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Hu, Lung-Lung, Senior LecturerORCID iD iconorcid.org/0000-0002-0536-6242
Publications (10 of 22) Show all publications
Hu, L.-L. (2024). The Legend of 1900: Law, Space, and Immigration. International Journal for the Semiotics of Law
Open this publication in new window or tab >>The Legend of 1900: Law, Space, and Immigration
2024 (English)In: International Journal for the Semiotics of Law, ISSN 0952-8059, E-ISSN 1572-8722Article in journal (Refereed) Epub ahead of print
Abstract [en]

In the late 19th and early 20th centuries, more than 4 million Italians migrated to the United States of America (U.S.), which they regarded as a utopia. The flm The Legend of 1900, which was inspired by Alessandro Baricco’s monologue Nocecentoand directed by Giuseppe Tornatore, tells the story about the genius pianist 1900, an orphan, who is fostered by Danny, a black coalman in the boiler room of an ocean liner, and whose parents are presumably Italian immigrants. Due to immigration law, 1900, a man with neither identity, visa, nor legal papers, cannot legally set foot on American soil. As a genius pianist, his existence is nothing more than that of musician—an entertainer to passengers on the gigantic trans-Atlantic liner Virginian, the only place he is permitted to live. According to Michel Foucault’s notion of heterotopia, a ship is “a piece of foating space, a placeless place”—a vessel transporting people to the land of their dreams. However, 1900, who has no legal status, will never arrive in utopia aboard Virginian. He can only construct a heterotopia—a mirror of utopia—so that it to him is a utopia. In the eyes of the law, 1900 is a legally non-existent person on Virginian, a placeless place. However, it is this lawless heterotopia and isolation that create a genius. In this paper, I illustrate how Virginian, as a place outside the law of land, metaphorically gives birth to a pianist, 1900, and why 1900 at the end chooses not to leave the ship, while also discussing the meaning behind the flm and the relationship between law and space.

Place, publisher, year, edition, pages
Springer, 2024
Keywords
Immigration law, Space, Heterotopia, Utopia, The Legend of 1900
National Category
Law Specific Literatures Other Humanities not elsewhere specified
Identifiers
urn:nbn:se:du-47871 (URN)10.1007/s11196-023-10089-w (DOI)001143631000001 ()
Available from: 2024-01-18 Created: 2024-01-18 Last updated: 2024-02-09Bibliographically approved
Hu, L.-L. (2023). Online Chinese Teaching in the Transcultural and Multilingual Environment. In: : . Paper presented at International Conference on Interdisciplinary Perspectives on Language and Cultural Instruction.
Open this publication in new window or tab >>Online Chinese Teaching in the Transcultural and Multilingual Environment
2023 (English)Conference paper, Oral presentation with published abstract (Refereed)
National Category
General Language Studies and Linguistics Cultural Studies
Identifiers
urn:nbn:se:du-45450 (URN)
Conference
International Conference on Interdisciplinary Perspectives on Language and Cultural Instruction
Available from: 2023-02-14 Created: 2023-02-14 Last updated: 2023-03-17Bibliographically approved
Hu, L.-L. (2022). Food in Sinology – Chinese Cultural Identity and Western Gaze. In: : . Paper presented at Literature, Religion and Humanities Cross-cultural Processes in Modern China, November 25-26 2022, Sapienza University of Rome, Italy.
Open this publication in new window or tab >>Food in Sinology – Chinese Cultural Identity and Western Gaze
2022 (English)Conference paper, Oral presentation with published abstract (Refereed)
National Category
Specific Languages
Identifiers
urn:nbn:se:du-45449 (URN)
Conference
Literature, Religion and Humanities Cross-cultural Processes in Modern China, November 25-26 2022, Sapienza University of Rome, Italy
Available from: 2023-02-14 Created: 2023-02-14 Last updated: 2023-02-14Bibliographically approved
Hu, L.-L. (2022). Justification and Opposition of Mass Killing: Black Sun—The Nanking Massacre. Paper presented at 21st Roundtable for the Semiotics of Law (IRLS) and 15th Conference on Legal Translation and Interpreting and Comparative Legilinguistics (Legal Linguistics). International Journal for the Semiotics of Law, 35(4), 1445-1462
Open this publication in new window or tab >>Justification and Opposition of Mass Killing: Black Sun—The Nanking Massacre
2022 (English)In: International Journal for the Semiotics of Law, ISSN 0952-8059, E-ISSN 1572-8722, Vol. 35, no 4, p. 1445-1462Article in journal, Meeting abstract (Refereed) Published
Abstract [en]

Japan was supposed to obey the law during the second world war. However, the Nanjing Massacre still happened. Hirohito, the Japanese emperor, deliberately avoided mentioning the International Treaties in the imperial rescript of the Great East Asia War in 1937. The Nanking Massacre was carried out according to the Japanese army’s interpretation of the imperial rescript. Such a legal interpretation was rooted in the idea that Japan had to educate the Chinese and transform China by killing its people in order to pursue a Greater East Asia Co-Prosperity Sphere led by Japan. In the film Black Sun: The Nanking Massacre (1995), we can see both a justification of and an opposition to killing. In this paper I am going to show how the imperial rescript is used to justify this mass killing is and how opposing arguments are used to show its cruelty and absurdity, which is taken as a means to achieve a greater good.

