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Traversing The Internal And External Worlds: An Analysis Of Du Fu’S Use Of Nature Imagery, Arwen Mox

Rushton Journal of Undergraduate Humanities Research

Born in 712, the Chinese poet Du Fu lived in the cultural peak of the High Tang and the devastating events and aftermath of the An Lushan Rebellion in 755. This essay explores how Du Fu employs nature imagery as a medium for reflection the internal and external worlds. By tracking the use of this motif across the three major periods of his work as embodied in three different poems, the nuanced shifts in his portrayal of nature and humanity becomes apparent. This essay argues that nature is a versatile medium within Du Fu’s work.

English Loanwords And Their Sociolinguistic Impact On The Japanese Language, Zoe Macgill

Student Scholar Symposium

No abstract provided.

Lost In Translation: Navigating Cultural And Linguistic Barriers For Indian Learners In Tesol Classrooms, Shivam Jaynarayanbhai Gohel

Master's Projects and Capstones

ABSTRACT

This thesis examines the cultural, linguistic and emotional issues of the Indian multilingual students in the U.S. TESOL classroom and explains the value of decolonized and culturally responsive pedagogies to ameliorate foreign language anxiety and create equitable education. Based on the frameworks of Culturally Responsive/Sustaining Pedagogy and Affective Filter Theory, the study integrates existing and existing research to investigate the role of colonial heritage in influencing TESOL practice, the undermining effect of anxiety on academic achievement and the empowering effect of instructions that are inclusive and responsive. Chapter I presents the problem, including how multilingual and multicultural identities of …

A World Between Worlds: The Hidden Disconnect Of Chinese Autistic Individuals, Joy Lu

Ought: The Journal of Autistic Culture

This paper examines the complex challenges faced by Chinese autistic individuals navigating both Western autism communities and broader Chinese cultural contexts. Drawing on personal experience, community observation, and cultural analysis, it explores how language barriers, cultural stigma, and differing values create a unique form of disconnection for the Chinese autistic community. This paper argues that current neurodiversity discourse is dominated by Western frameworks that often fail to account for this disconnect, resulting in the exclusion of entire groups. By centring Chinese perspectives, it calls for a more culturally responsive approach to autism advocacy: one that bridges linguistic, cultural, and historical …

《大慈恩寺三藏法師傳》材源考, Te Chen

嶺南學報 Lingnan Journal of Chinese Studies

《大慈恩寺三藏法師傳》是記録玄奘生平最全面詳實的傳記，檢討其書與《續高僧傳》、冥祥（詳）《大唐故三藏玄奘法師行狀》關係可知：《續高僧傳》有關玄奘的傳記最早寫成，但對玄奘一生只有大致的概括；慧立、彦惊之《大慈恩寺三藏法師傳》經歷了許多波折方纔寫就，其傳最爲詳實，且應當參考了《續高僧傳》；冥祥（詳）之《大唐故三藏玄奘法師行狀》最晚出，本於《慈恩傳》而參考《續高僧傳》。在此基礎上進一步考察可知，十卷《大慈恩寺三藏法師傳》之前五卷，主要依據《大唐西域記》；後五卷則主要根據玄奘回國後和朝廷往來的公文書撰成。此外，來自玄奘本人的回憶與口述以及當時社會上流行的有關玄奘的傳説故事，也零散貫穿全書。综合把握《大慈恩寺三藏法師傳》的兩類史料來源——書面與口傳，可進一步分疏其間的歷史、宗教與文學元素。

The Biography of the Tripitaka Master of the Great Ci’en Monastery is the most comprehensive and detailed record of Xuanzang’s life. By examining its relationship with The Further Biographies of Eminent Monks and Mingxiang’s The Deeds of the Late Tripitaka Master Xuanzang of the Great Tang, we can discern the following: The biography of Xuanzang in The Further Biographies of Eminent Monks was the earliest to be written, but it only provides a general outline of his life. The Biography of the Tripitaka Master of the Great Ci’en Monastery by Huili and Yancong underwent many difficulties before its …

“據譯單重”到多軌並途 : 漢文佛教目録分類之演變, Guodong Feng, Hui Xia

嶺南學報 Lingnan Journal of Chinese Studies

典籍的分類方式，是佛教目録最重要的表現形式，也是佛教目録撰作者學術思想、觀念與撰録因由最爲直接的體現。漢文佛教目録最初本爲記録經典傳譯，於是產生了根據經典產生方式的“據譯單重”分類法。其後随著認識的深入，根據經典性質分爲經、律、論三藏,根據經典體制分爲大、小乘的“乘藏分類法”逐漸取得统治地位。明代末年，出現了依據天台五時判教分類經典的“依義銓次”分類法。近現代以來，由於西方學術觀念的傳入與知識生產方式的變化，漢文佛教目録的分類方式日趨多元。

