Master of Arts (MA), Bowling Green State University, 2023, Art/Art History

This thesis investigates the intersectionality of ink painting and revolutionary politics in modern China with the work of Fu Baoshi (1904-1965) as an analytical lens. Through a critical sociopolitical contextualization of Fu's paintings at crucial junctures in his career, I will analyze the ways in which his paintings have changed to reflect their respective eras. Along with negotiating his artistic identity and practice, these same junctures have provided a means by which I will critically examine Fu's negotiations of national identity. Born in 1904 when China's final imperial dynasty—Qing (1636-1912)—was in a terminal decline, he grew up during the tumultuous era of warlordism and the shaky beginnings of the Republican Era (1912-1949). Fu was an artist and political activist during the Second Sino-Japanese War (1937-1945). He was an artist in service of the entire Chinese state as a propagandist (1926-27, 1929-30 for the Kuomintang, and 1950-66 for the People's Republic of China). Though he died one year before the Maoist-led Cultural Revolution (1966-1976), Fu's work was posthumously affected. In addition to the abovementioned events, I examine Fu's negotiations of national identity evident in his art historical writing, his time as a propagandist, as well as his formative studies in Japan from 1932 to 1935. His studies proved fruitful as he developed a novel trajectory of modern “guohua” (Chinese national painting) and his signature style that elevated his work to a position of paramount importance. The goal of my project is to provide, a succinct yet satisfactory historiography of modern China while interrogating the ways in which Fu Baoshi not only captured the essence of his natural subjects through novel landscape painting, but the ways in which his career embodies the search for a quintessential “Chinese-ness” within the fine arts and in the realm of national character.

Committee: Andrew Hershberger Ph.D. (Committee Chair); Michael Brooks Ph.D. (Committee Member); Rebecca Skinner Green Ph.D. (Committee Member) Subjects: Art History; Asian Studies; Biographies; Fine Arts; History; Political Science

Master of Arts, The Ohio State University, 2019, East Asian Studies

Martial arts in China has always had multiple meanings, depending on the context in which it was understood. This project seeks to evaluate what the different meanings of martial arts changed over the Qing period and how different people employed these understandings at different times and in different circumstances. By placing martial arts as the focal point of analysis, something rarely seen in academic scholarship, this project highlights how there the definition of martial arts has always been in flux and it is precisely that lack of definition that has made it useful. This project begins by focusing on establishing a historical overview of the circumstances during the Qing period within which martial arts developed. It also analyzes and defines both the important analytical and local terminology used in relation to discourse surrounding the martial arts. Chapter 1 looks at official documents and analyzes how the Qing court understood martial arts as a means of creating a political narrative and how the form of that narrative changed during the Qing, depending on the situations that required court intervention. Chapter 2 will analyze how Han martial artists employed their martial arts as a means of developing or preserving a sense of ethnic strength. Chapter 3 expands the discussion include how Han men and women reimagined their own gender identity using martial arts practice and discourse. Chapter 3 also highlights how literature written by Han women was able to use martial arts practice as a means of breaking down previous gender norms, while stories written by Manchu men used female martial artist character to push social agendas. This project will look at the changing meanings of martial arts in the Qing, laying the groundwork for future scholarship.

Committee: Ying Zhang (Advisor); Morgan Liu (Committee Member); Patricia Sieber (Committee Member) Subjects: Asian Studies

Doctor of Philosophy, The Ohio State University, 2016, History

This project examines the economic, political and diplomatic history of China and the United States by focusing on the monetary metals of silver and gold. In the 19th century, as many countries, including the United States, went on the gold standard, China remained one of the final places in the world that stayed on the silver standard. At the same time, the United States was a major producer of silver. From the end of the Qing dynasty (1644-1912), through the Beiyang period (1912-1927) and into the Nanjing Decade (1927-1937), various Chinese governments debated how to reform its monetary system: whether to stay on silver, to go on gold or to adopt some other monetary arrangement. This dissertation argues that the period between the 1870s and 1930s represents a cycle of monetary interactions between China and the United States. During this period, the chief issues was how to change the Chinese monetary system; after the mid-1930s, the chief issue became how to support and stabilize the new currency, the fabi. This project contributes, chronologically and thematically, to the growing but still small number of English-language works that focus on Chinese monetary history and addresses issues of interest to historians of China, historians of the United States and economic historians.