National Category
Specific Literatures
Identifiers
urn:nbn:se:du-35253 (URN)10.1007/s11196-020-09791-w (DOI)000579317300001 ()2-s2.0-85092700214 (Scopus ID)
Conference
21st Roundtable for the Semiotics of Law (IRLS) and 15th Conference on Legal Translation and Interpreting and Comparative Legilinguistics (Legal Linguistics)
Available from: 2020-10-20 Created: 2020-10-20 Last updated: 2023-03-17Bibliographically approved
Hu, L.-L. (2022). Shen Congwen’s The Husband — Miao Marriage and Christian Marriage Law in the Early Republic. Universitas: monthly review of philosophy and culture, 577, 95-114
Open this publication in new window or tab >>Shen Congwen’s The Husband — Miao Marriage and Christian Marriage Law in the Early Republic
2022 (English)In: Universitas: monthly review of philosophy and culture, ISSN 1015-8383, Vol. 577, p. 95-114Article in journal (Refereed) Published
Abstract [en]

This paper aims to use Shen Congwen’s (沈從文, 1902-1988) short story The Husband (丈夫, published in 1930) to examine ideas of monogamy and marriage in Miao culture. Shen was a Chinese Miao who wrote about the Miao people (苗族), an ethnic group in China that contains within it several racial and cultural divisions. Shen’s story The Husband aims to show that Miao couples have a bond which corresponds in strength hand validity to the Western idea of monogamy as enshrined in Christian marriage law. Marriage law in the West has a long history. Marriage itself has its roots in early Christianity. The act of marriage is considered a sacrament, alongside baptism and communion. This holy act was soon protected by a large legal edifice which became the basis for Western marriage law. When Western marriage laws were introduced into China from the West and, at the end of the Qing dynasty in the late nineteenth and early twentieth centuries, traditional Chinese laws were reformed, the principle of monogamy in Chinese marriage was also established. Since monogamy did not exist as a concept in Chinese society and contradicted traditional Chinese ideas about marriage, many Han people in the early Chinese Republic continued their practice of concubinage and ended up violating the idea of monogamy of new marriage laws. On the other hand, the Miao people, although their culture was more tolerant of informal romantic relationships, tended to display a greater degree of monogamy within them. Therefore, by considering marriage from a legal and religious point of view, the author aims to analyse The Husband to show that Shen not only criticised the dark side of society in the early Republic from his perspective as a Miao, but also used a story that resembles the account of Adam and Eve in the book of Genesis as a way to praise the Miao concept of marriage and love. Since The Husband has been adapted for the screen as Mainland Prostitute (村妓, Cunji, 1994), the film will also be used to accentuate the author’s idea.

National Category
General Literature Studies Cultural Studies Law Religious Studies
Identifiers
urn:nbn:se:du-41586 (URN)000818202500006 ()
Available from: 2022-06-13 Created: 2022-06-13 Last updated: 2023-03-17Bibliographically approved
Hu, L.-L. (2022). Transcultural Movement: Shang Palace, Chinese Haute Cuisine in Paris. In: : . Paper presented at Dublin Gastronomy Symposium 2022: Food and Movement, 31 May – 01 June 2022, Grangegorman Campus, Technological University, Dublin.
Open this publication in new window or tab >>Transcultural Movement: Shang Palace, Chinese Haute Cuisine in Paris
2022 (English)Conference paper, Published paper (Refereed)
Abstract [en]

Food, as an art form, is a carrier of its own culture. Culture, which is a crucial element to personal and national identity, is not a fixed and unchangeable entity but an ever- lasting process.

As an Asian cuisine, unlike Japanese cuisine which both techniques and tastes have been widely accepted by French people in Paris, Chinese cuisine, although it is well-known and popular, has not been considered as a haute cuisine as French and Japanese cuisine.

This paper aims to explore how Chinese cuisine, which culinary culture is not dominant in Paris, reacts to some infamous incidents—such as the health report about Chinese restaurants in 2004 and Covid-19 outbreak from Wuhan wet market—and reclaims/creates its reputation and identity based on the interview with Samuel Lee, who is from Hong Kong and now is a Michelin-star chef in Shang Palace at Shangri-La hotel in Paris. From this interview, we can see his philosophy about Chinese food, the transculturation of Chinese and French culinary culture, and an overall picture of Chinese haute cuisine in Paris. 

