Rice vol 2 issue 1 by Lucy He

2012 Vol. 2 Issue 1

A WORD FROM THE EDITOR Curiosity. Diversity. Excellence. These three qualities define the mission of Cornell University and drive its students to learn and develop. Indeed, the level of motivation is so great that sometimes we, the students, forget to slow down and smell the roses on the way. Various student organizations of diverse interests and backgrounds go unnoticed, great learning opportunities from Cornell-hosted events and guest lectures lack attention, and the interests of distinguished professors and fellow students go unexplored. Rice Magazine seeks to serve as the bridge to all such great, yet missed, opportunities in a fun, engaging, and educational manner. As well as stimulating intellectual inquiry with information that may open new doors of exploration, this magazine introduces topics of Asian nature that any student may come across in a daily interaction. With that in mind, we hope you will find the reading experience a genuine pleasure. Be curious. Be diverse. Be excellent. Byong Han Kim Editor in Chief

editor in chief

Byong Han Kim

Co-Managing editors

kushagra aniket yasmin fouladi

Vice President of finance

kaiwen zhong tanvi chheda (assistant)

vice president of ext affairs

celena huo

Layout masters

chiaki soejima Byong han kim lucy he

editorial board Assistants

Jinney Chung jimmy guo

columnists

amanda aragon fay gulotta jimmy guo laura (chun-chua) lin jennifer mizhquiri william snyder

Co-Sponsorship Partners

Rice Magazine Extends Warm Thank You for the Support Provided by All the Following Organizations

African Latino Asian Native American Students Programming Board

Southeast Asia Program 5

Table of Contents

8 13 16 19

emerging trends in bollywood Tanvi Chheda

The Abandoned Station Amanda aragon

yamatai

fay gulotta

china and asia pacific studies (CAPS) Kaiwen Zhong

Looking deep into the waters of purification

23 27 32 36 40

laura (chun-chua) lin

Diaoyu/Senkaku Island Conflict

Wililam Snyder

“Girl Idols” and “Uncle Fans”

jennifer mizhquiri

an introduction to tale of genji celena huo

Bubble Tea at Cornell jimmy guo

y l l o B

Emerging Trends in

d o o w y

by Tanvi Chheda

As great and as popular as Hollywood is, a larger film industry exists in the world outside of the U.S. It is called Bollywood, located in Bombay, India. Bollywood puts out on the average eight hundred movies a year â&#x20AC;&#x201C; or two movies cranked out every day. Bollywood movies are popular not only in India, but also across Middle East to South and South East Asia.

Bollywood Then For those familiar with Bollywood, the memorable scenes and works of past Bollywood movies are finely engraved in their minds: the hero wearing a Charlie Chaplin hat serenading a shy girl in the streets of Mumbai and the dance in the rain. The widowed mother with ten sisters to marry off, ample of melodrama, with an honest man against the rich and powerful. The black and white â&#x20AC;&#x2DC;Mughal-e- Azamâ&#x20AC;&#x2122;, a 16th century prince falling in love with a court dancer and battling with his emperor father. Ah, the good old Bollywood. Evolution Just like in nature where the fittest survive, mutations occur and new trends evolve in movies. During the past six decades, Bollywood witnessed major transitions: film settings changed from traditional villages to popular European destinations, love stories moved away from monogamy to polygamy, and saris gave way for frocks, tops, skirts and jeans. Throughout the 1960s, 1970s, and 1980s, Hindi cinema handled issues on the progress of the nation. It touched upon topics of citizenship and the economic growth of India. It showed how Indians were trying their best to come out of the previous years of British oppression. Starting in the 1990s, a stream of new era movies emphasizing individualism began. These covered not the growth of the nation, but the flaws in the nation and peopleâ&#x20AC;&#x2122;s search for better lifestyles. As such, the culture and values of Bollywood shifted greatly from the traditional ones, some of which are highlighted below. 10

The Shift Por traying bare skin in Bollywood was frowned upon before the turn of this century. The concept of “item songs (a.k.a. item numbers),” or musical performances with beautiful women dancing in revealing clothing, started with the actress Shilpa Shetty. Her item song’s success made many leading ladies of B-town to take the plunge and not shy away from such numbers. Numbers like Chikni Chameli and Sheela created mass hysteria – so much that even actors turned to become “item boys.” For adult rated content, Mahesh Bhatt revolutionized this sector of cinema with “Murder” as his first bold step. Bhatt continued his legacy, and others soon followed. “The dirty pictures” attracted huge audiences as they defied the boundaries of tradition. Given the conservative nature of Indian society, it is surprising that such a trend drew little to no criticism. In fact, people welcomed it with open arms. There was no upheaval against these radical transgressions. No religious communities castigated it. No political parties tried to moral police against it. No school or parent organization argued about the impacts of such transgressions on children. Why did a conservative society move away from its ideals? Is India adopting the Western culture? No matter what the reason, people certainly seem to welcome this change with open arms. Casual interviews were conducted with 40 Cornell students who had seen Bollywood movies, and the results reflect the shift in Bollywood. 28 Cornell students supported the new trend (“I think if the rest of the world is progressive, why shouldn’t we 11

be?” said Aashti Miller). Nine did not feel either way (Vipin Sharma exclaimed, ‘Skin or no skin, it’s about the drama!’). Only two Cornellians disagreed with the new direction of Ballywood (Dr. Bronwen Bledsoe, Curator of South Asia Collection at Kroch Library was “Amazed to see Bollywood all sexed up”). In recent years, Bollywood has definitely become more inclusive. The society seems to have come out of its cocoon by openly addressing issues like homosexuality as covered in the movie “Dostana,” which would have been completely unthinkable before this decade. Globalization has also evolved Bollywood. Movies are being shot in slums of Dharavi and gullies of Lucknow, as well as golf courses in South Africa and casinos in Las Vegas. The boundaries between Bollywood and Hollywood have begun to blur, and this was recently witnessed, for example, when Twilight star Kristin Stewart expressed her desire to work with the Indian actor Shah Rukh Khan. With new movies released by Bollywood every Friday, many more new trends are expected to arise in the Bollywood. The Indian film industry will always metamorphose, change forms to suit the changing taste of audience, adopt to new trends, and, at times, create some itself.