Committee: Christopher Reed Dr. (Advisor); Ying Zhang Dr. (Committee Member); Steve Conn Dr. (Committee Member); Jennifer Siegel Dr. (Committee Member) Subjects: History

Master of Arts in History, Youngstown State University, 2015, Department of Humanities

This thesis explores the function of the Chinese abdication mythology at three distinct periods of Chinese history. It argues that the abdication myth never truly disappeared event after the book purge of the Qin dynasty. Rather the ideas became engrained in Chinese identity and ideology, manifesting themselves in political rhetoric throughout history.

Committee: Helene Sinnreich PhD (Advisor); Martha Pallante PhD (Committee Member); Diane Barnes PhD (Committee Member) Subjects: Asian Studies; Folklore; History; Legal Studies

Doctor of Philosophy, The Ohio State University, 2015, History

This dissertation interrogates the experiences of Chinese immigrant and Chinese American women and families during the era of Chinese exclusion. The enforcement of anti-Chinese immigration laws, starting in the late 19th century, initiated the creation of the U.S. as a “gatekeeping nation-state.” Scholars have examined the boundaries formed by exclusion of Asians and Asian Americans from the social and physical spaces of U.S. society. In this work, an intersectional analysis of Chinese immigrant and Chinese American women and families complicates existing narratives of U.S. immigration, race, and gender. By focusing on women's experiences as boundary-crossers who challenged community prescriptions and anti-Chinese policies, this work shifts the historiography away from male, working-class immigrants. In its broadest arguments, this dissertation 1) constructs a social history of Chinese America using the experiences of transnational students, interracial families, and Chinese American women who were expatriated via marriage and then re-claimed their U.S. citizenship; 2) argues that these women's gendered negotiation of state power changed the ways in which white immigration officials perceived them, a ground-level foreshadowing of post-World War II raced and gendered immigration dynamics; 3) challenges the normative idea of Chinese America as coastal, urban Chinatown space and co-ethnic community; and 4) re-maps Chinese America through regional mobility and networks, focusing on understudied areas of the Midwest and Mid-Atlantic. A focus on the histories of everyday people resulted in exceptional stories of women. They not only crossed the physical borders of the U.S., but also engaged in interracial marriage, used their student status to challenge Orientalist perceptions of Chinese women, and claimed legitimacy as U.S. citizens. Employing historical, feminist, and anthropological methodologies, this analysis draws on archival case files from the Chinese (open full item for complete abstract)

Committee: Judy Tzu-Chun Wu (Advisor); Kevin Boyle (Committee Member); Lilia Fernández (Committee Member); Katherine Marino (Committee Member) Subjects: American Studies; Asian American Studies; History; Womens Studies

Ph.D., Antioch University, 2022, Leadership and Change

This study is an effort to turn to older Chinese immigrant women aged 60 and above, one of the most marginalized groups in American society, to recognize their humanity and rediscover the unseen and unheard. It asks what we can learn from their life stories, particularly from the ways in which each experience(d) being a woman in different societal systems. Using in-depth life story interviews supplemented with secondary sources of information, this study crafts four women's stories that are first read and interpreted individually to capture the whole person in context, and then are looked at thematically. Nine themes are presented, ranging from their remembered histories to their life journeys in different societies, integrating three lenses: the dialogue between the past and the present, the intersectionality (of race/ethnicity, gender, class, education, age, location, generation, nationality, immigration, etc.), and the interplay between the individual and the historical, political, and economic environment in different contexts. This study acknowledges that all of these women, across time and space, have developed capabilities that brought about positive changes to their lives, and that perhaps they have relied on their strengths and capabilities developed throughout their lives to become resilient and accepting of the unknown challenges. It is in this light that these women, as “normal” people whose lives are often overlooked by society in general, become heroic. It is hoped that the stories can serve for any readers as a small window into the older Chinese immigrant women's worlds, sparking empathy and imagination, helping break down the barriers of differences, and leading readers to see and hear these women's stories that are different from theirs. From there, it is hoped that this study prompts more connections and conversations with immigrants and refugees in daily life, and that one effort of that kind begets more. This study also provides implications for (open full item for complete abstract)

Committee: Philomena Essed PhD (Committee Chair); Donna Ladkin PhD (Committee Member); Vassilissa Carangio PhD (Committee Member) Subjects: Asian American Studies; Biographies; Gender Studies; Gerontology; History; Womens Studies

