Wailing Barbarians and Bloody Tears: Affect and Self-other Imagination in Medieval Eastern Eurasia

Recent Japanese Scholarship on the Multi-State Order in East Eurasia from the Tenth to Thirteenth Centuries Endō Satoshi 遠藤総史, Iiyama Tomoyasu 飯山知保, Itō Kazuma 伊藤一馬, and Mori Eisuke 毛利英介 A conspicuous divergence exists in the pre-1990s and post-1990s Japanophone scholarship on Song China. While earlier generations of scholars perceived historical China as a culturally homogeneous polity that constituted the sole center of a multi-state order in pre-modern East Asia, recent research has attempted to contextualize Song China within a much broader East Eurasian history in terms of both its relations with neighboring states as well as its status as a culturally and socially diverse empire. By the 1990s, to a large extent, Nishijima Sadao's 西嶋定生 (1919–1998) interpretation of the "East Asian tributary system" (higashi Ajia sakuhō taisei 東アジア冊封体制), in which the Chinese emperor stood at the pinnacle of an East Asian multi-state order comprised of multiple tributary relationships with monarchs of the (mostly nominally) vassalized neighboring states, was the prevalent model within Japanese academia. Yet, as Nishijima plainly admitted, with the powerful Khitan Liao, Tangut Xi Xia, and Jurchen Jin militarily overmatching the Song dynasty, his explanation of a "tributary system" is not applicable to the era between the tenth and thirteenth centuries.1 Failing to offer an alternative [End Page 193] perspective, pre-1990s Japanophone scholarship of Song history remained dormant in exploring the East Asian multi-state order. Benefiting from and stimulated by the publication of new sources, both printed and epigraphic, as well as the emergence of Mongol Yuan studies since the mid-1990s, the new generation of Japanese scholars of Song, Liao, and Jin history has challenged and greatly changed the course of Chinese historiography in Japan. This essay aims to trace the trajectory of the major Japanese-language discussions, from the 1990s through April 2018, of the multistate order in East Eurasia from the tenth century to the thirteenth century. Changing Geographical Settings:From East Asia to East Eurasia To circumvent unwieldy explanations, it is convenient to begin with a definition of a new geographical setting for inter-state diplomacy, East Eurasia (tōbu Yūrashia 東部ユーラシア or Yūrashia tōbu/tōhō ユーラシア東部/ 東方), and the scholarly background of its emergence. It was not a mere coincidence that the term East Eurasia emerged in Japanophone scholarship almost simultaneously with Anglophone and other scholarship that was relativizing Eurocentric viewpoints in an effort to construct a genuinely global history. In the field of Japanese scholarship on Asian history (tōyōshi 東洋 史), where a clear and nearly insurmountable demarcation had customarily been drawn between East Asian history (higashi Ajia shi 東アジア史, that is, mostly Chinese history) and Inner Asian history (nairiku Ajia shi 内陸アジ ア史), these vocabulary choices also reflected an unmistakable intention to rectify a Sinocentric perspective. It was also during the 1990s that scholars of Mongol Eurasian history in Japan began vigorously advocating the argument that Chinese history should be perceived as an integral part of Eurasian history and that historical China should be treated as simply one of a number of coexisting East Eurasian states. The works of one of the preeminent figures in this academic movement, Sugiyama Masa'aki 杉山正明, have played a decisive role in promoting a "Central Eurasian" perspective on Chinese history. Stimulated by this movement, since the beginning of this century, a group of scholars have sought to divest Song China of its status as primus inter [End Page 194] pares within conventional Japanophone historical narratives of Asian history.2 The rise of Sogdian studies also had a remarkable impact on Japanophone Song scholarship after the 1990s. Shedding light on the migrations of Sogdian traders, soldiers, and diplomats across the Eurasian continent from the sixth to the tenth century, scholars inevitably questioned the discursive boundaries that had been drawn between Tang China and other states in the accepted historical narrative.3 The new geographic setting of East Eurasia also enables scholars to bridge the gaps amongsr Tang, Five Dynasties, and Song histories with a practical awareness of the spatial changes that "China" underwent. By blurring the boundaries of "Chinese" history, the majority of the books and articles included in this essay, to various degrees, take a stance against postulating a "Tang-Song transition," a...