The Aban

doned n o i t a t S Amanda Aragon

“A single wrong step, and you’ll slip out of sight.” This is the description given to the abandoned Bokor Hill Station located in Cambodia as the thick fog rolls in. Although it now appears to be nothing more than a decaying casino and a battered palace, Bokor Hill Station was once a

prime location where French colonists and, later, wealthy Cambodians gathered to drink and dance. It is said that when too much was lost, the unlucky rollers would hurl themselves off the cliff to… “a fast, drunk, rolling death.” The area, once so lively and intended to be a place 13

of retreat from the blistering summer heat of the country’s capital, thus now lies in a collapsing ruin. The First Indochina War erupted in the 1940s as a result of the conflict between the French and the Vietminh, a group of Vietnamese committed to independence from French rule. The War provided no room for the leisure of Bokor Hill Station, and the Station was quickly abandoned as a result. However, it was not forgotten. Wealthy Cambodians, when they felt that they had gained their country back, soon took over the Station and revived, at least for a while, the revelry of Bokor Hill Station once witnessed under the French rule. However, the temporary revival came to an end in 1975 when Pol Pot and the Khmer Rouge, a guerilla group dominated by communist ideals, rose to power in Cambodia. Suddenly, “fine

wines and romps and giggles” were replaced with target practices, and the once glittering walls of Bokor Hill Station were lined with bullets -- a reflection of the genocide that was being committed throughout Cambodia. Bokor Hill Station remained one of the last strongholds of the Khmer Rouge until the guerilla group fell in the 1990s. After the downfall of Khmer Rouge, Bokor Hill Station was abandoned to decay in the silent hills of what is now Monivong National Park. During the reign of the Khmer Rogue until the fall of Bokor Hill Station, nearly all of Cambodia’s libraries and, thus, records of their history, were destroyed. Although the history of what transpired in Bokor Hill Station and Cambodia thus could have been lost forever, Cornell University prevented the tragedy in 1980s. At the

Cornell University held the “largest collection of Cambodia publications in the world,” and, using the resources, Cornell aided the reconstruction of Cambodian libraries. Cambodia’s cultural identities such as the glory of Bokor Hill Station was thus preserved in part due to Cornell University. In fact, many of these publications are still available for public viewing through Cornell’s Southeast Asia Program Outreach Lending Library in 180 Uris Hall. Today, visitors of Bokor Hill Station such as writer Andy Deemer depict the once affluent and glorious location as now “moldering and rotting” with “human feces on the floor, grass growing from unlikely places, and graffiti absolutely everywhere.” Deemer muttered during his stay that “the ghosts here are many” in reference to the Station’s history of affluence and blood, and the locals seem to agree. With the hopes of returning the Station to its former glory and luxury, Bokor Hill Station is currently under redevelopment to possibly welcome a brighter tomorrow. Perhaps the time for some new ghosts in Bokor Hill Station is approaching. 15

YAMAT

Boom. Boom. Boom. Ko Ko. Boom. Boom. Boom. The beat of the taiko drums echoes throughout the room. The drummers sweat but they are smiling. Their arms are swinging in smooth arches with their bachi, traditional drumsticks, striking in synchronization. This is Yamatai, Cornell’s very own taiko drumming group. It was founded in 2006 by Haruki Yukawa after he saw the Brown University taiko group perform and was inspired to start his own group. Together with his friend Eva Kestner, who had experience with taiko drumming, they worked to make that dream a reality.

What is taiko? Taiko literally means “drum” in Japanese. Taiko drums are traditionally made out of a single piece of wood, like a hollowed-out tree trunk, and have hide stretched tightly over both sides. Yamatai members have made their own drums, as well as bachi, traditional drumsticks. Over the years, taiko has evolved as an art form. It started simply as a way of connecting to the earth and to our roots and was originally performed during festivals and ceremonies. Now professional groups from Japan, such as Bonten and Kodo use these drums in their performances. In fact, taiko is nowadays accompanied by other instruments, such as piano and flute and sometimes, by vo-

TAI

by Fay Gulotta

cal music. But the original spirit of taiko remains strong and its rhythm resonates among the players and their audience. Haruki and Eva, two students at Cornell, also wanted to be a part of this taiko tradition. They convinced some friends to join them, learned to play together, and gathered more members. Then, Yamatai came in contact with Bonten, which flew over a few members to teach taiko. One of Bonten’s members, Masataka Kobayashi, provided Yamatai with some of Bonten’s songs, which Yamatai continues to be inspired by in addition to ones by other professional groups such as Kodo and the NYC-based TaikoProject. In 2007, Yamatai was finally ready and hosted its very first performance. Entitled “The Debut,” the show was a major hit. Since then Yamatai has continued to grow, and it now collaborates with other Cornell performance groups as well as hosting multiple concerts every year. I had the pleasure of interacting with one of Yamatai’s members, Esther Jun, about her personal experiences in the group. She explained how taiko was more than than just an art to her. According 17

Bonten performing at Cornell in 2009. to her, she feels like she is part of something much largerâ&#x20AC;&#x201D;the entire taiko community across the US and Japan. Through the drums, she says she connects with the community, her fellow members and friends, and herself. Taiko is not just a small subset of Japanese culture but a living, breathing performance art that makes the heart throb. Taiko is growing in popularity and spreading its message, just as Yamatai is helping taiko expand. In fact, it started the East Coast Taiko Conference (ECTC) to gather nearby taiko groups to play and learn together. Oftentimes, guest professionals are invited to hold workshops, and this year the ECTC its third conference was held at Brown. Yamatai continues to hold performances small and large, and, this year, the major concert will be held on May 4, 2013 in Bailey Hall. For more information about Yamatai, upcoming performances, members, and history, visit its website at: http://rso.cornell.edu/ cornelltaiko/.