The method of categorizing scriptures is the most crucial feature of Buddhist catalogs, directly reflecting the academic thought, perspectives, and motivations of their compilers. Initially, Chinese Buddhist catalogs were created to document the translation of scriptures, leading to the emergence of the “single-layer translation-based classification” method, which categorized texts based on their origins in translation. As understanding deepened, the “Tripiṭaka classification method” became dominant, dividing scriptures into the three categories of sutras (teachings), vinayas (disciplinary rules), and śāstra (treatises) based on their nature, and further into Mahāyāna and Hīnayāna texts according to their doctrinal frameworks. By the late Ming …

北周尉遲迥相州舉兵的多重敘事構造 : 以《周書．尉遲迥傳》《尉遲迥廟碑》及《集神州三寶感通録》爲中心, Ling Tong

嶺南學報 Lingnan Journal of Chinese Studies

周隋革命的前夜，楊堅在帝都長安較爲順利地清除了異己，但在北周宣帝去世之後的三個月内，地方上先後有三支北周勤王之兵，即：相州總管尉遲迥、益州總管王謙、鄖州總管司馬消難。其中對於楊堅來説，最大的威脅來自鎮守東方的尉遲迥。本文詳細考察三類文獻：中古正史（《周書．尉遲迥傳》）、碑刻文獻（《尉遲迥廟碑》）、佛教史（《集神州三寳感通録》）對北周大象二年（580）六月尉遲迥相州舉兵這一事件的不同敘事。從北周到唐代，這一事件具有多重的敘事構造，每一種敘事構造的背後，體現了不同書寫者或者敘述者的需求與認同。

最值得留意的是唐代高僧道宣《集神州三寳感通録》，他通過對尉遲迥舉兵失敗之後的佛寺“感通”敘事，折射出了佛教史學與中古正统國史（碑刻）之間的内在張力，這種張力導致了多重敘事構造間的巨大差異。

On the eve of revolution between the Northern Zhou and the Sui Dynasty, Yang Jian eliminated the dissidents in the imperial capital Chang’an smoothly, but within three months after the death of Emperor Xuan of the Northern Zhou Dynasty, three armies which aimed at protecting the emperor were organized at the local level: Yuchi Jiong, the governor of Xiangzhou; Wang Qian, the governor of Yizhou; and Sima Xiaonan, the governor of Yunzhou. Among them, the biggest threat to Yang Jian came from Yuchi, who was guarding the east. This paper examines different narratives of Yuchi Jiong’s rebellion in …

引言, Yinchi Chen

嶺南學報 Lingnan Journal of Chinese Studies

佛教自兩漢之際傳人中土，逐漸深人中國文化之生命脈動，與儒、道諸固有精神傳統并存而匯流，蔚爲壯觀。中國古典文學堪稱中國文化最爲精粹之一脈，佛教文化與之交融，自兩晉以下，既爲客觀之事實，亦因而構成令人目不暇接之無數景觀，鄭振鐸先生通觀其所謂中世紀之六朝至明代的文學歷程，曾言 : “中世紀文學史裏的一件大事，便是佛教文學的輸人。從佛教文學輸人以後，我們的中世紀文學所經歷的路線，便和前大不相同了。我們於是有了許多偉大的翻譯的作品以外，在音韻上，在故事的題材上，在典故成語上，多多少少的都受有佛教文學的影響。最後，且更擬仿著印度文學的‘文體’而産生出好幾種弘偉無比的新的文體出來。”

20世紀以來，以現代的學術立場，專注、研討佛教文化因素在文人之精神世界、文學之形式内涵諸多方面之影響與作用，既多大師巨子，成果亦斐然可觀，在相當的程度上刷新了對若干文學演進關鍵環節乃至各時段文學 史面貌的認知與理解。迄今百餘年，“佛教與中國文學”之學術探究，依然呈現廣而深之前景。

