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AbstractOne of the seminal cultural transformations in twentieth-century China was the rise of the female impersonator, the dan actor, to national stardom, with Mei Lanfang (1894–1961) as the most famous example (see Figure I). In the short span of 20 years, this figure, once strongly associated with being the 'male flower' and the 'call-boy' of elite men, became the representative and high point of Chinese cultural achievements. The three visits Mei Lanfang made to Japan in 1919, the United States in 1930 and the Soviet Union in 1935 helped establish the image of cultural China through the art of the female impersonator.

At the end of the nineteenth and beginning of the twentieth century an unlikely new figure emerged on the Chinese national stage to take its place as the new star: the Peking Opera singer and in particular the dan or female impersonator, hitherto a member of the lowest social caste and generally discriminated against by law and social custom. These singers' newly gained national reputation had everything to do with Shanghai and its media industry, more precisely with the appearance of the tabloids, the xiaobao, in the 1890s. Within a decade, the opera singer had become the selling point of the entertainment newspapers, and very soon newspapers and magazines specialising only in the Peking opera and its stars made their appearance. Propelled by Shanghai's technologically advanced print entertainment products with their lithograph illustrations and photographs, the image of the star became a national icon and a central figure in the mass media. This paper focuses on three cases in which dan actor(s) were the focus of discussion and at times the object of fierce debate or attacked in the xiaobao. Although different in nature, these events highlighted the changing social position of the actors and of the forms of patronage. The paper analyses the contradictory moral standards applied by the editors and writers of these xiaobao in dealing with the change in the social status of actors; the intersection between traditional private literati patronage of local opera singers and the very public process in which the newspaper made them national stars; and the star actors' tenuous relationship to the xiaobao with their potential for mass appeal and defamation.

Machine learning is the process behind increasingly pervasive and often proprietary tools like ChatGPT, facial recognition, and predictive policing programs. But these artificial intelligence programs are only as good as their training data. When the data smuggle in a host of racial, gender, and other inequalities, biased outputs become the norm.

Preliminary Material /D. Croissant , C. Yeh and J.S. Mostow -- Introduction /D. Croissant , C. Yeh and J.S. Mostow -- Equality, modernity, and gender in chinese nationalism /John Fitzgerald -- Banknote design as a battlefield of gender politics and national representation in Meiji Japan /Melanie Trede -- The culturally contested student body: Nü Xuesheng at the turn of the twentieth century /Joan Judge -- Love martyrs and love cheaters at the end of the Chinese Empire /Keith Mcmahon -- Gender and formation of the modern literary field in Japan: Women and the position of the novel, 1880s-1930s /Tomi Suzuki -- Failed modern girls in early-twentieth-century China /Tze-Lan D. Sang -- Politics, art, and eroticism: The female impersonator as the national cultural symbol of republican China /Catherine Vance Yeh -- Two actresses in three acts: Gender, theater, and nationalism in modern Japan /Ayako Kano -- From Madonna to Femme Fatale: Gender play in japanese national painting /Doris Croissant -- Nationally naked? The female nude in japanese oil painting and posters (1890s-1920s) /Jaqueline Berndt -- The allure of a "woman in chinese dress": Representation of the other in Imperial Japan /Ikeda Shinobu -- Utagawa Shunga, Kuki's 'chic,' and the construction of a national erotics in Japan /Joshua S. Mostow -- Contributors /D. Croissant , C. Yeh and J.S. Mostow -- Index /D. Croissant , C. Yeh and J.S. Mostow -- Sinica Leidensia /D. Croissant , C. Yeh and J.S. Mostow.

This volume offers eight studies on different historical and present-day aspects of leisure in Asia. It critically engages with the predominant Eurocentric focus of leisure studies, bringing into the discussion a number of crucial issues such as the role of leisure as a transcultural contact zone. The volume engages with a field that has been rapidly growing due to the heightened role of leisure activities in defining a person's identity, the fading of the work/leisure divide in the post-industrial age, and the increasing economic importance of leisure pursuits such as tourism. Bringing Asia into the discussion contributes in resetting the study of leisure into a truly global context.
Abstract in other languages - Dieser Band vereint acht Studien zu verschiedenen historischen und aktuellen Aspekten von Freizeit in Asien. Er setzt sich kritisch mit dem vorherrschenden eurozentrischen Schwerpunkt der Freizeitforschung auseinander und bringt eine Reihe von zentralen Fragen wie etwa die Rolle der Freizeit als transkultureller Kontaktzone in die Diskussion mit ein. Der Band beschäftigt sich mit einem Gebiet, das aufgrund der verstärkten Bedeutung von Freizeitaktivitäten für die Definition der Identität einer Person, der sich verwischenden Grenzen zwischen Arbeit und Freizeit im postindustriellen Zeitalter und der zunehmenden wirtschaftlichen Bedeutung von Freizeitaktivitäten wie dem Tourismus rasch wächst. Die Einbeziehung Asiens in die Diskussion trägt dazu bei, das Freizeitforschung in einen globalen Kontext zu stellen.