China and Asian Pacific Studies (CAPS) By Kaiw en Zhon g

Attending events hosted at think tanks and foreign embassies, sitting in on Supreme Court oral arguments, watching a performance of Mozart’s opera Don Giovanni at the Kennedy Center, meeting and talking with experts on US-China relationships—is this what you expect from your college life at Cornell? Juniors who are majoring in China and Asia Pacific Studies, are having these experiences through their program in Washington DC. Next year when they become seniors, they will be going abroad to Beijing, China, for academics, internships, field trips, and much more. You may be wondering, “What exactly is CAPS?” CAPS stands for China and Asia Pacific Studies, an undergraduate major designed by Professors Peter J. Katzenstein, Jian Chen and Sherman Cochran at Cornell. Consisting of three major parts—academics, language, and internship — CAPS major provides students with Chinese language training and requires them to

take two semesters away from the Cornell campus in Ithaca. During two study-abroad semesters, junior fall in Washington DC and senior fall in Beijing, CAPS students take classes, do internships, and participate in numerous activities that are specific to their major. “CAPS major is a combination of a well-rounded liberal arts education and real world experience,” said Professor Haiyan Wang, Assistant Director of CAPS, “Through CAPS program, we look to train future leaders who understand the social and political conditions in China to be able to address the intricate relationship between China and the United States.” Curious about the two unique off-campus programs of CAPS, I interviewed some current CAPS students, alumni, and professors. Q: What is your typical week (in DC and Beijing) like? For example, your class and work schedule? A: A typical week for me consists of me going to my internship in the mornings every day from 9am to 5 pm, coming back to my dorm in time to take nightly 7pm Chinese classes on Mondays, Wednesdays, and Fridays, and taking Thursdays off for the Cornell in Washington policy class and CAPS U.S.-China Relations course. Honestly, my schedule might seem packed, but everyone’s work schedule will be very flexible. What I’ve found is that the course schedule you’ll have in Washington DC is extremely helpful for your internship, simply because the courses will be at night -- this means you’ll be able to take advantage of work opportunities that fellow interns from other schools might have to miss because of school. Weekends are very relaxed. CAPS, Cornell in Washington (and DC!) provide so many activities you can do if you’re willing to do them. (Andrew Huang) The program at Beijing involves interning for two and a half days and going to classes for the other two and a half days. The schedule is definitely doable if you can manage your time well. (Randy Wan) Q: Can you tell me something about CAPS classes during the study-away semesters? A: Sure! Along with the other Cornell in Washington students, we take a core policy class, but what differentiates us from the other students is that we take Chinese classes and a special seminar course called “American Relations with China.” That seminar course is probably the pinnacle of a Cornellian’s academic experience. Our professor, the magnificent Dr. Cynthia Watson, arranges a guest speaker to talk to us every single week. So far, we’ve talked to J. Stapleton Roy, Doug Paal, Frank Jannuzi and Bernard Cole. If you think about it - when else would you have the opportunity to meet these incredible people in such an intimate setting? (Jonathan Yuan)

Language learning definitely still takes up much of students’ time in Beijing. The difference with taking language classes in Cornell is that you get to learn Mandarin in China and you are forced to use Mandarin in your work and many of your classes. (Professor Haiyan Wang) Q: Where are you working at in D.C.? How is your internship? A: I’m currently interning at the White House Initiative on Asian Americans and Pacific Islanders; they’re a federal initiative set up by President Obama to act as a liaison for Asian American and Pacific Islander communities across the United States. The work I do is extremely fulfilling and is definitely not the kind of stereotypically low-level grunt work that many people think internships consist of. I’m primarily working with the Initiative’s health policy team, and helping with projects that include health outreach and providing federal resources for underserved AAPI communities. (Andrew Huang) This semester, I’m actually doing two internships - one at the Voice

of America and the other at the American Foreign Service Association. It’s an unparalleled professional experience for anybody interested in public policy, government etc. especially since DC is the center of political activity for the US and essentially the world. (Jonathan Yuan) Q: What internship(s) did you do in Beijing? A: I worked as a research assistant for Bain & Company, a global management consulting firm. My work involved supporting the consultants with research needs and occasionally cold calling. (Randy Wan) I did two internships during my semester in China. One was during the summer in Beijing and the other one was during the semester in Tianjing, a city near Beijing. Therefore, I travelled back and forth between Tianjing and Beijing during my junior fall and it was amazing how I could get a lot of hands-on experience during the internship. When people ask about my major or my working experience, I could easily spit out an amazing twohour story because I learned so much in Beijing. (Tiffany Li) Q: Besides internships, what are the other components of the Beijing semester? A: One of the core classes in Beijing consists of international relations analysis. Besides classes, there are two to three unique “field trips” incorporated in the semester, during which you get to travel to different places in China. For example, students in the past years were brought to Chengdu in Sichuan province and Chongqing, Xi’an in Shanxi province, Qufu in Shandong province, Yunnan province and so on by Cornell professors in China. (Professor Haiyan Wang) Q: What CAPS students do during field trips and why do you think it is important for CAPS major? A: Students travel to the places and do research with professors. They meet with local officers and do sightseeing during their field trips. For example, last year students of the Class of 2012 went to Sichuan and Chongqing. That was an especially meaningful field trip because during the road trip, CAPS students had the chance to witness the housing reform that Bo Xilai pioneered. They gained insight on how the reform benefitted the poor and ru-

