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the housework. My girlfriend and I lived together when I was a graduate student. This was also a learning experience. Our life together gave me first-hand experience regarding the demands of feminism. At the time, my income as a part-time teacher at a junior college was very meager – certainly

In: Patriarchy in East Asia
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-series episode Family Portrait ( Quan jia fu 全家福). Tsai next worked as a writer on the prime-time television soap Endless Love ( Buliao qing 不了情), before going on to direct All the Corners of the World ( Hai jiao tianya 海角天涯), a television drama about an unstable family living in Ximending 西門町, an

in Encyclopedia of Taiwan Studies Online
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housework was a source of economic value, her article asserted that productive labor should not be considered the sole source of value in society and that the housewife absorbed in daily life was a 100% living human being. (See http://femjapan.pbworks.com/w/page/8848002/ Housewife%20Movement). 4 Although

In: Patriarchy in East Asia

, and child-rearing customs. Efforts to salvage precontact Native American culture had focused the attention of American anthropologists on verbally transmitted memory rather than on observed, living action. Culture became a thing of mentalities, interpretation of symbols, even ritual secrets

in Encyclopedia of Taiwan Studies Online
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and wartime, therefore, the sea did not serve so much as a boundary but rather facilitated a range of interactions between people living in the littoral zone of the East China Sea. Up until the First Sino-Japanese War (1894–5), there were only a hand- ful of major international conflicts between

In: Hakata
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that “farming is not a labour, but an occupation”2 (Yamamoto 1981: 24). He suggests that life in (or migration to) urban regions may be economically motivated, while living in (or mi- grating to) a rural area is not (Yamamoto 1997; 2017). If life in rural parts of the country is less favourable

Open Access
In: Vienna Journal of East Asian Studies
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(with his failure to adapt that forces him to return to Iwan-mura) but also in the years spent in the countryside, since he had been living in a commune all his life and is thus used to different patterns of day-to-day life and human relationships. It can therefore be said that the issues he faces

Open Access
In: Vienna Journal of East Asian Studies
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natural life. He stated this approach in the following lines composed in prison:  258 Living a life is the principle of heaven. 生活即天理 No violation from ancient times to the present day. 今古無乖違 Merging yourself into the crowd, 投身眾流中 life will then become boundless. 生命乃無涯258 He also explained: These words

In: A Modernity Set to a Pre-Modern Tune
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recognized as an “extraordinary person with extraordinary talent” (qirenqicai 奇人奇才) by his friends, his readers, and scholars of his work. His unusual life was full of drama that mirrored the dynamics of China’s political, social, and cultural movements in the twenti- eth century. He was born into a

In: A Modernity Set to a Pre-Modern Tune
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Qi), the protagonist, played by Lee, depicting the very last moments of his life as a diasporic Chinese person and a mainlander veteran in Taiwan. That is, Old Qi is one of the Chinese immigrants who came to Taiwan after 1949 whose acculturation has been an issue since the moment of their arrival

In: International Journal of Taiwan Studies