Doctor of Musical Arts, The Ohio State University, 2022, Music

Singing Mandarin repertoires is an arduous and intimidating task for most non-native singers due to two main challenging aspects. Firstly, the Chinese language is difficult to read and pronounce because the Chinese language is comprised of characters or symbols that do not seemingly provide any pronunciation information for the words. In contrast, most western languages are made up of letters, which are spelled phonetically. Second, there are rarely reference books or audiovisual resources about Chinese music compositions and composers on the international market, making it more difficult for Western singers to learn and sing Chinese repertoires. This dissertation will, via a singer's perspective, explain the Mandarin pinyin system's pronunciation rules and translates them to the International Phonetic Alphabet (IPA). Additionally an analysis and investigation of the four historical stages of Chinese art songs and the correlating content characteristics. The inclusion of sixteen well-known Chinese art song repertoires composed by Yuanren Zhao, Qing Zhu, Zi Huang, Shande Ding, Luobin Wang, Yinghai Li, and Zaiyi Lu will offer specific examples for inclusion and application Chinese art song for Westen classical singers. Each song was presented with a brief introduction, performance analysis, word-for-word IPA, and text translations.

Committee: Katherine Rohrer (Advisor); Youkyung Bae (Committee Member); Russel Mikkelsson (Committee Member); Edward Bak (Committee Member) Subjects: Music; Music Education

MA, Kent State University, 2021, College of the Arts / School of Music, Hugh A. Glauser

The erhu is a traditional Chinese bowed lute with a history of more than a thousand years. However, the art of erhu performance as people know today dates back to only the early twentieth century. Throughout its long history, men were the only performers of the instrument at the early stage. Political and social developments in China over the past century have shifted the gender associations of the instrument such that female erhu musicians far outnumber that of male musicians today. This thesis will examine circumstances related to public policy, the economy, transitions in traditional norms and educational systems in China that resulted in this shift of gender roles related to the erhu, changes of creation of erhu compositions, as well as the proliferation of erhu virtuosos and educators throughout the country over the past one hundred-plus years.

Committee: Andrew Shahriari (Advisor); Jennifer Johnstone (Committee Member); Janine Tiffe (Committee Member) Subjects: Asian Studies; Music

Doctor of Philosophy, The Ohio State University, 2018, Civil Engineering

Dougong, one of the unique features of ancient Chinese architecture, are located at the intersections of pillars under the roofs in the support systems of ancient Chinese buildings. Virtual reality (VR) is a way to recreate or simulate an environment in which users can interact with objects with high realism and have an immersive experience exploring this virtual world. So far, 38 types of dougong have been modeled in 3-D graphics and imported into the virtual reality environment to establish a complete dougong 3-D graphical library, in which the user can browse and review dougong knowledge with multiple presentation methods in an immersive and interactive experience. Furthermore, a knowledge-based system with the inference engine as a decision tree, the Intelligent Dougong System in Virtual Reality (IDSVR), has been developed as a learning platform to introduce and comprehensively simulate dougong structure and construction. To assess the performance of the application of virtual reality adopted in engineering education, a set of surveys was conducted among the users to collect their feedback on IDSVR. The results obtained from this project prove that the technique of virtual reality is a promising approach to reconstructing ancient buildings and structures such as the Chinese dougong that was modeled, presented, and simulated in this project.

Committee: Fabian Tan (Advisor); Lisa Burris (Committee Member); Abdollah Shafieezadeh (Committee Member); Michael Parke (Committee Member) Subjects: Archaeology; Architecture; Civil Engineering; Computer Engineering; Education; Engineering; History

Doctor of Philosophy, The Ohio State University, 1991, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 2016, History of Art