ral citizens. Earlier this year, Bo Xilai became known to the whole world due to the power struggles within the Chinese Communist Party. Besides the publicly announced information about Bo Xilai, CAPS students witnessed a significant moment in Chinese politics in person and gained a very unique perspective on the political figures of China. (Professor Haiyan Wang) Q: Why did you choose CAPS major? A: Students who graduate with a CAPS degree will not only be equipped with a highly nuanced view of China and its changing role in the world, but also with a large amount of professional work experience both in the United States and overseas. (John Z. Buckley) To sort of provide an example, D.C. is an extremely important place for those studying U.S.-China relations since most of the people who can influence U.S. policy making pretty much all work probably 2-3 miles away from your CIW dorm in D.C. (Andrew Huang) China is going to be an important part of the next century and the CAPS program is unique among undergraduate programs in its ability to teach you about China’s economy, culture, history and politics. The semesters in Beijing and D.C. are easily some of the best times I’ve ever had and make Cornell an even more unforgettable experience. (Randy Wan) According to Professor Wang, graduates of CAPS major pursue many different paths. Some go directly to graduate school or law school, some start working for US government departments, and others pursue consulting or business. CAPS students are educated to be the bridge between China and the United States. Two study-away semesters might seem daunting, but as Jonathan Yuan puts it, “I would urge anybody who is interested in international affairs, politics, culture, etc. to take a risk and be a little forward-thinking by majoring in CAPS. By bundling the DC and Beijing semesters into its program, it pushes a lot of people out of their academic and experiential comfort zones - in the best way possible. The experiences are truly one-in-a-lifetime and there’s no denying that you’ll be more attractive to future employers. Asia is basically the future.” Special thanks to Professor Haiyan Wang, Andrew Huang (CAPS 2014’), Jonathan Yuan (CAPS 2014’), Randy Wan (2012’), and Tiffany Li (2012’) for participating in the interview. More information about CAPS major on www.caps.cornell.edu

Looking Deep into the Waters of Purification: A Cultural and Social Analysis of Studio

Ghibli’s Spirited Away

by Laura (Chun-Chia) Lin

“We’re gonna get in trouble! Let’s just get out of here!” cries Chihiro, pleading her parents to leave the untended restaurant stall. But they continue to devour the steaming food, insisting that they can pay afterwards. Sighing in frustration, the ten-year-old leaves the stall to explore the abandoned amusement park. She makes her way past rows of hanging lanterns and faded wooden houses, her yellow sneakers finally leading her to a magnificent six-story structure—a bathhouse. Little did Chihiro know that when she returns to the restaurant stall, she will no longer find her parents, but two corpulent pigs sitting at the seats, barbarically feasting on food prepared for the spirits. As the sky darkens and the lanterns begin to glow, the terrified girl finds herself surrounded by translucent floating spirits.

“Mom! Dad! Where are you!?” Such is a scene in Spirited Away, an animated film produced by Studio Ghibli that takes place in an alternate reality where spirits and monsters dwell. After her parents have transformed into pigs, Chihiro struggles to survive in the strange world by working in the bathhouse owned by a witch, Yubaba, for the non-human beings. Japanese culture is a major inspiration for director Hayao Miyazaki in developing the setting in Spirited Away. Supernatural creatures, such as the radish or stink spirit, are influenced by Japanese mythology, which consists of a wide variety of kami, or spirits. The innumerable types of kami range from natural phenomena and objects such as the sun spirit, to animals and ancestral spirits. Furthermore, the bathhouse, with its temple-like interior structure, mechanical wooden elevators, and red-painted railings, is also greatly influenced by the ones in Japan. Originally referred to as “yuya,” between the Nara (710-784) and Kamukura (1185-1333) periods, bathhouses were initially used by the ill, the rich, and the priests for religious cleansing purposes. Interestingly, elements of purification can also be found in the herbal waters of the bathhouse in the film. When the stink spirit, with its revolting smell and muddy appearance, arrives at the bathhouse, 24

none of the employees are willing to serve the unwelcomed customer except Chihiro, who readily follows Yubaba’s orders to prepare the bath waters. While pulling a hanging rope to direct water down at the stink spirit, the poor girl accidentally slips and falls into the bath tub. During her fall she grabs onto a strangely familiar object—a bicycle handle. “I think he needs help! It feels like there’s a thorn in his thigh!” Some people believe that the stink spirit’s visit is a social commentary on environmental pollution. As the workers gather together to remove the handle out of the creature, they manage to pull out not only a bicycle, but also umbrellas, car tires, barrels, a refrigerator, metal pipes, a playground slide, and many other filth-covered objects. After the bath water washes away all the dirt from the spirit’s body, Chihiro realizes that she is standing in front of a floating antique mask—the face of a river spirit. While the bathhouse serves as a symbol of purification, perhaps the peculiar customer is a reminder that humans are the culprits behind contaminated rivers. Chihiro’s role in cleansing the river spirit reflects the power of kindness. Despite the spirit’s repulsive odor and rejected presence, she still pushes herself to step through the thick mud and serve the customer, respectfully addressing the spirit as a “he” and not an “it.” Without her diligent mentality and willingness to help, the river spirit would never have been cured from pollution. The young girl’s actions reflect Miyazaki’s message to us—to cleanse the world from impurities, one must possess the heart of genuine compassion. After the customer leaves the bathhouse in jubilation, Chihiro finds herself holding onto a magical dumpling—a gift from the river spirit. Perhaps it is an antidote to turn her parents back into humans. Her journey in the spirit world continues. The film Spirited Away was recently shown at Cornell Cinemas. The movie can also be rented at Olin Library.

