on Blackboard/TritonEd A. READ Kang, Wenqing. “Male Same-Sex Relations in Modern China: Language, Media Representation, and Law, 1900-1949,” in positions: east asia cultures critique, 2010, vol. 18, no. 2, special issue on “Beyond the Strai(gh)ts: Transnationalism and Queer Chinese Politics,” ed. Liu, Petrus and Lisa Rofel: 489-510. Answer the following questions: In contrast to Martin, Kang suggests that early 20th-century Western psychological understandings of male homosexuality were adopted in China because they were “similar to the local understanding of male same-sex relations.” What did he mean? What are two examples that Kang discusses of existing ways of viewing male homosexuality that were negative (and therefore fit with Western pathologized notions of homosexuality)? Why was homosexuality excluded from certain categories of criminal sexual behavior, according to Kang? B. READ Rofel, Lisa. “Qualities of Desire: Imagining Gay Identities,” in Desiring China: Experiments in Neoliberalism, Sexuality, and Public Culture. Chapel Hill: Duke University Press, 2007: 85-110. E-book through UCSD. Answer the following questions: Rofel asks why people assume that “a global gay identity exists.” What is her answer? What do you think? What does Rofel say about the concept of “face” with respect to “coming out” for gay men in China? What are the assumptions about homosexuality that visitors like non- Chinese activists bring to China from overseas sometimes bring? C. Read any one of the following and summarize it in your own words: 1. “Female Same-Sex Love in May Fourth Fiction,” in Sang, Deborah Tze-lan, Emerging Lesbian: Female Same-Sex Desire in Modern China, Chicago: University of Chicago Press, 2003: 127-162. 2. “Sinophone Erotohistories: The Shaw Brothers’ Queering of a Transforming ‘Chinese Dream’ in Ainu Fantasies,” by Lily Wong, in Queer Sinophone Cultures, Heinrich, Ari Larissa and Howard Chiang, eds., Routledge, 2014. 3. “Male Love Lost: The Fate of Male Same-Sex Prostitution in Beijing in the Late Nineteenth and Early Twentieth Centuries,” by Wu Cuncun and Mark Stevenson, in Embodied Modernities: Corporeality, Representation, and Chinese Cultures, ed. Martin, Fran and Larissa Heinrich, Hawaii: University of Hawaii Press, 2006: 42-59. 4. “The Uses of Femininity: Chen Kaige’s Farewell My Concubine and Zhang Yuan’s East Palace, West Palace,” by Lim, Song Hwee, in Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawai'i, 2006: 69-98 (especially 69-88). 5. “Farewell My Fantasy,” Sean Metzger. Journal of Homosexuality, 2008: https://doi.org/10.1300/J082v39n03_09 6. “Reading Formations in Chen Kaige’s Farewell My Concubine,” by E. Ann Kaplan, in Transnational Chinese Cinemas: Identity, Nationhood, Gender, ed. Sheldon Lu, 1997: 265-274.
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