The goal of this dissertation is to enrich scholarly understanding of the transformation in practice and social role of traditional Chinese painting in the twentieth century by focusing on the work of Pan Tianshou (1897-1971). In part because the historical and art historical narratives of the three periods we examine have been so fiercely contested, much work still needs to be done in understanding the personal and environmental factors that made possible the great innovations of China's major cultural figures. Pan lived during the period when China was most actively and creatively engaging with the forces of modernity. Although inclined by temperament to the classical arts of the past, he nonetheless met the circumstances of each era head-on, throwing himself into the task of redefining Chinese art for the modern age. This study investigates how Pan engaged with cross-cultural exchange, how he reevaluated traditional Chinese painting, and how he tried to update Chinese painting by achieving his unique artistic style. In particular, the Sino-Japanese relationship, which featured prominently in his education, helped Pan begin considering the importance of national identity. His definition of innovation was based in part upon a sense of national identity. At the same time, however, Pan Tianshou said that if tradition cannot pave the way for future artistic possibilities, then it is a dead tradition. To Pan, tradition was an inherited culmination of characteristics of masters from the past, but he argued that tradition and innovation are inseparable characteristics of art. His modern transformation of artistic consciousness and modern sense of identity enriched practices and definitions of traditional Chinese painting in the twentieth century. This dissertation primarily hopes to offer an alternative perspective on modernity in Pan Tianshou's oeuvre as a case study of traditionalist efforts in modern Chinese art. Moreover, it tries (open full item for complete abstract)

Committee: Julia Andrews (Advisor) Subjects: Art History

MA, Kent State University, 2016, College of the Arts / School of Music, Hugh A. Glauser

This study reviews the history and present state of ethnic minority popular music in Mainland China. A primary focus is on the influence of government policy with regards to authenticity in association with ethnic minorities and mainstream popular music artists. The indie popular group, Shanren, which has strong ties to minority music and culture in China, is used as a case study to examine how authenticity is achieved through visual, aural, and linguistic connections to the social reality of the rural ethnic minority community, as well as migrant workers who are drawn to major urban centers in China, such as Beijing. Perceptions of authenticity are important considerations for their major audience, the Wenyi qingnian (“literary youth”), which refers to urban youth born primarily in the 1980s and 1990s. This demographic generally appreciates indie rock music and is a fundamental audience for indie minority bands, categorizing popular musicians as either Tu (raw, folk, native and authentic) or Chao (fashion, artificial and modernized). This study offers a model for examining how authenticity with regards to these categories is determined and its implications for future public perception.

Committee: Andrew Shahriari Ph.D (Advisor); Jennifer Johnstone Ph.D (Committee Member); Priwan Nanongkham Ph.D (Committee Member) Subjects: Asian Studies; Music

Master of Arts, Oberlin College, 1940, Education

In the transplanting of any race or people, a period of acclimatization by the process of natural or formal education must inevitably ensue if that group wishes to survive both mentally and spiritually; and in many cases physically.In any community a human, in order to make himself agreeable and useful, must learn to cooperate with his or hers neighbors. This is usually accomplished by first learning the language of one's country of adoption, then to learn the philosophy of the inhabitants already established there, and finally to apply one's self diligently by industry and perseverance to occupation.The Chinese in Hawaii have shown their ability in adapting themselves to American ways and learning, and have succeeded in making themselves amongst the most powerful and progressive forces in the educational and economic life of the Islands.Since economic development is a factor which influences the educational opportunities of the state, this thesis will attempt to treat the progress of the Chinese in industry, commerce and the professions in their relation to the cultural and educational progress which is co-relative to the former.

Committee: (Advisor) Subjects: Asian Studies; Education; Education History

Doctor of Philosophy, The Ohio State University, 2015, History of Art

The Mireuksa, literally, “Temple of the Future Buddha Maitreya,” was built during the reign of King Mu (r. 600–41) of the Baekje dynasty (18 BCE–660CE), Korea. It was constructed as the grand imperial temple of the kingdom, and has a distinct ground-plan with three pagodas and three image halls. No other temples with such a layout have been discovered in East Asia to date. Therefore, this temple has attracted the attention of numerous scholars of Buddhist studies. Although the impressive remains of the Mireuksa have been the topic of several monographic studies in Korean, a comprehensive analysis has been lacking. By means of a thorough examination of the written documents, material remains, temple plan, contemporaneous images of Maitreya (Ch. Mile, Kr. Mireuk, Jp. Miroku) in East Asian Buddhist art, and most importantly, the historical temple –construction traditions of East Asia, I hope to provide such a comprehensive study. The investigation of the written evidence about the Mireuksa, in particular, the golden reliquary plate that was written and installed in the west pagoda in 639, has revealed important evidence of Buddhist practice associated with the temple construction. Fulfilling the devotional purpose of the Sakyamuni Buddha's relics, the reliquary plate reveals the belief of the king and the queen as Buddha, based on the Buddha–land concept, and also a definitive declaration of royal authority. Along with an ardent dedication to Buddhism, the inscription also provides the Baekje court's deep awareness of Buddhist practice, including veneration of the Buddha relic, and beliefs in karma, and concept of tathagatagarbha (Buddha essence in every individual). The comprehensive exploration of the Mireuksa temple plan within the East Asian temple construction tradition has shown that the temple design of the Mireuksa is derived from the “one pagoda, one image hall” plan, namely the Yongningsi plan in China, the Baekje plan in Korea, and the Shitenno (open full item for complete abstract)