WAre ish to join the Rice Team? you a writer? Layout designer? Thinker?

WAre ant us to feature you? you a student group? event cooridnator? Professor or staff?

WFor eâ&#x20AC;&#x2122;d love to hear from you! any questions or comments, please email Byong Han Kim at bk292@cornell.edu

Diaoyu/Senkaku Island Conflict b y Wi l l i a m S n y d e r

The Diaoyu Island conflict sparked the world’s attention when China and Japan vehemently debated their nation’s legitimacy over this seemingly irrelevant island territory. With both China and Japan vying for global superiority and international recognition as major world powers, the Diaoyu Island conflict becomes a sovereignty issue. Therefore, understanding this conflict is critically important for the two countries and the world. The Diaoyu Islands have a long and complicated history, in which the sovereignty of the islands constantly shifts between China and Japan. According to historical Chinese documents, the Chinese first discovered the Diaoyu Islands in the 15th century during exploration missions and the islands were later incorporated into the official Chinese maritime border during the 17th century. However, during the late 19th century, the Japanese claimed to have discovered the islands when a Fukuoka merchant, Koga Tatsushiro, attempted to lease these territories. While the Japanese were aware of China’s historical findings, they discussed annexing these islands because they were uninhabited. Despite China’s original discovery and ownership of these territories, the Japanese officially claimed sovereignty over the territory after the Japanese victory during the Sino-Japanese War. Article II of the Treaty of Shimonoseki states, “China cedes to Japan in perpetuity and full sovereignty the following territories…the Island of Formosa, together with all Islands appertaining or belonging to the said Island of Formosa.” As such, the Diaoyu Islands, near the Island of Formosa, legally became under legitimate control by the Japanese and were internationally recognized as a part of Japan. While the Japanese had sovereignty over these islands, the conclusion of World War II changed the ownership of the territories. The Allied Powers, during World War II, first declared their intention to restore China’s territories at the Cairo Conference, in which the leaders of the Allied nations stated, “It is [the Three Great Allies] purpose that Japan shall be stripped of all the Islands in the Pacific which is has seized or occupied since the beginning of the First World War in 1914, and that all territories Japan has stolen from the Chinese…” After Japan unconditionally surrendered, the United States, following the promises of the Cairo Conference, forced Japan to return territory, such as the Formosa Islands, back to China. However, the treaty made no mention of the Diaoyu Islands, instead Arti28

cle III gave the United States sole administrative power over the originally Japanese territories. With the confirmation of this treaty, the ownership of the Diaoyu Islands became unclear. At the end of the war, America had gained administrative control of Japanese territories but this does not necessarily suggest that America had control over the Diaoyu Islands. Even if the U.S. had administrative control over the islands, the United States had no intention of claiming sovereignty rights over the islands. The United States would later, in the 1971 Okinawa Reversion Treaty, return the administrative control of several previously controlled Japanese islands back to Japan. However, this treaty never explicitly included the Diaoyu Islands, and thus the Japanese cannot clearly claim administrative control over the Diaoyu territories. Only in the U.S.-Japanese Security treaty did the United States suggest that Japan might have administrative control over the Diaoyu Islands. This treaty states that America would defend against an attack on the islands of Japan or islands previously under administrative control of the United States, which included the Diaoyu Islands. Although Japan was not explicitly given administrative control over Diaoyu Islands when The Okinawa Reversion Treaty was signed, it suggests Japan might have de-facto administrative control over the territories. The ambiguous nature of “administrative control” prevents any definitive settlement of the Diaoyu Island dispute. According to the Congressional Research Service, America’s transfer of administrative control over the Japanese Islands does not constitute a formal transfer of sovereignty rights over the territory. Thus, even if Japan gains administrative control, it still does not have sovereignty over the islands. Administrative control merely grants authority over bureaucratic duties and therefore the sovereignty over the islands must originate elsewhere. In determining the sovereignty of the islands, China has argued that the Cairo Communiqué declared the international desire to return territories annexed by Japanese aggression, including the Diaoyu Islands. While Japan might have illegitimate administrative rights over this territory, the Allied Powers at the Cairo Communiqué functionally transferred sovereignty over to China. Japan could con29

tend that although it may have received illegitimate administrative rights over the Diaoyu Islands, the nation’s functional control over these islands has effectively given the Chinese government sovereignty over the territory. Thus, it is unclear which nation has legitimate sovereignty over the Diaoyu Islands. Although this dispute may seem trivial, the Diaoyu Islands have significant importance in both these nations’ international and domestic politics. Besides the legal disputes, the Diaoyu Islands has minable oil and natural gas reserves. Thus, owning these territories is an opportunity to gain significant economic resources. In addition, because both nations have claimed sovereignty over the islands, each nation’s international authority and legitimacy has been challenged. For example, if China claims legitimacy over the islands, but it is determined that Japan has actual sovereignty; China’s future international claims will lose credibility among other nations. The loss of political credibility then makes future international negotiations more difficult. For China, the Diaoyu Islands are not only important for

establishing international legitimacy, but the result of the dispute will also have substantial domestic consequences. Because of the long and unfriendly relationship between China and Japan, the ability to rule over these territories becomes a global demonstration of superiority. Losing this dispute effectively suggests that one nation must submit to the will of the other, and thus is inferior. In an interview with Professor Chen Jian, a Cornell Professor and expert historian on American and Chinese relations, he said, “Diaoyu now becomes a sort of test case to Beijing’s claim that China has restored its great power status.” As such, this issue regarding world credibility is substantially more important for China because the resolution of this conflict will be a symbol demonstrating China as a world power. By proving that China is in fact a world power, the Communist government also gains domestic legitimacy because the government affirms its ability to favorably handle international conflicts. Since China and Japan have a conflicted history, this issue is even more important in the eyes of Chinese civilians.

