John R. Wallace Version: June 2019 (for the Summer 2019 course) Interpreting Love Narratives in East Asian Literature and Film by John R Wallace is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted. Dedication This book is dedicated to my wife and daughter, who continue to encourage me to try to see better, think better, care better. Epigraph Interpretation is born from curiosity. Theory is passion given structure. Contents List of images, sound clips, and video clips — with external links xi Acknowledgments xviii PART I. ABOUT THIS BOOK AND THIS COURSE 1. About this book The book's audience ◆ the book's parts ◆ notes on eBook format 3 2. About this course Course topic and structure ◆ teaching aspirations & learning outcomes ◆ Object learning and active learning ◆ *Connectionism, *Connectivism, *emergence 17 PART II. A THEORY OF INTERPRETATION FOR CROSS-CULTURAL READING 3. Overview Part Three contents ◆ evolving theory ◆ course content as problem-solution formula 47 4. Interpreting data and code completing meaning ◆ constructing texts from code 57 5. Selection, Organization / Matching (SO/M) A schema for how we attribute meaning to objects ◆ patterns & models ◆ making sense ◆ interpretation and the outside world 79 6. SO/M, "the (cultural) world," and "horizon of expectation" Turning from perception theory to interpretation ◆ horizon of expectation 103 7. A closer look at patterns Introduction 115 8. Patterns with gravitational power Implicit and cognitive bias ◆ mimetic desire ◆ attractors ◆ cultural attractors 119 9. Patterns with time-leaps Memories, shared memories, cause-and-effect in narrative segments 133 10. Ending an interpretation 147 PART III. METHOD—ELEMENTS OF (COURSE) INTERPRETIVE PROJECTS 11. Dialogue, bounded dialogue, and emergent knowledge Expanding understanding through dialogue ◆ emergent knowledge 155 12. "Love" as we will view it "High order / low order" love ◆ Neurochemical, affective, and cognitive love 161 13. Cultural contexts as worldviews, ethical values, and common practices (WV/CP) Introducing instances of cultural contexts via 5 Centimeters Per Second ◆ resources for interpretation ◆ worldviews ◆ ethical values ◆ common practices ◆ situational factors 175 14. Reconstructing culture through Theory of Mind (ToM) and narratives Constructing ToM ◆ seeing ourselves and others in narrative figures ◆ making sense of narrative developments 199 15. Context pluralities and their importance Karen Overhill ◆ pluralities ◆ interpretive balance 237 16. Arrays of cultural groups and their WV/CP Autonomous entities ◆ competitive multiplicities ◆ layering ◆ alternating contexts 247 PART IV. METHOD—DESIGNING AND COMPLETING (COURSE) INTERPRETIVE PROJECTS 17. Building interpretive projects: Theory meets practice White noise ◆ common practices ◆ love narrative circle ◆ the focus of interpretive projects ◆ steps and elements of the interpretive project: film, instance, ToM, narrowly defined topic, cultural context, context-to-Tom distance, outcome ◆ topical intensity spectrum ◆ status spectrum ◆ context robustness and ToM receptivity 267 18. Quick reference list of principles, rules, guidelines, and advice 319 19. Introduction: Rules, guidelines, advice, and the principles that govern them 325 20. Discursive rules and shared terminology for precision in communication shared terminology ◆ compound statements ◆ specific usage requirements for certain words and phrases 335 21. Limiting the scope of interpretive projects always about high-order love ◆ narrative worlds, not "real" worlds ◆ ToM as litmus test ◆ short-listing 351 22. Deducing (gathering) possible cultural contexts via plausible ToM construction Dynamics of cultural contexts ◆ Gathering cultural contexts ◆ Creating interpretive balance 359 23. Achieving outcome credibility and interest Basic understanding of the film ◆ secondary sources ◆ being real ◆ critical judgment ◆ time investment ◆ rhetorical and logical missteps ◆ "Beyond-First-Thoughts" ◆ "Content-rich" ◆ managing dialogue 369 PART V. CULTURAL CONTEXTS—TRADITIONAL THOUGHT SYSTEMS IN EAST