Acknowledgements Contributors Table of Dynasties Nicola Di Cosmo and Don J. Wyatt Introduction 1. Edward L. Shaughnessy Toward a Social Geography of the Zhouyuan during the Western Zhou Dynasty: The Jing and Zhong Lineages of Fufeng County 2. Vera Dorofeeva-Lichtmann Mapping a 'Spiritual' Landscape: Representation of Terrestrial Space in the Shanhaijing 3. Dorothy C. Wong Ethnicity and Identity: Northern Nomads as Buddhist Art Patrons during the Period of Northern and Southern Dynasties 4. Marc Samuel Abramson Deep Eyes and High Noses: Physiognomy and the depiction of Barbarians in Tang China 5. Naomi Standen Raiding and Frontier Society in the Five Dynasties 6. Irene S. Leung 'Felt Yurts Neatly Arrayed, Large Tents Huddle Close': Visualizing the Frontier in the Northern Song Dynasty 7. Don J. Wyatt The Invention of the Northern Song 8. John E. Herman The Mu'ege Kingdom: Rise and Fall of a Frontier Empire in Southwest China 9. Andrea Riemenschnitter Traveler's Vocation - Xu Xiake and his Excursion to the Southwestern Frontier 10. Joanna Waley-Cohen Changing Spaces of Empire in Eighteenth Century Qing China 11. Nicola Di Cosmo Kirghiz Nomads on the Qing Frontier: Tribute, Trade, or Gift-Exchange? 12. Daphne Pi-Wei Lei Envisioning New Borders for the Old China in Late Qing Fiction and Local Drama Index

Reviewed by: Zen Buddhist Rhetoric in China, Korea, and Japan ed. by Christoph Anderl Eric Greene (bio) Christoph Anderl, editor. Zen Buddhist Rhetoric in China, Korea, and Japan. Conceptual History and Chinese Linguistics, vol. 3. Leiden: Brill Academic Publishers, 2012. xvi, 473 pp. Hardcover $166.00/€121, isbn 978-90-04-18556-2. In the past twenty-five years, it has become increasingly common for scholars to study so-called Zen1 Buddhism not in terms of its history per se, but in terms of its literary and rhetorical practices. The impetus for this approach has come primarily from our increasing appreciation of the extent to which traditional Zen history itself was a rhetorically crafted fiction. At least in its supposed heyday, during Tang China, Zen Buddhism was, it now seems to many scholars, not so much a discreet, institutionally embodied sect of Chinese Buddhism, but a set of discursive practices and imagined traditions based on the idea of a continuous lineage of enlightened Zen masters stretching back to the Buddha. Arguably, even in the later Song dynasty (960–1279), Zen was distinguished from other forms of Chinese Buddhism primarily in such terms: by its discourse about the nature of awakening, its unique textual genres such as the enigmatic dialogues commonly known as gongan (Jpn. kōan), and the practices associated with these genres, including written and oral commentary, ritual performance, and meditation. Zen Buddhist Rhetoric in China, Korea, and Japan, the fruit of an international conference held in the fall of 2008, adds to the growing body of scholarship that approaches Zen in these terms. The overall quality of the contributions is high, and despite the large number of typographical and grammatical errors, some of which suggest that the book did not receive a final run-through by a native speaker of English,2 this volume will remain a useful reference for scholars of Zen for many years to come. Christoph Anderl, the editor, is to be praised for having brought together scholars working on a wide range of topics. The inclusion of several chapters on Korean Buddhism is particularly welcome given its relative neglect within Western-language scholarship. This volume is thus ambitious in scope and is, indeed, one of the few books in any language that has attempted to gain purchase on the entire Zen tradition and the diversity of linguistic and cultural contexts within which it has been found. Anderl’s introduction—at more than eighty pages, nearly a short monograph in itself—sets the stage by surveying the many areas within Zen in which a focus on textual and rhetorical practices yields insight. Despite initially claiming interest in [End Page 564] Zen rhetoric rather than Zen doctrine (p. 2), Anderl’s most interesting point here is arguably a doctrinal one—that the creativity of Zen texts with regards to genre, rhetorical modes, and poetical or “non-referential” language can be understood as an attempt “to solve the underlying paradox between the conviction concerning the limitations of linguistic expression, and the necessity of using language to express one’s views” (p. 3). In other words, the tendency of Zen texts to avoid explicit doctrinal maxims in favor of depicting (and, in ritual, embodying) deeds and speech that express awakening directly, itself reveals, and is motivated by, a particular doctrinal understanding, namely that ultimate truth lies beyond realm of words. Following the introduction, the first two essays address aspects of Indian Buddhism that eventually become of central importance to Zen. Jens Braavig first analyzes what he calls, in the title of his chapter, the “rhetoric of emptiness”. Specifically, he considers those Mahāyāna texts where the idea that language cannot point to the highest truth is not simply asserted, but displayed through dialogue, a narrative device that shows certain parallels to what we find in many Zen texts. Meanwhile, in his contribution, “‘Thus Have I Heard’ and Other Claims to Authenticity,” Bart Dessein examines evolving standards of textual authenticity within Indian Abhidharma literature, noting in particular how the growth of Indian Buddhist sectarianism went hand-in-hand with the development of written, rather than oral, literature, and a concomitant rise in claims to authenticity based solely...