While international credibility is important to China, Japan has an invested interest in favorably resolving the conflict as well. Not only would Japan gain a sense of superiority over China and enhanced international credibility, but the country will also avoid linking the Diaoyu Islands to a series of forgotten transgressions and international contradictions that plagued Japan during its imperial regime. Professor Chen Jian said, “Japan is afraid that any recognition of the sovereignty dispute of it would inevitably link this particular issue to a series of issues including Okinawa, including Japan’s treatment of World War II history, of Sino-Japanese War history.” Because Japan does not want the world to investigate Japan’s treatment of these key issues, it is imperative the Japan firmly insist its sovereignty over the islands. Loosing sovereignty over the islands could potentially result in a general reevaluation of Japan’s current national and international standing that would negatively impact the nation and its interests. In addition, the United States has an invested interest in the peaceful resolution of this sovereignty conflict because America is liable to militarily defend the Diaoyu Islands. Because of the U.S.-Japan security agreement, the United States must defend the Diaoyu Islands if they are attacked. America has tried to remain neutral in the conflict by defining administrative control as different from granting sovereignty rights over the islands. However, if this conflict escalates, America must defend Diaoyu. This seems unlikely because China, Japan and America have stated that a global war is not in the interests of any of the countries, but the tension between China and Japan could spark an international crisis. A war will force America to choose sides between two crucial international actors. Thus, America has a substantial interest in the peaceful resolution of the Diaoyu Island conflict. The Diaoyu Island disagreement not only describes the unremitting conflict of international credibility and supremacy in East Asia, but it is also important for Cornell students. Not only is understanding this conflict, according to professor Chen Jian, important general information, but it also presents a “test case for Cornell students to think about a series of questions related to international relations and domestic politics.” The Diaoyu Island dispute was neither the first, nor will it be the last territorial conflict between major powers. Having students understand the Diaoyu conflict and apply their knowledge on these issues is an important part of learning. These issues have the potential to shape students into qualified intellectuals that can possibly resolve these issues. Indeed, the Diaoyu Island conflict is a significant issue in today’s society.

“Girl Idols” and “Uncle Fans” in Korean Pop Culture by Jennifer Mizhquiri

Korean pop music. You’ve probably heard it before whether from a friend or the radio airplay of Psy’s “Gangnam Style.” Kpop, as the genre of music from South Korea is commonly called, is often catchy, paired with memorable dance moves (think: the horse dance), and, yes, repetitive. The Western world has even paid homage to Gangnam Style at various places including Cornell. On September 29, BreakFree Hip Hop Crew and volunteers broke out in a flash mob as they danced to Gangnam Style in Ho Plaza. Seen as a style of music that “skillfully blends Western and Asian values to create its own,” kpop should seem at least slightly familiar to Western audiences. Perhaps a more foreign concept to the majority of Cornellians is the stronghold that girl groups in the kpop music industry command. While a girl group in the context of West-

ern popular culture is a fixture that never truly crossed the 21st century threshold, Korean pop has placed these girl groups at the forefront of the industry. According to Allkpop, a famous online magazine for everything kpop , 27 girl groups debuted in 2011 alone. As a representative of a music company stated, “it is a fact that there is a high demand for girl groups [… and] the supply is also high,” which further highlights the difference between Western and Asian popular media. The culture of the girl group saturates Asian media—with possibly negative implications. According to a 2009 study comparing ““Women’s Fashion and Beauty Magazine Advertisements” of South Korea with those of the United States, the beauty ideals of both cultures were found to be of Caucasian persuasion. Rather than adhering to the traditional concepts of Korean beauty—“mild plumpness with a rounded face”—Korean models now embody the Westernized ideals of

beauty with their slender bodies and defined facial bone structures. When the statistics are adjusted for the races of the models depicted in both of the country’s magazines’ advertisements, Korean magazine ads on average feature less variety in body sizes when compared to those of the US. Korean magazines also put a greater emphasis on “the face rather than the body” as opposed to those of US magazines which did the exact opposite. The emphasis on facial features and lithe bodies, a combination of innocence and sexualization that Korean media adores is manifested in the marketing of the kpop girl groups. Yeran Kim, an associate professor at Kwangoon University who specializes in the cross-section between women’s living and politics, examines these “girl industries” in her 2011 journal article. Kim writes that the industries’ “diverse strategies are actively applied to spectacularization of young feminity and girl bodies with each specific strategy targeting a particular social segment…. [M]ultiple different enactments of girlishness are desirable…[and] are advantageous to creating an enormous scale of fandom across different ethnicity, gender and generation groups in global popular music scenes.” Most of the members in the influential girl groups of kpop like “Girls’ Generation” and “Wonder Girls” are in their twenties. The idols embody the visual images of of “cute,” “innocent,” and “playful,” while they display “hot pants with bare legs and high heels or audacious knee-high boots.” Concert performances which emphasize dancing are “collective, static, repetitive and thoroughly choreographed... revealing theirsexual bodies emphatically in passive postures.”

