On the fifth anniversary of the establishment of the Kyoko Selden Memorial Translation Prize through the generosity of her colleagues, students, and friends, the Department of Asian Studies at Cornell University is pleased to announce the winners of the 2018 Prize.

This article summarizes relevant historical developments involving Taiwan and Okinawa in Asia-Pacific multilateral relations over the longue durée, and suggests future prospects.

1. Both Taiwan and the Ryukyus are within the Kuroshio (Black Tide) Current Civilization Zone (from approximately the beginning of the 3rd Century): At that time, crops such as cassava and yams traveled northbound with the Kuroshio Currents, which ran from the Philippines to Taiwan and the Ryukyus to Kyushu, while crops such as millet in northern parts of South East Asia traveled to Taiwan via the South Sea and further traveled to the Ryukyus and Kyushu. Together with the path of rice from south of China's Yangtze River via Korea to Kyushu, Japan these were two important sea-borne cultural exchange paths in the Asia-Pacific. However, by the 3rd Century, the direct route from south of the Yangzi to central Japan, as well as the Silk Road from Chang'an in Northwest China to Central Asia, and the shipping route from Guangzhou to India superseded the aforesaid routes. As a result, Taiwan and the Ryukyu Islands became isolated on the international stage for about one thousand years (Ts'ao, 1988).

The Xia-Shang Zhou Chronology Project was a five-year state-sponsored project, carried out between 1995–2000, to determine an absolute chronology of the Western Zhou dynasty and approximate chronologies of the Xia and Shang dynasties. At the end of the five years, the Project issued a provisional report entitled Report on the 1996–2000 Provisional Results of the Xia-Shang Zhou Chronology Project: Brief Edition detailing its results. A promised full report was finally published in 2022: Report on the Xia-Shang Zhou Chronology Project. Although numerous discoveries in the more than twenty years between the publications of the Brief Edition and the Report have revealed that the Project's absolute chronology of the Western Zhou is fundamentally flawed, and some of the problems are acknowledged by the Report, still the Report maintains the Project's chronology without any correction. In the review, I present four of these discoveries, from four different periods of the Western Zhou, discussing their implications for the Project's chronology. I conclude with a call for some sort of authoritative statement acknowledging the errors in the report.

The Jesuit Joachim Bouvet established an analogy between the binary arithmetic developed by Leibniz and the diagram Fuxi liushisi gua fangwei (or FX64), attributed to Shao Yong, which organizes the sixty-four hexagrams according to the Fuxi/Xiantian order. Consequently, this diagram could be considered as binary. Some scholars argue that the diagram is not binary because of the different construction of the two systems and the “wrong” reading direction used by Bouvet and Leibniz—opposite to the one used in China. Nevertheless, by a superimposition of Leibniz’s binary table and of the derivation table used to construct the diagram, this article shows that the diagram is binary, since it is constituted of two elements and the binary system can use other symbols than 0 and 1. The reverse methodology used in constructing the two systems because of their different purpose—division for the FX64 diagram and multiplication for Leibniz’s dyad—allows their reading from either one direction or the reverse. This does not affect the fact that they are both binary, since it leads to the same form and structure.

Liubai (留白, literally ‘leaving blankness’) is a unique method of expression in Chinese classical paintings. The core spirit of the technique is inextricably linked to ancient Chinese Taoism and traditional aesthetics, which are prominently featured by simplicity and nationality. This article, taking the real-time interactive electroacoustic Chinese art song ‘Lang Tao Sha’ (浪淘沙), explores the use of the artistic technique of liubai from the perspective of a soprano singer by focusing on the three aspects of lyrics, vocal music and electroacoustic music creation, and singing performance.

This study traces the origins and development of the concept of Li 理 (Pattern) in early Chinese Cosmology, locating its foundation in the root metaphor derived from the natural lines or veins along which a block of jade can be split by a skilled artisan. From this relatively concrete image, li comes to eventually represent in Daoist cosmology the more abstract quality of the natural patterns or structures within the universe along which all phenomena move and interact with one another without the interference of human beings. After examining how early Confucian works emphasize the more abstract and derivative qualities of order and structure, we see that the likely Yangist authors in the Lüshi chunqiu return to the original metaphor of veins in jade but, instead, apply this to the veins through which the qi circulates through the human body.

We then see how this metaphor is expanded beyond the human body in the classical Daoist texts to come to represent the natural guidelines both within all phenomena and those that guide their movements within the cosmos. Within phenomena these include such varied things as the structures for the generation and expression of emotions within human beings as well as the natural lines along which the butcher's chopper passes in order to cleave oxen. In Daoist inner cultivation literature it is these patterns with which sages accord so that their spontaneous actions are completely in harmony with the greater forces of the cosmos. Only after long practice of the apophatic contemplative methods that include concentrating on one breathing and emptying out the normal contents of consciousness can the sage be able to accomplish this goal of “taking no action yet leaving nothing undone.” Thus the concept of li as these natural guidelines comes to serve as an explanation for why this classical Daoist dictum is effective in the world.

Finally, the Huainanzi contains the most sophisticated and sustained usages of the concept of li as the natural patterns and guidelines in the cosmos arguing that complying with them is the key to a genuinely contented life.

This paper examines responses to the COVID-19 pandemic from farmers in Japan. Because COVID-19 was most prevalent in Japanese urban centers and especially the Tokyo metropolitan area, farmers in rural communities in Kansai expressed less concern over infection compared to Kanto-area farmers who were more concerned with risk of infection. While some farmers expressed concern over economic losses from the closure of restaurants and schools, many interviewees had pre-established diverse market channels and thus could pivot their distribution streams during the pandemic. Farmers diverted produce typically for restaurants towards direct sales such as chokubaijyos (direct sales markets) or engaged in online platforms. Because of a lack of single stream distribution infrastructure set up for organic farmers as compared to conventional farmers, many of the interviewees already have robust distribution networks and tend to hold strong community ties with consumers and buyers in their region. We argue that the activities of these farmers demonstrate the resilience of local-scale food systems in Japan, because these networks help maintain food security and community relationships during times of crisis.

学びにはいろいろな方法があるけれども、体験 はとりわけ実りある教育をする教師である。現 在、原子力がいかに危険でありうるのかを学ん でいる日本人を例に考えてみよう。

日本にいる人びとが、核兵器による破滅的な体 験もしていることは言うまでもない。これ は、1945年に米国政府が原爆で広島と長崎を破 壊したときだけではない。1954年の米国の水爆 実験が、第五福竜丸という日本漁船に人の命に かかわるような放射性降下物を浴びせた時もそ うだ、この事件で死者が出て、広範な核兵器廃 絶運動が始まったのである。

Belligerent Occupation — Legislative Powers of Occupant — Decree Prohibiting Disposal of Enemy Property — Restrictive Interpretation of.

Immunities of Representatives Accredited to the League of Nations — Swiss Federal Decree of August, 1922.