find its identity. Remnants of this identity crisis can be seen in political realm, with its extreme polarization on various social, political, and historical issues. This article explores the ongoing textbook controversy in Taiwan, situating it in evolving domestic and international contexts. It suggests that Taiwan society’s representation of its colonial and Cold War past is highly contested, which was influenced by democratization. It attempts to provide an overview of the course of the textbook controversy in Taiwan from a historical perspective, and to show the reactions from educators, students, and the general public. Through an analysis of the different ways that Taiwan’s history was interpreted and represented in its history textbooks, this article shows how these factors help construct Taiwan’s contested identity.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"35 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74416221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses the innovative use of soft-AI computer algorithms in the creation of tanka, a form of poetry with roots in classical Japanese culture. Among the recent surge of interest in computer-generated poetry in Japan, I look particularly at two computer programs: the instant tanka generator Inu-zaru created by Sasaki Arara, and the so-called “guzen tanka” Twitter bot of programmer Inaniwa and poet Sekishiro. These programs engender new paradoxical models of technology-mediated authorship and reading, whereby human agency is at once subtracted from the composition process while also being presupposed as a necessary component in the participant reader. Such forms of reading and writing shed new light on theoretical matters such as the death of the author even as they pose intractable questions concerning international copyright conventions.
{"title":"As If Poetry: Computer-Generated Tanka and Contemporary Japanese Verse","authors":"S. Mehl","doi":"10.16995/ane.8145","DOIUrl":"https://doi.org/10.16995/ane.8145","url":null,"abstract":"This paper discusses the innovative use of soft-AI computer algorithms in the creation of tanka, a form of poetry with roots in classical Japanese culture. Among the recent surge of interest in computer-generated poetry in Japan, I look particularly at two computer programs: the instant tanka generator Inu-zaru created by Sasaki Arara, and the so-called “guzen tanka” Twitter bot of programmer Inaniwa and poet Sekishiro. These programs engender new paradoxical models of technology-mediated authorship and reading, whereby human agency is at once subtracted from the composition process while also being presupposed as a necessary component in the participant reader. Such forms of reading and writing shed new light on theoretical matters such as the death of the author even as they pose intractable questions concerning international copyright conventions.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85857150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This introduction provides an overview of the two main themes of this special issue—contemporary cultural engagements with Asian geopolitics, and the roles played by new media and genres in shaping these geopolitical imaginations—as well as summaries of the following six articles.
{"title":"Introduction to the Special Edition on Imagining Geopolitics across Media and Artforms","authors":"Belinda Kong, Shaohua Guo","doi":"10.16995/ane.8156","DOIUrl":"https://doi.org/10.16995/ane.8156","url":null,"abstract":"This introduction provides an overview of the two main themes of this special issue—contemporary cultural engagements with Asian geopolitics, and the roles played by new media and genres in shaping these geopolitical imaginations—as well as summaries of the following six articles.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"11 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82661085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wei Te-sheng’s film Cape No. 7 (2008) depicts a Taiwanese postman’s efforts to deliver long-lost love letters written sixty years earlier by a colonial Japanese teacher to the Taiwanese girl he courted. The film’s sweetly nostalgic framing of colonial relations contrasts starkly with Wei’s 2011 film Seediq Bale, which violently portrays the 1930 Wushe Uprising that left over 130 Japanese colonists and 600 indigenous Seediq people dead. This paper analyzes differences between Wei’s two representations of the colonial period, examines cultural contexts for such distinct renderings of Japan-Taiwan relations, and explores their significance for contemporary Taiwanese identity.