謝靈運《辨宗論》融合儒釋及其思想史意義, Zhixi Qian

嶺南學報 Lingnan Journal of Chinese Studies

謝靈運《辨宗論》的“求宗”本體論與融合儒釋方法都與慧遠有濶源關係。慧遠認爲雖然儒之名教與釋之道法最終的趨向是相同的，但道法幽微則是堯孔所未曾闡述的。這是强調佛教的獨特價值及真理性，其闡述本體的立場仍在佛教。謝靈運雖然説自己的理論是折中於儒釋雙方，但實際上將真理問題的討論重心更大幅度地移向了儒家。他提出儒家的聖道無階級可達之論，以此來闡釋真理的完全性，闡明竺道生的求宗唯在頓悟的學説。謝靈運的基本思想，是以頓悟屬儒，而以漸悟屬釋，認爲儒釋雖然同歸，但儒家明真理而釋家重教化。因此，《辨宗論》更具有普遍的哲學本體論的性質。其在學術上的意義，是仿照實相、涅槃等佛教本體論建立起儒家的道論，其思想在儒家的原典是可以找到依據的。謝靈運還從華、夷民性之不同，即華民難於受教而易於覺理、夷人難於覺理而易於受教來説明儒、佛立教頓漸的不同。這觸及中國思想傳统的問題，即頓悟之説實是中土接受佛教或説佛教中國化過程中產生的問題。這一思想史的事實，需要進一步討論。竺道生的“一闡提人皆得成佛”説與其頓悟説相關，謝靈運應慧遠之請所作的《佛影銘》中“闡提獲自援之路”正是呼應道生之説。這一點似未被論者所注意。《佛影銘》比《辨宗論》早十年寫作。由此也可推論謝氏接受道生的頓悟及一闡提成佛之説的大致時間。

Xie Lingyun’s Bianzong Lun (On Distinguishing Ultimate Truth) [《辨宗論》] inherits its ontological framework of ‘‘apprehending philosophical truth” (求宗) and its syncretic methodology of reconciling Confucianism and Buddhism from Huiyuan. While Huiyuan asserted that Confucian teachings and Buddhist Dharma ultimately converge, he emphasized Buddhism’s unique metaphysical profundity, which surpassed the insights of Yao and Confucius, thereby affirming Buddhism’s distinct truth and ontological grounding. Although Xie Lingyun claimed to mediate between Confucianism and Buddhism, he subtly shifted the discourse on truth toward Confucianism. By proposing the Confucian notion of the “sagely path” as an ungraded, immediate realization of complete …

慧遠像論對中土象論的超越, Zong-Qi Cai

嶺南學報 Lingnan Journal of Chinese Studies

慧遠的“像論”以“神道無方，觸像而寄”爲核心，强調本體（神）通過具體形象（像）顯現，並成爲宗教修行與美學實踐的中介。本文從三方面探討其理論：其一，對比佛教東傳前中國傳统的“未形之象”（見於《楚辭》《老子》《莊子》）與《易經》的“卦畫之象”，指出慧遠像論突破中土的象論，賦予有物質形態的造像和山水以終極本體義；其二，分析其思想來源，包括小乘有部“法體恒有”説（神不滅論）、大乘化身説（佛像即法身顯現）及中觀思想（真俗相即），構建了“體―觀―像”的理論框架；其三，揭示其影響，如推動佛教觀想念佛的“感通”實踐，並催生謝靈運“山水佛教”等創作審美實踐。慧遠像論融合多元的佛教觀念，爲日後佛教文藝理論的發展奠定了基礎。

Huiyuan’s (334—416) theory of the image posits that the noumenon (the divine) becomes perceptible through specific forms, which in turn serve as a medium for both religious cultivation and aesthetic practice. This paper examines his theory from three perspectives.

First, it contrasts the pre-Buddhist Chinese concepts of the “imageless image” (未形之象) — found in texts such as the Songs of Chu, Laozi, and Zhuangzi — and the “hexagrammatic images” (卦畫之象) of the I Ching (Book of Changes). In doing so, it argues that Huiyuan’s theory transcended these native conceptions of the image by endowing physical forms, such as Buddha …

多元性視野下謝靈運的精神世界, Xiaoting Shi, Yinchi Chen

嶺南學報 Lingnan Journal of Chinese Studies

中古貴族文士往往具有多元的知識與思想背景，謝靈運博學多才，出自家學濶深的陳郡謝氏家族，又通達儒學、佛教、道教及老莊玄學等，本爲時代思潮之前沿人物。但謝靈運本人的精神世界始終複雜多端，頗由外界因緣驅動而起伏興變。這一特點投射於作品文本中，亦呈現出多元交織卻無以歸宗的思想風貌。

Aristocratic literati of the medieval period often possessed diverse knowledge and intellectual backgrounds. Xie Lingyun, a highly learned and talented individual, hailed from the prestigious Xie clan of Chen Prefecture. He was well-versed in Confucianism, Buddhism, Daoism, and the metaphysical teachings of Laozi and Zhuangzi, making him a figure at the forefront of the intellectual trends of his time. However, Xie Lingyun’s spiritual world remained complex and multifaceted, often shaped and influenced by external circumstances, leading to fluctuations and transformations. This characteristic is reflected in his literary works, which exhibit a diverse and interwoven yet unanchored intellectual style.