This thesis investigates the communication of emotion in intercultural Estonian-Australian families in Australia from an applied linguistics perspective, situating the study within the fields of intercultural communication and acculturation with a specific focus on emotion. It adds to a growing body of literature on the communication of emotion in intercultural and bilingual contexts (most prominently by Dewaele, Grosjean, Panayiotou, Pavlenko, Piller and Wierzbicka) by drawing attention to a less frequently studied combination of cultures and focusing on the mutual perceptions and interpretations of the informants.Even though globalisation has led to an increase in the number of intercultural families, so far little research has focused on mixed family communication, and even less on the expression and perception of emotion between partners. To contribute towards filling this gap, the present study focuses on cultural differences in emotional behaviour and in its interpretation, specifically on Estonian and Australian partners’ perception of their own and each other’s emotional behaviour. Since emotional behavioural patterns not only vary among cultures and individuals but may also be affected by sustained contact with cultural others, this study also explores the multidirectional influences and patterns of negotiation in the communication of emotion in intercultural Estonian-Australian families.An embedded mixed methods approach was used to gain a detailed picture of the perception of emotional behaviour in Estonian-Australian families. Semi-structured interviews were adopted as the main data-gathering method in combination with an online questionnaire, where the latter provided background information about the participants and context. The interviews were conducted with both partners simultaneously, which enabled the partners to add to or comment on each other’s responses, and therefore compensated for a potential bias in the self-reports. The analysis explored the relationship between the partners’ linguistic and cultural backgrounds and the interpretation of the differing forms of emotional behaviour, together with the perceived changes in the communication of emotion which may occur in intercultural contact.The analysis revealed cultural differences in the expressiveness of the Estonian and Australian partners. Specifically, the Estonian partners were found to be more reserved in their expression of emotion in comparison with their Australian partners. This difference, in turn, emerged as a source of misunderstandings in Estonian-Australian families. The Australians in particular experienced difficulty in interpreting the affective states of their Estonian partners, expecting their partners’ expression of emotion to resemble that of their home culture. One specific area which emerged from the data as problematic was the interpretation of vocal cues accompanying the Estonian partners’ speech. This was related to the different acoustic properties characteristic of Estonian and Australian English, which created difficulties for the Australian partners in interpreting their partners’ affective states. Nevertheless, as illustrated in the present study, the extra challenges related to the cultural differences in the expression of emotion do not prevent the Estonian and Australian partners from succeeding in communicating emotion and in their intercultural relations.The participants reported gradual changes in their expression and perception of emotion over the duration of their relationship. These were related to both intercultural and interpersonal contact. While it is generally considered that immigrants, in this study the Estonian partners, undergo more substantial acculturation than do host cultures, the data show that there is a shift in both the Estonian and Australian partners’ emotional behaviour. In both partners, transitions from the behavioural patterns characteristic of the home culture towards the behavioural traits typical for the partner’s culture were reported. Such shifts were found, however, to be partial, selective, and asymmetrical.Furthermore, intercultural contact within the family context was found to increase one’s emotional competence. Both Estonian and Australian partners reported becoming more aware of cultural differences in the communication of emotion, and acquiring an ability to express and/or interpret an emotion characteristic of the foreign culture and language. The analysis also revealed a shift in the perception of behavioural patterns, where the traits deemed to be typical for their home culture were seen over time as less desirable in comparison with the characteristics of their partners’ culture.The findings of this study demonstrate that close relationships facilitate changes in the partners’ emotional behaviour and contribute to the formation of a hybrid cultural identity within a family micro-culture. Unlike the majority of studies on acculturation, the present research shows that changes in the partners’ emotional behaviour are bidirectional, and are often of a temporary nature and context-dependent, showing the multiple emotional repertoires of the partners. This highlights the complexity of communication of emotion within an intercultural family context, as one of the closest forms of intercultural contact, where both partners’ emotional behaviour is under negotiation and is subject to change.