ASIAN LOVE NARRATIVES 24. Western cultural contexts Overview 391 25. Early Greek philosophy The Beautiful = The Good = The Truthful = The Eternal ◆ will and moral acts ◆ Eros, philia, agape, nomos, storge 395 26. Judeo-Christian thought Singular truth vs pluralism ◆ will vs wuwei ◆ sacred vs secular ◆ passion vs Golden Mean 409 27. Daoism, Confucianism, Buddhism – Overview 423 28. Ancient Chinese Cosmology, Daoism, and Daoist-like elements in East Asian love narratives Book of Changes ◆ yang-yin and its ramifications ◆ five elements (wuxing) ◆ Daoist passivity and change ◆ Daoist sexual alchemy 427 29. Confucianism in East Asian love narratives Accepting hierarchies ◆ society before the individual ◆ Confucian sexism ◆ Confucian ideal couples ◆ basic Confucian values 441 30. Buddhism in East Asian love narratives Happiness, illusion, desire, excessive emotion, change, fate, karma 457 PART VI. KEY TERMS AND CONCEPTS Ordered & cross-referenced list of key words, phrases, abbreviations and main ideas Key terms and concepts, listed in A-Z order 481 Films cited 555 Other works cited 557 List of images, sound clips, and video clips — with external links *These files also reside in a Google Drive folder accessible for students enrolled in the course. Chapter 7 — Emergent and embedded love Chapter 7 — Emergent and embedded love • Three types of love with course analytic boundary framed (image) ◦ https://drive.google.com/file/d/ 1j1nBmJLAGUaFlFVvrpATbt-ciWYAk1zY/view?usp=sharing • Concept of “emergence” graphically illustrated (image) ◦ https://drive.google.com/file/d/1OticaiyU9-ZsHnC- g7AvRfH_PNcBM6hb/view?usp=sharing • Sternberg’s triangular theory of love (image) ◦ https://drive.google.com/file/d/ 1HfCslRckWerRNX_UaY4uDlvtiBfwplIC/view?usp=sharing Chapter 8 — Chapter 8 — Cultural Contexts: Worldviews, ethical values, Cultural Contexts: Worldviews, ethical values, common practices common practices • Sharing riceballs—film still from 5 Centimeters Per Second (image) ◦ https://drive.google.com/file/d/ 1cjaMQh508rIZxrIJBN53eBc4B3zkjKb2/view?usp=sharing • Sharing riceballs—sound file from 5 Centimeters Per Second (sound file) ◦ https://drive.google.com/file/d/ xii ILLUSTRATIONS 1m4hqeVo7eSRO3Aq0-l1m4XKrQfyFmZHF/ view?usp=sharing Chapter 9 — Chapter 9 — Exploring culture through mindreading and Exploring culture through mindreading and narratives narratives • Daiyu, Baochai and Baoyu of Story of the Stone with relationship explained using the five elements of ancient Chinese cosmology (image) ◦ https://drive.google.com/file/d/ 1HiGEyplnus07lpKjeZW860OAcJsDpkZU/view?usp=sharing Chapter 11 —Managing complex interpretive environments: Chapter 11 —Managing complex interpretive environments: Pluralities Pluralities • Karen Overhill’s color pencil self-portrait (image) ◦ https://drive.google.com/file/d/ 1_GfzCFNgRo9CpE4aDfXtewwkdvZNlZKL/view?usp=sharing Chapter 13—Arrays of cultural contexts Chapter 13—Arrays of cultural contexts • Mimi-Lulu’s smile in the Chinese film 2046 (2004) (movie file) ◦ Clip 1: https://drive.google.com/file/d/12w- mOqXlRLVBCHFqjXeBCH0nKjVDJ_Ya/view?usp=sharing ◦ Clip 2: https://drive.google.com/file/d/ 1c__UJX478jOjZXyoq9uRo09FVGa-A5q_/view?usp=sharing • The climax scene from the Korean film Shiri (1999) (movie file) ◦ https://drive.google.com/file/d/1irsc-DH4hjHvfu7xC- JHmKCOxjsdaXAt/view?usp=sharing ILLUSTRATIONS xiii • Traditional yin-yang symbol with yin inside yang and yang inside yin (image) ◦ https://drive.google.com/file/d/1-wMf4-N7ZW8HFbat- wCxzwIC-McmHIG5/view?usp=sharing Chapter 15 — Chapter 15 — Building interpretive projects: Theory meets practice Building interpretive projects: Theory meets practice • A “real world” ToM with a body, in a situation, whose thinking, feeling, and action content is determined by a wide variety of factors ◦ https://drive.google.com/ open?id=1hlwJmrEwMOh_bK5juohcHLchxOF1zijZ • Sharpening the description of a love narrative’s progress location using the narrative love circle ◦ https://drive.google.com/file/d/ 1qMGx5mTY6680ajiPLIRlkZaNk7i3Fcft/view?usp=sharing • Variations