Joseph R Allen
University of Washington
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The Journal of Asian Studies | 2007
Joseph R Allen
This essay investigates the configuration of public space in Taipei City using the example of a small urban park. In particular, this essay considers how that space functioned and functions as a site for “occupation” that is, when and how the public space was produced by, brought under the control of, or performed in by a specific cultural agent, whether a colonial government or skateboarder. Those occupations delineate and transform the space for purposes ranging from the official, macro, and long-lived to the subversive, partial. and fleeting. The park is a shifting pastiche of different moments of occupation, diachronically and contemporaneously layered, existing in a tissue of accommodation and anxiety. The primary focus here is the evolution of the park in the urban plans of the early Japanese colonial government; however, comparisons to both the pre- and postcolonial periods are made, and the contemporary conditions of the park are considered as well.
Archive | None
Joseph R Allen
This article describes the acquisition and use of a Chinese metalanguage with which ambiguous spoken words are graphically contextualized. The metalanguage is composed of strategies that range from the actual writing of the Chinese graph (character) to those where the graph is accommodated in a verbal presentation. The nature of the Chinese script and the cultural significance of the graphs have lent weight to this metalanguage such that it comments not only on the language in use but also on the users of the language and on the situation in which it is used. The article is accompanied by a number of anecdotal asides and graphic illustrations. (Chinese, metalanguage, script, graphic contextualization, signature, calligraphy)
The Journal of Asian Studies | 2014
Joseph R Allen
This essay investigates the conditions of portrait photography in Taiwan during Japanese colonization. After a brief introduction to the theoretical issues concerning the indexical nature of the photograph, I consider the Japanese colonial photographic industry and its products (portraits) in three contexts: the state of photographic technology in the world at that time, the ideological machinery of colonization in Taiwan, and the wider phenomenon of colonial mimicry. In this consideration, I offer a diachronic analysis of photo albums and commercial directories that contain formal portraits of politically and economically influential (almost exclusively) men. Bringing these considerations together suggests an aspect of the colonial ideological machinery that has been underrepresented in other studies: the colonial portrait as a mask in several forms.
Harvard Journal of Asiatic Studies | 2012
Joseph R Allen
This volume is constructed like a generous, lightly toasted deli sandwich: two thin-but-crisp slices of pumpernickel (Introduction and Conclusion) hold together seven multilayered, highly caloric chapters. I recommend taking time with lunch; the time spent will be well worth the effort. Jack W. Chen’s Introduction performs well all the important functions of the genre: it lays out the design and purpose of the work, positions it in the field, and makes initial arguments. His objective is clearly stated:
Journal of the American Oriental Society | 1994
Joseph R Allen; Michelle Yeh
This book-the first comprehensive anthology in English of modern Chinese poetry-presents more than three hundred poems by sixty-six poets from China, Taiwan, and Hong Kong. All the poems are translated from the original Chinese into modern-day English, and many are introduced to the English-speaking world for the first time. The poems, which span the period from the 1910s to the present, represent the three watersheds in modern Chinese poetry: the early years, before the civil war and Communist rule halted serious literary pursuits; the Taiwan phase, from the 1950s to the 1970s, when the vernacular became the new poetic medium and broadened the scope of poetic expression; and the post-1970s, when avant-garde movements brought a resurgence of aesthetic consciousness and artistic experimentation. The anthology includes a lengthy introduction, biographical notes for each poet, and a select bibliography. Michelle Yehs introduction provides a critical analysis of the rise and development of modern Chinese poetry. She argues that the poetry can be viewed collectively as an original and imaginative reaction to the marginalization of poetry in the twentieth century by various historical, sociopolitical, and ideological forces, and it is in this framework that we can best understand the major debates and controversies in the history of modern Chinese poetry. Voices from the margin, the poems in this volume powerfully evoke the richness and complexity of modern Chinese society and culture.
The Journal of Asian Studies | 1993
Joseph R Allen
World Literature Today | 1990
Joseph R Allen; Wong Yoon Wah
Archive | 2012
Joseph R Allen
World Literature Today | 1994
Joseph R Allen; Tony Barnstone
Archive | 1986
Joseph R Allen; Li Ang; Howard Goldblatt; Ellen Yeung
