This dissertation focuses on the actors and agencies in the transnational Buddhist networks that were involved in the making of Buddhism in Indonesia from 1900 to 1959. Using the framework of... Show moreThis dissertation focuses on the actors and agencies in the transnational Buddhist networks that were involved in the making of Buddhism in Indonesia from 1900 to 1959. Using the framework of transnational networks, this dissertation endeavours to understand how Buddhism gradually secured a place in Indonesian society. By viewing the late-colonial and early post-colonial period as a continuum in which Buddhism continued to take root, it connects developments that have thus far been treated as separated by the demarcation line of Indonesian independence.Furthermore it argues that modern Buddhism in the Indonesian archipelago developed as a result of global and regional religious transformations. Particularly important was the spread of Theravada Buddhism in South and Southeast Asia. Especially, the dissertation investigates the dominant roles of lay people, Buddhist missionaries and intellectuals who were living in and travelling to colonial Indonesia. The Peranakan Chinese were the primary local actors in this process because of their pivotal role in the making of modern Buddhism from the beginning of the period under consideration until the post- independence years. The Peranakan Chinese community can be seen as a “place” where people from various backgrounds articulated their ideas about Buddhism and interacted with others. Show less
This dissertation advances a new interpretation on the national formation of modern China through the lens of Chinese cinema. Primarily, this project explores how cinema—a modern invention imported... Show moreThis dissertation advances a new interpretation on the national formation of modern China through the lens of Chinese cinema. Primarily, this project explores how cinema—a modern invention imported from the West—has shaped China’s sociopolitical transition from a dynastic empire to a nation-state. It is argued that, the concurrence of motion picture’s arrival and nation-state’s advent in China at the turn of the twentieth century, is not to be considered as isolated events, but rather as a dialectical dynamism in which the imagined community of modern China has largely relied on cinema for its symbolic construction, and yet encountered constant resistance from cinematic representation. Viewing the formation of the Chinese nation-state from a cinematic perspective, this study centers on the conflicts between marginal figures and central categories in Chinese films. In approaching this unresolved dilemma, Jiyu Zhang dedicates his study to mapping out a dialectical relationship between China’s internal and external tensions. Through an extensive investigation of cinematic embodiment, Zhang hones in on four groups of characters that he terms the “central frontiers” of modern China’s cultural imaginary: children, women, ethnic minorities, and diaspora. Show less