Warfare is assumed to be one of the defining cultural characteristics of steppe nomads in Eastern Eurasia. For the first-centuries CE, a period of political turmoil in Northern China and Southern Siberia, relatively few data are, however, available about the degree and variability of violence in these communities. Here, we provide new data on violence among steppe nomads during the first-centuries CE by analyzing the type, anatomical distribution, and demographic distribution of perimortem trauma at Tunnug1 (Tuva, Southern Siberia-second to fourth c. CE). Perimortem traumas were assessed on 87 individuals representing both sexes and different age classes. The timing of the lesions was assessed based on morphological criteria, including the absence and presence of bone reactive processes and the relative plasticity of the bone at the moment of impact. The distribution by age, sex, and anatomical location of trauma was analyzed by means of logistic models, Fisher's exact tests, and 3D visualizations. A total of 130 perimortem traumas, including chop marks, slice marks, penetrating lesions, and blunt traumas were identified on 22 individuals. Chop marks were mostly at the level of the skull and vertebrae and were likely caused by bladed weapons. Slice marks were found on the cervical vertebrae and cranium and may be the result of throat slitting and scalping by means of smaller bladed implements. Traumas were more frequent in males, and their presence is not correlated with age. This study adds new data to the few available regarding violence among steppe nomadic cultures and provides new insights about the effects of political instability on the life of the people inhabiting Eastern Eurasia during the early centuries CE.

The Water-Moon form of Avalokiteśvara arose in China during the process of nativization of Buddhism in Tang China. Extant images of Water-Moon Avalokiteśvara tend to have been painted in either China or Korea, but there is an odd dislocation in the changes of style, with the colorful Koryŏ dynasty images paralleling not contemporary Song trends but rather those from hundreds of years earlier. That this effect might simply be a delay caused by geographical distance seems unlikely given the active cultural exchange between the two realms. Dramatic changes occurred in the Tang-Song era, including the rise of plebeian culture and Zen Buddhism. This carried over to a more minimalist style of art in China. Meanwhile, in Koryŏ, Buddhism continued to receive royal sponsorship and remain influential. This article argues that the differences in images and techniques between Koryŏ and Song-Yuan paintings of Water-Moon Avalokiteśvara were caused by the time difference in the social transformations of China and Korea.

Musical symbols in Song Dynasty literature form a unique literary and artistic phenomenon with their diverse textual representations and profound symbolic meanings. These musical symbols not only integrate into poetry, prose, and drama as aesthetic imagery but also reflect the Song literati’s deep understanding of nature, culture, and the relationships between the individual and society, through their rich emotional expression and cultural transmission functions. This study analyzes the textual forms, functional types, and genre differences in the representation of musical symbols, revealing their symbolic meanings in emotional expression, cultural identity, and philosophical significance. It further explores the unique contributions of musical symbols to artistic innovation and aesthetic value, showcasing the cross-media fusion of literature and music in the Song Dynasty.

During the pioneering work of Max Uhle, Julio C. Tello, and Alfred Kroeber in the Ica, Palpa, and Nasca valleys on the southern Peruvian coast, hundreds of funerary contexts mainly belonging to the Paracas, Nasca, and Wari cultures were discovered, but only few studies and analyses have been made of these large collections. The same is valid for other collections excavated during the past century in the Palpa and Nasca region. Within the Nasca–Palpa Archaeological Project, more than 200 funerary contexts belonging to different cultural periods were excavated in various sites of the Palpa valleys. The earliest evidence of graves in the Palpa valleys dates to the Archaic period although the most numerous sample are those from Paracas and Nasca times. With a gap during the Initial Period and only little evidence from the Middle Horizon, funerary contexts cover the time from 3500 BC to 900 AD. This chapter presents a summary of the research carried out concerning the funerary practices, describing the main features observed for each epoch, in order to have a better idea of the mortuary customs existing in each period and the changes occurring through time. The chapter concludes with a brief outline of the funerary patterns found and their relation to the characteristics of each society’s structure.

S<scp>hao-yun</scp> Y<scp>ang</scp>. <i>The Way of the Barbarians: Redrawing Ethnic Boundaries in Tang and Song China</i>.