{"title":"Japanese Imperialism through a Taiwanese Lens: Wei Te-sheng's Cinematic Portrayals of the Colonial Era","authors":"Scott C. Langton","doi":"10.16995/ane.8148","DOIUrl":"https://doi.org/10.16995/ane.8148","url":null,"abstract":"Wei Te-sheng’s film Cape No. 7 (2008) depicts a Taiwanese postman’s efforts to deliver long-lost love letters written sixty years earlier by a colonial Japanese teacher to the Taiwanese girl he courted. The film’s sweetly nostalgic framing of colonial relations contrasts starkly with Wei’s 2011 film Seediq Bale, which violently portrays the 1930 Wushe Uprising that left over 130 Japanese colonists and 600 indigenous Seediq people dead. This paper analyzes differences between Wei’s two representations of the colonial period, examines cultural contexts for such distinct renderings of Japan-Taiwan relations, and explores their significance for contemporary Taiwanese identity.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79312154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gwen Marie McCaw, Kaytlyn Michelle Marcotte, Marine E.O. Vieille
Southeast Asia is marked by its diversity and, unfortunately, widespread ethnic conflict and political instability. This unsafe environment has led members of vulnerable ethnic groups, particularly those who reside in mountainous upland regions, to engage in refugee movements throughout the region. Yale political scientist James C. Scott discusses this particular subset of upland migrants in his book, The Art of Not Being Governed. He characterizes the interactions between the upland and lowland peoples as one where the former seeks to escape state control and official legibility from the latter. The Dara’ang are one such upland group seeking relocation. Since the 1990s, thousands of Dara’ang have fled Myanmar into Northern Thailand in a seemingly Scottsian pattern. This paper argues, however, that the Dara’ang exhibit shifting attitudes toward state control and legibility—from one of escaping the state to one of embracing the state in search of an improved quality of life. Data for this paper was collected through archival research and fieldwork in Thailand and Myanmar in 2018. Inclusive of qualitative interviews and observational data, the paper analyzes collected evidence against Scott’s theoretical framework to modify Scott’s conclusions, at least with respect to the experience of Dara’ang refugees.
{"title":"The Dara'ang and The Art of Becoming Governed","authors":"Gwen Marie McCaw, Kaytlyn Michelle Marcotte, Marine E.O. Vieille","doi":"10.16995/ane.8151","DOIUrl":"https://doi.org/10.16995/ane.8151","url":null,"abstract":"Southeast Asia is marked by its diversity and, unfortunately, widespread ethnic conflict and political instability. This unsafe environment has led members of vulnerable ethnic groups, particularly those who reside in mountainous upland regions, to engage in refugee movements throughout the region. Yale political scientist James C. Scott discusses this particular subset of upland migrants in his book, The Art of Not Being Governed. He characterizes the interactions between the upland and lowland peoples as one where the former seeks to escape state control and official legibility from the latter. The Dara’ang are one such upland group seeking relocation. Since the 1990s, thousands of Dara’ang have fled Myanmar into Northern Thailand in a seemingly Scottsian pattern. This paper argues, however, that the Dara’ang exhibit shifting attitudes toward state control and legibility—from one of escaping the state to one of embracing the state in search of an improved quality of life. Data for this paper was collected through archival research and fieldwork in Thailand and Myanmar in 2018. Inclusive of qualitative interviews and observational data, the paper analyzes collected evidence against Scott’s theoretical framework to modify Scott’s conclusions, at least with respect to the experience of Dara’ang refugees.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"122 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76534913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper uses geopolitics as a critical lens to analyze how four films in China’s most popular movie franchise—Lost on Journey (2010), Lost in Thailand (2013), Lost in Hong Kong (2015), and Dying to Survive (2018)—construct different dimensions of post-socialist spatial and temporal sensibilities. All four films portray a morally flawed businessman amidst a journey that would profoundly transform him in the end. This paper examines how these journeys unfold in an expanded geography—China’s second-tiered cities, Thailand, Hong Kong, and India—but fail in seriously engaging geopolitics. In particular, the last three films use China’s geopolitical others as strategic lure, playing up cultural stereotypes and cultural tourism. The depiction of China’s geopolitical others ultimately serves as a vehicle to process China’s rapidly changing realities and reflect upon distinctively Chinese experiences in the 2010s.