Committee: John Huntington (Advisor); Lisa Florman (Committee Member); Patricia Sieber (Committee Member); Maureen Donovan (Committee Member) Subjects: Archaeology; Architecture; Art History; Asian Studies; Religion; Religious History

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2014, History

This work examines the nineteenth-century anti-Chinese movement in California and British Columbia and its effects on transnational immigration restrictions in the United States and Canada. Although not directly adjacent, California and British Columbia's relatively isolated positions on the West Coast fostered economic and cultural ties that kept them closely connected. These connections included unified opposition to Chinese immigrants who challenged the era's racial ideology of Anglo-American and Anglo-Canadian supremacy. By 1880, California was home to 71% of the Chinese in the United States while 99% of Canada's Chinese lived in British Columbia. The American and Canadian governments largely ignored Chinese immigration but California and British Columbia implemented local, state, and provincial policies denying the Chinese political participation and equal treatment in the legal system. California and British Columbia embarked on a campaign to convince their federal governments to limit Chinese immigration – a campaign that included the sharp rhetoric of regional politicians and biased government reports painting the Chinese as incapable of grasping the nuances of American and Canadian citizenship. The transnational anti-Chinese effort finally caught the attention of federal lawmakers who reversed long-standing traditions of open immigration and enacted the first national immigration restrictions of either country by specifically targeting the Chinese. These acts ultimately embedded racial characteristics as prerequisites for entry into the laws of both nations.

Committee: Rebecca Mancuso (Advisor); Scott Martin (Committee Member); Vibha Bhalla (Committee Member); Eber Dena (Committee Member) Subjects: American History; Asian American Studies; Canadian History; Canadian Studies; History; Minority and Ethnic Groups; Public Policy

MAE, Otterbein University, 2011, Education

In order to learn about the educational quality and accuracy of most children's picture literature accessible to readers of Westerville area, which aim to illustrate and introduce the content of Chinese culture and history, the author of this paper examines whether children's picture books in the Westerville Public Library serve American readers as authentic and accurate representations of Chinese culture and its history. Based on the ardent debates of former researcher, the author discusses frequent mistakes existing in most picture books. Later, the author collects data and uses estimation and hypothesis testing to prove the error rate of the whole pictures population and the hypothesis of comparing quality of books of past and present.

Committee: Susan Constable (Advisor); Daniel Cho (Committee Member); Kristin Reninger (Committee Member) Subjects: Asian American Studies; Asian Literature; Asian Studies; Cultural Anthropology; Education; Ethnic Studies; History; Literature

Doctor of Philosophy, The Ohio State University, 2009, Women's Studies

In this dissertation, I use contemporary Chinese immigrant women's visual and literary narratives to examine gender, race, ethnicity, migration, immigration, and sexual experiences in various power discourses from a transnational perspective. In particular, I focus on the relationship between body memories and history, culture, migration and immigration portrayed in these works. I develop and define “the sent-down body,” a term that describes educated Chinese urban youths (also called sent-down youths in many studies) working in the countryside during the Chinese Great Proletarian Cultural Revolution (1966-1976). The “sent-down body” in this context and in my analysis is the politicized and sexualized migrant body. The term also describes previous sent-down youths' immigration experiences in the United States, because many of them became immigrants in the post-Cultural Revolution era and are usually described as “overseas sent-down youths” (yangchadui). Therefore, the “sent-down body” is also the immigrant body, and it is sexualized and racialized. Moreover, the “sent-down body” is gendered, but I study the female “sent-down body” and its represented experiences in specific political, historical, cultural, and sexual contexts. By using “the sent-down body” as an organizing concept in my dissertation, I introduce a new category of analysis in studies of Chinese immigrants' history and culture. I use the term “the sent-down body” to explore a new terrain to study representations of historical, cultural, and political experiences in the context of body memories and coerced or voluntary human movement in physical or symbolic locations. The focus on Chinese immigrant women's cultural production also helps enrich studies of new Chinese immigrants' experiences by treating them as part of Asian American immigrants' experiences.