“分限” : 嚴羽“妙悟”説形上等級的佛學淵源與理論分域, Jinmei Zhang, Jingsong Yin

嶺南學報 Lingnan Journal of Chinese Studies

緣於文獻版本流傳的差異和佛教語源考索的欠缺，“分限”一詞在嚴羽《滄浪詩話．詩辨》中歷來爭議頗多。考鏡佛教禪宗與古代詩學語境，所謂“分限”多指範園有大小、境界有高低以及程度有深淺等不同，而嚴羽《詩辨》中“分限”與“悟”的關係也應釐定爲“悟有淺深、有分限”。與此相應，嚴羽的“妙悟”理論可劃分爲由深到淺、由高到低的四個等級六個層次。其中，漢魏爲“不假悟”；“謝靈運至盛唐諸公”爲“透撤之悟”；“大曆以還之詩”“晚唐之詩”“本朝蘇黃以下諸家”雖同爲“一知半解之悟”，但三者依次遞降；“熟參無見”爲“終不悟”。

Due to variations in textual transmission and the lack of thorough investigation into Buddhist etymology, the term “Limits” in Yan Yu’s Canglang Shihua: Shibian has long been a subject of debate. Examining the contexts of Buddhist Chan (Zen) and classical poetics, “boundaries” generally refers to differences in scope, levels of realization, and degrees of profundity. The relationship between “boundaries” and “insight” in Yan Yu’s Shibian should thus be understood as “insight varies in depth, and is conditioned by boundaries.”

Accordingly, Yan Yu’s theory of “Miao Wu” (Wondrous Enlightenment) can be divided into hierarchical levels and gradations, ranging from profound …

羅漢住寺 : 道宣的中土聖寺建構與感應敘事, Yuanju Liu

嶺南學報 Lingnan Journal of Chinese Studies

阿羅漢觀念源於印度，傳入中土後，逐漸演化爲能够感應顯聖的宗教角色。本文從宗教與文學角度，分析道宣（596—667）《集神州三寳感通録》卷下羅漢與聖寺的感應敘事。他引據北涼道泰譯《入大乘論》等經律，將以天竺爲中心的三洲宇宙觀轉化爲中土空間敘事，將羅漢的顯聖行跡落實於神州的山林寺宇之中。這些敘事融合道教洞天福地與名山信仰的母題，經由“偶值”“誤入”和“尋訪”等情節，呈現聖人與凡俗間活生生的互動敘事，並展現佛教信仰的靈驗性與住持正法的作用。

道宣不僅是敘事的整理者，亦以親歷者身份出現於記載中，其“不識”的視角，反映凡夫對神聖的距離感與追慕心理，深化感應的信仰結構。值得注意的是，本文亦指出道宣並未採用同時期玄奘新譯《大阿羅漢難陀蜜多羅法住記》，顯示其有意回應新舊學義理競爭的局勢，並轉而靈活運用中國道教文化資源，在“交涉”與“融合”中化解中土佛教作爲“邊地”的文化焦慮，最終建構出具有地方特色的佛教聖地與羅漢形象，體現佛教在地化與跨文化轉譯的深度與多樣性。

The concept of the Arhat originated in India and, upon its transmission to China, gradually evolved into a religious figure capable of miraculous response and divine manifestation. This paper examines the narratives of Arhats and sacred temples in Scroll third of Ji Shenzhou Sanbao Gantong Lu (Records of Miraculous Responses to the Three Treasures in China) , compiled by Daoxuan (596—667), through both religious and literary perspectives. By citing scriptures such as the Entry into the Mahāyāna Sūtra (Ru Dasheng Lun), translated by Dharmakṣema in the Northern Liang, Daoxuan reinterprets the tripartite cosmological framework …