the adoration that a fan has for a celebrity with the love an uncle has for a niece. This social phenomenon is not hidden in the recesses of Korean popular culture. Multiple public figures have professed their adoration for these girl idols. According to Kim, this construct in which uncle fans are the norm represent a “double male psychology of interwoven denial and justification…[relieving]…the predictable blame for pedophiliac abnormality.” The term uncle fan euphemizes the potentially problematic psycho-social mindset of Korean media—and society. In July, Allkpop released an article in which two

This visual blazon of female parts and child-like personaes earn these girl groups their fandom— including their legions of male fans, who range in their 30s to 40s. Korean media labels these fans “Samchon-fans,” or “uncle fans,” creating a dynamic that equates members of different idol groups posed for a picture with the headline that the two girls “[disarmed] their uncle fans with smiles.” In a picture that girl group SISTAR member Soyu took of the girl group for her fans, she makes sure to mention that among the “many people showing their interest in [SISTAR] lately,” she wished to “thank…so much to all of the uncle fans who support [SISTAR] when [they] perform.” Idol IU and her fans exemplify another facet of uncle fandom. In their praise of their beloved idol IU, uncle

fans released a song on YouTube in which the lyrics at one point read “Meet me just once!! IU!!!!!!!!Don’t be scared!! IU!!!!!!!! Give me your autograph!” Some Korean netizens reacted to this song with their praise “[the song] is a huge hit. We acknowledge their passion for IU.”

port.” He makes a distinction between the real world and the kpop world in which the adorations of an uncle fan are “totally accepted” and concludes that “it’s OK to be an uncle fan because it reminds all of us that we were all young once and that we can still appreciate This willingness of both popular youthful energy.” Nevertheless, the writer does use one excuse culture and corporations to acexplain the inclinations of knowledge the presence of these to uncle fans—“whether or not uncle fans is what Kim identifies [SISTAR, and other girl groups as “commodity feminism.” And are] comfortable with that kind this phenomenon has developed of attention is unknown, but into a business tactic that these it’s a part of the overall public “girl industry” companies use to relations plan. I, like many other augment popularity rather than to men, are helpless against the sustain it. Earlier, a writer for Allk- power of pretty girls so maybe I pop who self-identifies as an uncle was brainwashed to be [a] fan.” fan (albeit “the cool uncle who can still be fun and isn’t that old yet”) Whether or not the presence addressed this issue in an editoof uncle fans as socially-acrial piece. Maintaining awareness cepted fixtures in the Korean about the social stigma that might public eye is a result of the “girl industries’” marketing, it will be surround uncle fans, he defends them saying that, in moderation, interesting to see what kind of marketing strategy that these “uncle fans aren’t perverse or weirdos. They are normal men who companies will use as kpop makes its movement towards happen to have a group or a few Western music markets. groups that they enjoy and sup-

An Introd to Tale of “My mountain door of pine has opened briefly To see a radiant flower not seen before” -The chapter of Lavender, The Tale of Genji Written by Japanese noblewoman Murasaki Shikibu during eleventh century, The Tale of Genji is regarded as the world’s first novel, acclaimed both for its historical significance and aesthetic value. The story is divided into three stages: the first deals with the life of Hikaru Genji, charting his prosperous early life and his later decline, followed by a transitional second part. The final portion of the book narrates the rivalry between Niou and Kaoru, descendants of Genji. It is important to note that unlike many other ancient literary works, The Tale of Genji is written by a female author rather than a man, a fact that reflects the unique state of Japanese society during Heian period. At that time, while educated men pursued the study of China’s language and Confucian culture, women were excluded from both fields of study and were left to express themselves in their native Japanese language. Since writing was also regarded a highly private and feminine exercise at this time, the Heian period wit36

duction By: CelenaHuo

f Genji nessed a remarkable flowering of female literary culture in Japan that produced such great classics as The Gossamar Years, The Sarashina Diary, and The Tale of Genji. According to The Tale of Genji, the Heian tolerated polygamy, a practice that placed men in a position of power while women were mostly portrayed as passive figures pining away for love. It is not unusual to see Genji’s lovers silhouetted against the desolate moonlight, longing for him pay attention to them. Because society judged the value of a woman by her lineages, many parents used their daughters as political tools and married them to influential males. Women were not highly respected and society expected them to keep mute and suppress their grievances, pretending not to be jealous when their husbands left them to visit other women late in the night. Yet Murasaki, perhaps out of compassion, endows the women in her story with a powerful weapon—the power to possess the minds of others. In one episode, Lady Rokujo, one of Genji’s lovers, becomes so jealous of his other consorts that she dreams of their deaths. In doing so, she actually kills two of her rivals in her unwitting exercise of demonic power. 37