Committee: Linda Mizejewski PhD (Committee Chair); Sally Kitch PhD (Committee Co-Chair); Rebecca Wanzo PhD (Committee Member); Judy Wu PhD (Committee Member) Subjects: Womens Studies

Doctor of Philosophy, The Ohio State University, 2003, History of Art

The religious sculpture of Sichuan has become increasingly recognized as an important resource for the study of the development of Buddhist sculpture in China. One of the most important centers of Buddhist sculpture in Sichuan is the area of Dazu County where there are dozens of cliff sculpture sites. This dissertation focuses on the sculpture of Beishan (North Hill), which is one of the two primary sites with Buddhist sculpture in Dazu and the site with the longest chronology in the local area. The principal location for cliff sculpture at Beishan is an approximately quarter mile long sandstone cliff near the summit of Beishan, which is known as the Fowan ?OA (Buddha Cove). The cliff sculpture at this site consists of some two-hundred seventy odd image niches and small excavated caves that were carved over a period of roughly two-hundred sixty years from the late ninth to mid twelfth centuries. In this dissertation an attempt is made to provide an iconographical analysis of the Buddhist imagery found at the Fowan site and to show their significance within the developments in Chinese Buddhist art and the Buddhist art of the region, as well as to reveal something of the local society and Buddhist practices that underpinned the sponsorship of this imagery. The most significant iconographic subject matter that occurs at the Fowan site is discussed under the broad categories of Esoteric and Pure Land Buddhism. These include many conventionalized Buddhist iconographies from the Tang and Song Dynasties, but also feature a number of unique iconographic variations. Accordingly, the iconography of the imagery at the site is presented in light of scriptural sources, historical documents, and related imagery elsewhere, particularly within the region. The general history and chronology of the site is discussed in relation to the historical setting of the Sichuan Basin and its broader cultural environment. Description and interpretive accounts of each niche/cave, as well as tran (open full item for complete abstract)

Committee: John Huntington (Advisor) Subjects:

Doctorate in Sacred Theology (S.T.D.), University of Dayton, 2006, International Marian Research Institute

This dissertation of 408 pages includes illustrated photos and Chinese texts as appendices, and attempts to understand Mary's role in two ancient traditions and practices: Chinese ancestor veneration, a cultural practice; and the communion of saints, a Catholic theological doctrine. This research is one of the first in academic circles to compare this important aspect of Chinese culture with a key Catholic teaching. Therefore, the thrust and the novelty of this dissertation hopes to point out how Marian devotion can contribute to Chinese Catholics in the cultural practice of ancestor veneration as an important means of expressing filial piety. Complex as this theme may be, the methodology used is the principal method of: seeing critically; examining alternate sources; and evaluation (reconstruction). The methodology also includes other ways of doing theology, such as qualitative research for six case studies and the category of relationship for the reconstruction. Chinese cultural and religious traditions and texts are important alternate sources to consider, aside from the mainstream of Church documents, writings and scriptural readings. With rich variables at hand, the final chapter suggests ways of implementing Marian devotions thanks to Chinese ancestor veneration understood within the theological framework of the communion of saints. This dissertation unfolds in six major chapters with chapter seven offering an assessment, conclusion and recommendations. Chapters one through six are as follows: Chapter one outlines the rationale and the methodology chosen. Chapter two gives the historical background, including the 'Rites Crisis', and examines practices of Chinese Ancestor veneration as a cultural, filial-piety tradition. The chapter also clarifies differences between ancestor worship as a cultural phenomenon, and the Catholic understanding of the communion of saints as a religious phenomenon. Chapter three, using the qualitative method, extensively proves that (open full item for complete abstract)

Committee: Johann Roten PhD STD (Committee Chair); Betrand Buby STD (Committee Member); Francois Rossier STD (Committee Member); Thomas Thompson PHD (Committee Member) Subjects: Asian Literature; Bible; History; Philosophy; Religion; Religious History; Theology