BEGIN:VCALENDAR VERSION:2.0 PRODID:-//132.216.98.100//NONSGML kigkonsult.se iCalcreator 2.20.4// BEGIN:VEVENT UID:20251109T090302EST-0637Nf5ivI@132.216.98.100 DTSTAMP:20251109T140302Z DESCRIPTION: \n\n\n “Weeping for ‘the Person Outside’”: Lamenting Their Husb ands’ Death\n\n\nLingheng He\, Ph.D. Candidate\, Department of East Asian Studies\, ǾƷ\n\nFor married women in historical China\, los ing their husbands referred to losing their primary identities of wives in the Confucian patriarchal society\, concomitant with a series of problems including emotional breakdowns\, moral dilemmas\, and disorders in domest ic lives. By focusing on Ming-Qing women’s poetry mourning their husbands\ , this study investigates women’s literary representation of grief and con jugal relationships at the loss of their husbands and discusses how\, thro ugh these representations\, women expressed their emotional struggles rega rding marital lives and discovered selfhoods in tension with the Confucian gender norms.\n\n \n\n\n State Critique and Lyric Horror in The Deserted C ity by Obayashi Nobuhiko\n\n\nMarianne Tarcov\, Assistant Professor\, Depa rtment of East Asian Studies\, ǾƷ\n\nIn 1911\, the Japanese poet Kitahara Hakushū (1885-1942) published the collection Memories about his childhood in the small town of Yanagawa\, a town he calls 'the desert ed city.' Kitahara critiques the Japanese state's efforts to bring Western -style modernity to his hometown\, commenting on everything from the Meiji state's imposition of modern clock time\, to public health\, to increasin g censorship and surveillance. In 1984\, horror director Obayashi Nobuhiko (1938-2020)\, famous for his 1977 masterpiece House\, revisited Memories  in his film The Deserted City. The town of Yanagawa\, crisscrossed with a decaying\, polluted canal system dating to the Tokugawa Period\, becomes a reminder of a recent yet premodern past\, reminiscent of Freud's notion o f the uncanny as the return of the repressed\, a hallmark of the horror ge nre.\n\nWhy would a horror filmmaker known for his wild\, over-the-top sty le revisit a decades-old poetry collection characterized by subtlety and r estraint? I suggest that it is Kitahara Hakushū's critique of the Japanese state's coercive imposition of modernity that draws Obayashi to his work. Obayashi provides a transtemporal critique of capitalistic modernity and its obsession with productivity and speed during the 1980s\, Japan's perio d of high economic growth. \n\n \n\n \n DTSTART:20240913T150000Z DTEND:20240913T163000Z LOCATION:680 Sherbrooke W.\, room 1041 (10th floor) SUMMARY:East Asian Studies - 'Work-In-Progress' talks. URL:/eas/channels/event/east-asian-studies-work-progre ss-talks-359116 END:VEVENT END:VCALENDAR