The Way of the Barbarians: Redrawing Ethnic Boundaries in Tang and Song China, by Shao-yun Yang

Religious Studies ReviewVolume 47, Issue 2 p. 258-258 Short Reviews Of Recent Publications: East Asia THE WAY OF THE BARBARIANS: REDRAWING ETHNIC BOUNDARIES IN TANG AND SONG CHINA. By Shao-yun Yang. Seattle: University of Washington Press, 2019. Pp. xii + 229. Hardback, $99.00; Paperback, $30.00. First published: 08 August 2021 https://doi.org/10.1111/rsr.15310Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL No abstract is available for this article. Volume47, Issue2June 2021Pages 258-258 RelatedInformation

The Way of the Barbarians: Redrawing Ethnic Boundaries in Tang and Song China By Shao-yun Yang. Seattle: University of Washington Press, 2019. xii + 229. $95.00 (cloth), $30.00 (ppb).

The archaeogenetic data recently presented by Gyuris &amp; Vyazov et al. (2024) introduces ancient DNA (aDNA) from 131 individuals dating from the first millennium BCE to the first half of the second millennium CE, predominantly from the Trans-Ural region. This dataset facilitates the comparison of the dynamics of material culture development and population processes in this area. The study’s results indicate that the genetic profile characteristic of the early medieval Magyars first emerged as part of the Trans-Ural genetic landscape in the 3rd—4th centuries CE, identified among the population of the late Sargatka culture, which experienced significant influence from the taiga population. In the 9th—10th centuries, this genetic type termed the “Karayakupovo,” became widespread in the Cis-Ural Magna Hungaria. Despite noticeable cultural influence from the steppe nomads, likely Turkic-speaking, the Trans-Ural population of the “Karayakupovo horizon” did not experience significant gene flow from them. Conversely, genetic exchange with communities who populated the Kama River basin was more intense. Only in the 14th century, during the period of political dominance of the Golden Horde in the region, the population of Magna Hungaria gradually lose its genetic specificity. Cultural transformations sometimes accompanied the observed changes in genetic landscapes and sometimes occurred independently of them.

Purpose This study investigated the influence of inconsistent versus consistent emotional expressions (independent variables) in social media profiles on first and final impressions in terms of interpersonal liking and trust (dependent variables). Design/methodology/approach Consistency in emotional expressions was operationalized as the same or different valences across all emotional posts. A 2 (initial positive vs negative emotional expressions) × 2 (subsequent positive vs negative emotional expressions) between-subjects online experiment (N = 254) was employed. Joy and sadness were employed to represent positive and negative emotional expressions, respectively. Findings The findings revealed that first impressions formed based on emotional expressions at Time 1 were transitory. Both positive and negative initial impressions were susceptible to modification by inconsistent emotional expressions at Time 2, indicating the dominance of the recency effect over the primacy effect. Notably, expectancy violation valence, triggered by these inconsistent emotional expressions, significantly mediated the relationship between the displayed emotional expressions and the final impressions at Time 2. Furthermore, interpersonal liking was highly sensitive to inconsistent emotional valence at both stages, whereas interpersonal trust was less affected. Research limitations/implications On a theoretical level, this study reveals the dynamic and continuous process of impression formation based on users’ emotional expressions on social media. On a practical level, the findings can guide users to effectively manage impressions via emotional expressions in social media profiles. Originality/value This study examined the effects of inconsistent emotional expressions on impression formation through competing mechanisms (primacy or recency effects, valence biases and expectancy violation theory).

In the funerary sites there is generally, in addition to osseous remains, a whole of material elements considered usually as funerary furniture of the one individual or many individuals deposited. In general, the study of these movable elements is limited to note their presence, without deepening in the knowledge of the possible uses and/or material and social functions that these objects could have within the framework of the social, economic and ideological relations of the group as also within the specific framework of the funerary practices carried out in the studied deposit. There is a clear example of this situation in the study of the ceramic remains, which undoubtedly constitute one of the categories of the most usual artifacts in the funerary contexts. The quantitative and qualitative developments of research around the funerary world in Prehistory, supported by slow but progressive discovery of intact funerary deposits, allow more precises analysis. They highlight the presence of the ceramic vases in the funerary contexts can be explained by different causes. The discussion on these elements extends our vision on the complexity of the functions of the material elements in the funerary contexts.