Although Rokujo fails to win back Genji and ultimately incurs his resentment, her action nevertheless throws Genji in deep sorrow and prompts him to contemplate the consequences of his philandering. Murasaki’s writing has the same function as spirit possession in her book, which displays a similar form of revenge against male domination. The Tale of Genji and other works like it provide the modern reader the most vivid glimpses of life in the Heian court and they are unmistakably written from a feminine perspective. Heian men may have enjoyed the privileges of a patriarchal system, but their transient self-indulgence is dwarfed by the long-lasting legacy of the Heian women’s written words. Indeed, Genji’s own life can be read as the tale of the archetypical Heian man, a life marked by fleeting glory and lasting sorrow. In his early life, Genji, like his name Hikaru implies, is “the shining prince” of his clan, one of such beauty and talent that he hardly seems meant for this world. Everyone admires him; even his enemy Kokiden finds it hard to deny his charisma. Genji’s great personal charm and prestigious lineage make him influential in the court, which in turn lends him the freedom to indulge himself in physical desire. During Genji’s old age, however, he is betrayed when his wife becomes pregnant with another man’s child, a fact that reminds him of his own treachery in seducing one of his father’s wives. After his women leave the world one by one, Genji realizes the shortness of existence and the transient nature of all things. After perceiving the emptiness of his life, Genji dies in a chapter entitled “Vanishing into The Clouds.” Murasaki chooses to leave the entirety of this chapter blank: after all, what words can fully express the contrast between Genji’s glorious youth and miserable demise? The blank page leaves the reader in a state of heart-rending melancholy and wordlessly acknowledges both human mortality and the ephemeral nature of the world. to comprehend the meaning of this term, we must first examine at the two prevailing religious beliefs in The Tale of Genji. The first is the belief system of Shinto, which deifies every beautiful manifestation of nature. Shinto holds that nature and life are to be exalted, whereas illness and death must be exorcised. The divinity and eternity of life and nature are its primary focus. The second religious system represented in The Tale of Genji, renders a very different vision of the 38

world. Zen Buddhism shares the common Buddhist premise that all life is wrought with suffering. This suffering is the product of human desire, love of pleasure, and attachment to the world. According to it, a person cannot escape an endless cycle of rebirth and suffering unless one is cut from the root of desire through rigorous self-discipline. The contrast between the two religions is evident: while Shinto celebrates the everlasting beauty of the universe and encourages people to enjoy life, Buddhism urges its followers to realize the illusory nature of physical pleasure. The concept of mono no aware may have emerged as a resolution of these two competing claims. Mono no aware blurs the boundary between the transient and the eternal by sympathizing with the fleeting nature of beauty. Indeed, mono no aware is an important idea underlying The Tale of Genji, as exemplified by the chapter “Vanishing Into the Clouds.” Consequently, this concept has also influenced many later artists and writers in Japan, among them the famed author Yasunari Kawabata, who started reading The Tale of Genji at an early age. He lauded it as “the highest pinnacle of Japanese literature” upon receiving the Nobel Prize for Literature in 1968. The merit of The Tale of Genji does not lie exclusively in its aesthetic and historical value. One cannot but feel empathy for Genji as he struggles with two forces in his mind: the desire to continue lavishing himself with physical pleasure and the hunger for spiritual enlightenment and a meaningful life. How to balance the craving of material rewards and the spiritual desire is a constant debate in human history. Genji’s pursuit of his mother’s shadow, a recurring theme in the novel, is also a common psychological impulse shared by people across cultures and through time. It is a quest for one’s origin, a search for the ultimate purpose of life. When we pick up a book, we read to understand the shared emotion in all human beings; we read to grow our empathy and make sense of the world and ourselves. Appreciating The Tale of Genji, therefore, is a valuable way for modern readers to heighten their understanding of Japanese culture and enhance personal growth through a classic that has endured for nearly a thousand years. “For ordinary people in Heian Japan, learning about the life in court through The Tale of Genji might serve as a wish-fulfillment. On the other hand, they will also become aware that this kind of glory is only fleeting and ephemeral, and that excessive demand for pleasure leads to one’s ruin.” - Professor William John Kennedy in Cornell Comparative Literature Department

a e T e l b Bub at Cornell y Guo

by Jimm

At Cornell, bubble tea, or boba, is more than just a popular beverage. The endless hype around this drink testifies not only to its appealing taste, but also to its long lasting cultural impact. Originating from small teashops in Taichung, Taiwan, this beverage first made its way to the masses during the 1980s. Bubble tea typically consists of a tea base composed of milk or fruit juice, but it derives its striking appeal from the dark tapioca balls it has come to be famous for. These starchy balls are often referred to as “tapioca,” “pearls,” or “boba,” all of which give rise to its variety of names. Over a decade after its initial discovery, bubble tea began to emerge in other parts of the world, namely the United States and large European cities. Much of its popularity in the United States was boosted by special attention from the media, via the radio and various newspapers. The growth and popularity of this drink is evident at Cornell. Served at the Appel Community Center and in various Collegetown shops, it is a beverage often craved by students here. Bubble tea at Cornell, however, has far-reaching implications that extend beyond its mere taste and consumption. For many Asian students, the drink symbolizes a familiar trace of home in rural Ithaca. Particularly for freshmen students who express their cravings for “real” Asian food, bubble tea suffices as a way to pacify those nostalgic cravings. All it takes is a simple walk to Collegetown instead of a plane trip back home. In fact, The Old Teahouse, a small teashop situated right in Collegetown, offers a wide variety of choic40

“bubble” or “boba”? choices ranging from Green Tea Milk Tea to Taro Milk Tea, all with the option of adding tapioca balls. In a sense, bubble tea acts as a unifying factor, bringing many Asian students together to enjoy their favorite beverage in Ithaca. Paradoxically, however, it simultaneously acts as a divider, reminding Asian students at Cornell that they come from different parts of the United States. Many Southern California Asians, for instance, will unyieldingly maintain that the beverage is “boba milk tea,” and not “bubble tea” as it is known in Ithaca. Asians from the East Coast, on the other hand, will uphold the drink’s description as “bubble tea.” While minor arguments over the name of the drink appear superficial and insignificant, they also illustrate the greater cultural significance of this drink. Nevertheless, whether it is called bubble tea or boba at Cornell, the drink remains the same – a beverage for students to enjoy.

Notes

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