{"title":"The Geopolitics of “Being Lost” (jiong) in China’s Most Popular Movie Franchise","authors":"J. Zhang","doi":"10.16995/ane.8149","DOIUrl":"https://doi.org/10.16995/ane.8149","url":null,"abstract":"This paper uses geopolitics as a critical lens to analyze how four films in China’s most popular movie franchise—Lost on Journey (2010), Lost in Thailand (2013), Lost in Hong Kong (2015), and Dying to Survive (2018)—construct different dimensions of post-socialist spatial and temporal sensibilities. All four films portray a morally flawed businessman amidst a journey that would profoundly transform him in the end. This paper examines how these journeys unfold in an expanded geography—China’s second-tiered cities, Thailand, Hong Kong, and India—but fail in seriously engaging geopolitics. In particular, the last three films use China’s geopolitical others as strategic lure, playing up cultural stereotypes and cultural tourism. The depiction of China’s geopolitical others ultimately serves as a vehicle to process China’s rapidly changing realities and reflect upon distinctively Chinese experiences in the 2010s.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90517861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay examines the reception of a top-rated reality show I Am a Singer among Sinophone communities on YouTube. Existing studies of YouTube focus on the burgeoning of participatory culture, the rise of microcelebrities, and fan labor. However, to date, little critical attention has been devoted to how YouTube constitutes a premium platform for the consumption of Chinese-language audiovisual content. Engaging in a close reading of user comments on YouTube, I analyze the ways in which Sinophone Internet users of divergent political stances defend their respective positions. While the exchange of viewpoints rarely fosters a change in political views, this process has nevertheless catalyzed productive conversations pertaining to issues about historical legacies and their relevance to contemporary society. The comment section thereby not only catalyzes public deliberation on a wide range of societal issues, but also exemplifies the role that popular culture plays in inspiring geopolitical imaginations beyond geographical boundaries.
{"title":"You Tube, We Comment: I Am a Singer and Geopolitical Encounters of Sinophone Communities","authors":"Shaohua Guo","doi":"10.16995/ane.8146","DOIUrl":"https://doi.org/10.16995/ane.8146","url":null,"abstract":"This essay examines the reception of a top-rated reality show I Am a Singer among Sinophone communities on YouTube. Existing studies of YouTube focus on the burgeoning of participatory culture, the rise of microcelebrities, and fan labor. However, to date, little critical attention has been devoted to how YouTube constitutes a premium platform for the consumption of Chinese-language audiovisual content. Engaging in a close reading of user comments on YouTube, I analyze the ways in which Sinophone Internet users of divergent political stances defend their respective positions. While the exchange of viewpoints rarely fosters a change in political views, this process has nevertheless catalyzed productive conversations pertaining to issues about historical legacies and their relevance to contemporary society. The comment section thereby not only catalyzes public deliberation on a wide range of societal issues, but also exemplifies the role that popular culture plays in inspiring geopolitical imaginations beyond geographical boundaries.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"17 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87586806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article begins by probing why the South Korean film banned in China, A Taxi Driver, would receive high accolades from so many Chinese netizens, and why the Chinese websites would suddenly delete all mention of and comments about the film by the end of October 3, 2017. This incident reveals a stark contrast between two countries: the democratic South Korean government has created and maintained the collective memory of the 1980 Gwangju Democratization Movement and reconciled past injustices, whereas the authoritarian Chinese regime has continued to erase the memory of the 1989 Tiananmen Square Pro-democracy Movement and June Fourth Massacre and forbid any discussions and investigations into the truth. After discussing the movie’s transnational reverberations of collective traumatic memories, this article suggests that the taboo on June Fourth drove some concerned authors to write about disasters caused by the CCP (Chinese Communist Party) from the Mao era. Examining the writer Yang Xianhui’s (1946- ) strategies to both dodge censorship and unearth the traumatic memories of the Jiabiangou labor camp rightist-inmates from 1957 to 1961, this article argues that Yang’s stories and other authors’ or filmmakers’ works on Jiabiangou would create reverberations of traumatic memories, contribute to collective memory, and indirectly resist the state violence that represses the memories of the CCP-manufactured tragedies.