of the love narrative circle ◦ https://drive.google.com/file/d/ 1XDLJbLBCCd5KGgLmZmgUX4cJssTlNPTQ/ view?usp=sharing • The difference between authoritative thought systems, fragments, and derivatives is a question of degree and need for most credible interpretation ◦ https://drive.google.com/file/d/ 1gL0m3KIkuy7r6NHBvFlG6RnGirU0yBv0/view?usp=sharing • Deciding distance between a cultural context and a ToM xiv ILLUSTRATIONS ◦ https://drive.google.com/file/d/ 1ihrr0ucezWTT12giVN8R4hcz199MRHrJ/view?usp=sharing • The affirmation-rejection spectrum plotted horizontally with the topical intensity spectrum plotted vertically ◦ https://drive.google.com/file/d/ 1W0LlXz2nma3dv_tFUkASYVfuLyQ1Aej9/view?usp=sharing • Arrayed contexts as systems, fragments, or derivatives, determined from the perspective of a ToM ◦ https://drive.google.com/file/d/ 1avExGora0hG61DDU54xEBix2fEP7V0Ow/ view?usp=sharing • Part of ToM’s world showing two cultural contexts at equal distance, in a possibly competitive array ◦ https://drive.google.com/file/d/ 11rcI3ldPimWu5W5wCc2Rd71LwG02mU_v/ view?usp=sharing • The narrative world in which we place a ToM and its cultural context ◦ https://drive.google.com/file/d/ 1VUH0Q_rRRGaj_ooc_4xdkczGrHf6kLa1/view?usp=sharing • ToM’s world as embedded in the world of the author / director ◦ https://drive.google.com/file/d/1bCSj8wg30o- JfOi681PnyL_v_jiYjKN5/view?usp=sharing ILLUSTRATIONS xv Chapter 19 — Chapter 19 — Limiting the scope of interpretive projects Limiting the scope of interpretive projects • Three types of love with course analytic boundary framed (image) ◦ https://drive.google.com/file/d/ 1j1nBmJLAGUaFlFVvrpATbt-ciWYAk1zY/ view?usp=sharing (repeated image) Chapter 27 — Chapter 27 — Ancient Chinese Cosmology, Daoism, and Daoist-like Ancient Chinese Cosmology, Daoism, and Daoist-like elements in East Asian love narratives elements in East Asian love narratives • The Eight Trigrams as the first set of essential change-states, via various combinations of yang (long line) and yin (dashed line), correlated with the seasons and natural formations ◦ https://drive.google.com/file/d/ 1gDbGHXRdNyCGBI40t32Ah3d6zfIBv6cJ/view?usp=sharing • Yang and yin dividing into the eight trigrams ◦ https://drive.google.com/file/d/ 1VCt6WOpJzGR4PD3edUB9WZIOZUThcnUW/ view?usp=sharing • Ode 189, Shi-jing (Classic of Poetry, 11th to 7th centuries BCE) ◦ https://drive.google.com/file/d/ 19KCyNDk2kOAWFDVkKKdp3pvHLIG02ja8/ view?usp=sharing • Daiyu, Baochai and Baoyu of Story of the Stone with relationship explained using the five elements of ancient Chinese xvi ILLUSTRATIONS ◦ https://drive.google.com/file/d/ 1HiGEyplnus07lpKjeZW860OAcJsDpkZU/ view?usp=sharing (repeated image) Chapter 28—Confucianism in East Asian love narratives Chapter 28—Confucianism in East Asian love narratives • Worksheet for exploring the relationship between traditional Confucian values and various terms and concepts regarding Western contested-love (image) ◦ https://drive.google.com/ open?id=1xOimWbPlMLsvAAY4FK4ZcCAIKwFR4RYU ILLUSTRATIONS xvii Acknowledgments I would like to thank the University of California at Berkeley’s generous financial support of this project through its affordable textbook initiative. Under the thoughtful, knowledgable, and patient guidance of that initiative’s Rachael G. Samberg and Stacy Reardon, and pushed forward at many times by their enthusiasm, this book has found a way to the light of day. I would also like to thank my wife for her patience and the sacrifices she made to enable me to complete the work. I am profoundly grateful and well aware of the stress that writing a book brings on one’s partner. Finally, without the students over the years who have taken my course on “Core Romantic Values in East Asian Premodern Literature and Contemporary Film,” bringing their diverse ideas and energy to the topic, there could be no such book as this. They guided and corrected my thought as I developed my ideas and it was for them that I wrote the work. I am truly lucky for the diversity of students who attend this university. ACKNOWLEDGMENTS xix