未有《嘉興藏》之前 : 萬曆初年的江南刻經運動, Qi-Yuan Wang

嶺南學報 Lingnan Journal of Chinese Studies

學界以往曾發現不少出現在《嘉興藏》正式開雕之前的早期刊本，但未對此現象做出相應的解釋。本文依據傳世藏經文獻中的牌記、序跋記載，加上晚明僧俗精英們的别集著述，考察了“前嘉興藏”時期複雜的刻經經歷，追溯江南地區系统刊刻佛教經藏的地點，最早出現在嘉興東禪寺，發起者是千松明得禪師。而由於各種客觀條件影響，萬曆十年之後，這一刻經事業由晚輩高僧、學界所熟悉的紫柏真可禪師及其僧俗團隊繼續，並逐漸形成刊刻全藏的理想共識。紫柏刻經團隊早期嘗試刻經的地點不止一處，通過當時精英的别集文獻考察，其正式開刻地曾有松江府的金澤鎮、蘇州府的吳江縣等處，而納入早期刻藏經場考察的地方，則包括餘杭徑山、山東嶗山等多地。這些刻經地的選擇，出於當時紫柏僧團的交遊、教内外支持及現實的經濟、交通等多重考慮。最終萬曆十七年初夏，紫柏的刻經團隊正式開刻《嘉興藏》，並把正式刻經地放到了五臺山妙德庵，四年後轉而回到徑山，成爲長期的刻經場地。在“五臺山—徑山”刻藏的敘述成型之後，《嘉興藏》早期刻經的書寫與記憶逐漸被人遺忘。本文通過梳理各部傳世文獻中的相關線索，尤其日記文獻與經藏牌記等之前不被佛教史研究者關注的材料，發掘出晚明僧俗精英於《嘉興藏》籌備期所付出的諸多努力，及其所經歷的各種艱辛與曲折。

Previous academic research on the Jiaxing Tripitaka has found many early editions that appeared before the official printing, but no corresponding explanation has been provided for this phenomenon. This article examines the complex experience of Printing Tripitaka during the “Pre Jiaxing Tripitaka” period based on the records of plaques and prefaces in the surviving, as well as the collected works of the late Ming Buddhist and Lay elites. It traces back to the location of the systematic printing of Buddhist scriptures in the Jiangnan region, which first appeared in Dongchan Temple in Jiaxing, initiated by Master Qiansong Mingde. Due …

《弘明集》《廣弘明集》之單刻及其影響, Meng Li

嶺南學報 Lingnan Journal of Chinese Studies

徽商、居士吳惟明奉其師紫柏真可之命，於萬曆十四年將《弘明集》《廣弘明集》單獨刊刻，刻成後即得到五臺山刻方册大藏負責人密藏道開的高度讚賞，初期刊刻的大藏也以此書爲“家法”，吳刻兩集影響到大藏之刊刻。實際上，吳惟明本人深度參與大藏的籌備與刊刻，不僅捐資刊刻，還派送、推薦刻工至五臺山。吳刻將《弘明》兩集合刻，删去兩書原序、爲兩書各自重編了目録、集中編排音釋;雖以永樂北藏本爲底本，但大量增删改動：詩歌部分據馮惟訥《古詩紀》直接校改底本文字，並“改每篇標目，上目下名”，改變原書編排體例，甚至還會調整詩文編次，已非藏經本原貌。然而，此本問世不久就成爲流通本，嘉興藏本《弘明》二集即採作底本，四庫本、金陵刻書處本、天寧寺本多據以刊刻，《四部叢刊》《四部備要》也據以影印。日本承應三年刻《廣弘明集》、黃檗藏本《弘明》兩集均據以刊刻。明清以來學者據《弘明》二集辑佚先唐佛教詩文，所據之本多爲吳刻系统，不可避免要受此本增删臆改之誤導。

Wu Weiming, a Huizhou merchant and lay Buddhist, followed the order of his teacher Zibai Zhenke to publish Hongmingji and Guanghongmingji separately in the 14th year of Wanli. After they were completed, they were highly praised by Mizang Daokai, the person in charge of the printing of the square volume of the Tibetan Buddhist canon in Mount Wutai. The initial printing of the Tibetan Buddhist canon also used this book as the canon. Wu’s printing of the two collections actually influenced the printing of the Tibetan Buddhist canon. In fact, Wu Weiming himself was deeply involved in the preparation …