{"title":"Reverberations of Collective Traumatic Memories from a South Korean Movie to June Fourth and Jiabiangou","authors":"Yenna Wu","doi":"10.16995/ane.8153","DOIUrl":"https://doi.org/10.16995/ane.8153","url":null,"abstract":"This article begins by probing why the South Korean film banned in China, A Taxi Driver, would receive high accolades from so many Chinese netizens, and why the Chinese websites would suddenly delete all mention of and comments about the film by the end of October 3, 2017. This incident reveals a stark contrast between two countries: the democratic South Korean government has created and maintained the collective memory of the 1980 Gwangju Democratization Movement and reconciled past injustices, whereas the authoritarian Chinese regime has continued to erase the memory of the 1989 Tiananmen Square Pro-democracy Movement and June Fourth Massacre and forbid any discussions and investigations into the truth. After discussing the movie’s transnational reverberations of collective traumatic memories, this article suggests that the taboo on June Fourth drove some concerned authors to write about disasters caused by the CCP (Chinese Communist Party) from the Mao era. Examining the writer Yang Xianhui’s (1946- ) strategies to both dodge censorship and unearth the traumatic memories of the Jiabiangou labor camp rightist-inmates from 1957 to 1961, this article argues that Yang’s stories and other authors’ or filmmakers’ works on Jiabiangou would create reverberations of traumatic memories, contribute to collective memory, and indirectly resist the state violence that represses the memories of the CCP-manufactured tragedies.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89890003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A high orientalist text, but one that influences many postcolonial writers, Jorge Luis Borges’s story “The Garden of Forking Paths” imagines a Chinese garden-text that tracks all courses of actual and possible events, making all timelines, both real and virtual, seem equally present and deeply connected. Versions of this enhanced, multi-dimensional temporal awareness appear in the work of several Asian and Asian diaspora writers as they grapple with cataclysmic historical moments, from WWII to contemporary violent outbursts, and consider counter-narratives, ways events might have been otherwise. Using Haruki Murakami’s fiction as a departure point for examining South Asian diaspora fiction writers Michael Ondaatje, Amitav Ghosh, and Karan Mahajan, this paper explores factors that enable the presentation of enhanced time consciousness as linked to a mindfulness practice or that conversely predispose such apprehensions of deep temporal connectivity to become fleeting epiphanies, ones often tragically tied to global politics and globalizing technologies.
豪尔赫·路易斯·博尔赫斯(Jorge Luis Borges)的故事《分路花园》(The Garden of Forking Paths)是一个高度东方主义的文本，但对许多后殖民作家产生了影响。博尔赫斯的故事《分路花园》(The Garden of Forking Paths)想象了一个中国园林文本，它追踪了所有实际和可能发生的事件，使所有的时间线，无论是真实的还是虚拟的，似乎都同样存在，并紧密相连。这种增强的、多维度的时间意识出现在一些亚洲和亚洲散居作家的作品中，他们在与灾难性的历史时刻作斗争时，从二战到当代的暴力爆发，并考虑反叙事，以不同的方式看待事件。本文以村上春树的小说为出发点，考察了南亚散居小说作家迈克尔·翁达杰、阿米塔夫·高什和卡兰·马哈詹，探讨了一些因素，这些因素使时间意识的增强与正念练习有关，或者相反地，使这种深层时间联系的忧虑成为转瞬即逝的顿悟，这些顿悟往往与全球政治和全球化技术悲剧地联系在一起。
{"title":"Altering Time, Altering States: Contemplative Geopolitics in the South Asian Anglophone Novel","authors":"Hilary Thompson","doi":"10.16995/ane.8144","DOIUrl":"https://doi.org/10.16995/ane.8144","url":null,"abstract":"A high orientalist text, but one that influences many postcolonial writers, Jorge Luis Borges’s story “The Garden of Forking Paths” imagines a Chinese garden-text that tracks all courses of actual and possible events, making all timelines, both real and virtual, seem equally present and deeply connected. Versions of this enhanced, multi-dimensional temporal awareness appear in the work of several Asian and Asian diaspora writers as they grapple with cataclysmic historical moments, from WWII to contemporary violent outbursts, and consider counter-narratives, ways events might have been otherwise. Using Haruki Murakami’s fiction as a departure point for examining South Asian diaspora fiction writers Michael Ondaatje, Amitav Ghosh, and Karan Mahajan, this paper explores factors that enable the presentation of enhanced time consciousness as linked to a mindfulness practice or that conversely predispose such apprehensions of deep temporal connectivity to become fleeting epiphanies, ones often tragically tied to global politics and globalizing technologies.","PeriodicalId":41163,"journal":{"name":"ASIANetwork Exchange-A Journal for Asian Studies in the Liberal Arts","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83658371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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