“大輪五部秘咒”考 : 兼論唐代密教的下行及其“盜法”觀念, Bin Yi, Hui Pu

嶺南學報 Lingnan Journal of Chinese Studies

安岳、大足兩地柳本尊造像題記、碑刻中的“大輪五部秘咒”是論述柳本尊及其教派與密教存在關聯的重要證據，但對其具體所指的研究相對有限。依據現有材料，“大輪五部秘咒”應爲“通過大輪金剛陀羅尼及相關修法所掌握的各種密咒”。關注於密法自身的大輪咒解决了密教下行進程中存在的“盜法”問題，相關信仰因此廣泛傳播。佛教中的“盜法”本針對於試圖融攝佛教的外道，約束力相當有限。密教將“盜法”從對動機的發掘轉向了對行爲的評判，通過對“盜法”的强調以捍衛其主體性，維護經濟利益，并試圖回避傳播過程中可能面對的諸多誤解。随着密教下行進程的不斷推進，“盜法”觀念與大輪咒最終失去了存在根基,其形式被引入近世民間宗教之中。

The inscriptions and stele texts related to the “Great Wheel Five Divisions Secret Mantras” found in the statues of Liu Benzun in Anyue and Dazu serve as crucial evidence linking Liu Benzun, his sect, and Esoteric Buddhism. However, research on the specific meaning of this term remains relatively limited. Based on available materials, the “Great Wheel Five Divisions Secret Mantras” likely refers to “various esoteric mantras mastered through the Great Wheel Vajra Dharani and its associated practices.” Focusing on the esoteric methods themselves, the Great Wheel Mantra addressed the issue of “Daofa” that arose during the decline of Esoteric …

Integrating Chinese Tradition And Western Techniques In Jiang Zuxin’S Piano Works: A Study Of Temple Fair And Mountain Flower Collection, Qi Zhang

Dissertations and Doctoral Documents, University of Nebraska-Lincoln, 2023–

This document focuses on Jiang Zuxin’s two piano suites, Temple Fair and Mountain Flower Collection, examining how traditional Chinese musical materials interact with Western compositional techniques. Through close analytical readings of selected excerpts, combined with considerations of performance practice and modal context, the research demonstrates that Jiang systematically employs pentatonic collections and their modal configurations (gong, shang, jue/zhi/yu), along with certain altered tones (such as biangong and qingjue), as foundational pitch material. He also draws on folk songs, dances, and theatrical elements from traditional Chinese culture. At the same time, he simulates the timbres and idiomatic playing techniques of …

The Integration Of Western Compositional Techniques And Traditional Chinese Folk Music In The Piano Works Of Jianzhong Wang, Yingqi Wang

Dissertations and Doctoral Documents, University of Nebraska-Lincoln, 2023–

This document explores the method by which Jianzhong Wang (王建中) (1933–2016), a celebrated Chinese composer and pianist, integrates traditional Chinese folk melodies with Western compositional techniques in his solo piano works, including Western harmonic techniques and tonal language, contrapuntal and polyphonic textures, formal structure and thematic development, and the imitation of instruments and sounds. Introduced to Wang’s music during high school through the piece, “Embroidering the Golden Plaque” from Four Northern Shaanxi Folk Songs, the author reflects on the artistic challenges posed by Wang. Over years of study, an appreciation for Wang’s innovative fusion of Chinese folk elements and Western …

Writing The Script: Shaping Korean National Identity, Media Imperialism And The Revolution Of K-Dramas, Isai J. Martinez

Electronic Theses, Projects, and Dissertations

This thesis explores the role of South Korean television dramas (K-dramas) as cultural artifacts that the Korean creators have created and become agents, which in turn has constructed and projected globally the modern South Korean national identity. Positioned at the crossroads of cultural imperialism, nationalism, resistance and appropriation, K-dramas have become extremely critical to reshaping South Korea’s place in the global media landscape. Through the lens of the Hallyu (The Korean Wave), this study analyzes how K-drama’s navigate an ambiguous cultural space which simultaneously resists Western media dominance while appropriating global forms including platform-based distribution, tailoring original content to …

Itadakimasu: Recipes From Japanese American Internment Camps, Alexander K. Nishida

Graphic Communication

This project presents a historical narrative told through the format of a cookbook, exploring the relationship between food, memory, and resilience during the Japanese American Internment of World War II. Using primary resources such as news publications from within the camps (Topaz Times,1943), historical interviews (Herzig, 1994), and secondary resources from an archival podcast (Campu, 2021) to highlight how food served as both a means of survival and an expression of identity under confinement.

The cookbook will combine recipes inspired by documented internment-era meals with stories and reflections gathered from interviews, archival materials, and community voices. Each section will contextualize …