National Category
Cultural Studies Other Humanities not elsewhere specified
Identifiers
urn:nbn:se:du-41570 (URN)10.21427/m9y8-pv30 (DOI)
Conference
Dublin Gastronomy Symposium 2022: Food and Movement, 31 May – 01 June 2022, Grangegorman Campus, Technological University, Dublin
Available from: 2022-06-09 Created: 2022-06-09 Last updated: 2023-03-17Bibliographically approved
Hu, L.-L. (2021). Fraternity Red and Revolution Red. In: Anne Wagner; Sarah Marusek (Ed.), Flags, Color, and the Legal Narrative: Public Memory, Identity, and Critique (pp. 103-121). Switzerland: Springer
Open this publication in new window or tab >>Fraternity Red and Revolution Red
2021 (English)In: Flags, Color, and the Legal Narrative: Public Memory, Identity, and Critique / [ed] Anne Wagner; Sarah Marusek, Switzerland: Springer, 2021, p. 103-121Chapter in book (Refereed)
Abstract [en]

Both the flags of the People’s Republic of China (PRC) and the Republic of China’s (ROC) have the colour red; however, red represents different meanings on both flags. The colour red on the ROC flag represents “fraternité” originated from the French Revolution. The colour red on the PRC flag is from the flag of The Soviet Union, which the colour red is originally the colour of the flag of La Commune de Paris. There have been many incidents involving the desecration, burning or damaging of the national flag of the Republic of China (ROC, 中華民國) over the years. In Taiwan, some people think that the ROC has ceased to exist since 1949, and that the ROC can no longer represent Taiwan and the KMT (the Nationalist Party, Kuomintang) is controlled by the PRC. They use flag desecration as a means to attack one China policy and the PRC. In this paper, I will explore the reason why the ROC national flag has been targeted in Taiwan, and question whether or not damaging the flag is really a meaningful and successful way to attack both the ROC and the PRC. Furthermore, I will explain how protesters attack the PRC by attacking the ROC flag by way of a discussion of the colour code of both national flags. In addition, I will discuss the meaning of the red on both flags, and I will also explain why an attack on the ROC flag, based on the colour of the ROC and PRC flags, is not a successful way to attack the PRC.

Place, publisher, year, edition, pages
Switzerland: Springer, 2021
Series
Law and Visual Jurisprudence, ISSN 2662-4532 ; 1
Keywords
Red; Flag desecration; Fraternity; Revolution; San Min Chu I; Bo Ai
National Category
Law History
Identifiers
urn:nbn:se:du-37059 (URN)10.1007/978-3-030-32865-8 (DOI)978-3-030-32865-8 (ISBN)978-3-030-32864-1 (ISBN)
Available from: 2021-05-25 Created: 2021-05-25 Last updated: 2023-04-14Bibliographically approved
Hu, L.-L. (2021). The Legend of 1900 – Heterotopia and Immigration Law. In: : . Paper presented at Breaking Boundaries: Reimagining Borders in Postcolonial and Migrant Studies. Manchester Metropolitan University, UK..
Open this publication in new window or tab >>The Legend of 1900 – Heterotopia and Immigration Law
2021 (English)Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

In the late 19th and early 20th centuries more than 4 million Italians migrated to the United States of America, a Utopia at the time. The Legend of 1900, one of my favourite movies, which is adapted from Alessandro Baricco’s monologue Nocecento and directed by Giuseppe Tornatore, depicts a story about a genius pianist 1900, who is an orphan, adopted by Danny a black coal-man from the boiler room, and whose parents are supposed to be Italian immigrants. 

Due to the immigration law, 1900, who is a man without identity, visa, and any legal document, can never set a foot on the America soil. As a genius pianist performing music to amuse passengers, 1900 exists as a musician who can only live in a gigantic trans-Atlantic ship, Virginia. According to Michel Foucault’s idea about heterotopia, a ship is “a piece of floating space, a placeless place” as a vessel transporting people to their dream land. However, 1900, who is a legally unaccepted person, will never arrive Utopia by Virginia. He can only make a heterotopia, which is mirror of Utopia, a Utopia himself. 

The Law makes 1900 an unacceptable person and Virginian a placeless place. However, just because of such law-made heterotopia and isolation of an individual, a genius is created. In this paper, I will illustrate how Virginian gives birth to a pianist and why 1900 at the end does not want to leave the ship to discuss the meaning of this movie and the relationship between law and space.

National Category
Languages and Literature
Identifiers
urn:nbn:se:du-39230 (URN)
Conference
Breaking Boundaries: Reimagining Borders in Postcolonial and Migrant Studies. Manchester Metropolitan University, UK.
Available from: 2021-12-30 Created: 2021-12-30 Last updated: 2023-04-14Bibliographically approved
Hu, L.-L. (2021). Truth Does Not Matter: Legal Storytelling in the Japanese Drama “Legal High 2”. International Journal for the Semiotics of Law, 34(1), 109-126
Open this publication in new window or tab >>Truth Does Not Matter: Legal Storytelling in the Japanese Drama “Legal High 2”
2021 (English)In: International Journal for the Semiotics of Law, ISSN 0952-8059, E-ISSN 1572-8722, Vol. 34, no 1, p. 109-126Article in journal (Refereed) Published
Abstract [en]

People expect that the truth can be revealed in a trial and the decision then is made based on the truth. However, such expectation is a fantasy because the truth has disappeared since the moment when an incident occurred. What are left about this incident are merely fragments (witnesses and evidences) that need further interpretations. Interpretations are open to possibilities; possibilities mean different stories. That is to say: there is no truth (or there are many truths) but stories; truth actually does not matter in law. Law is asked to re-construct the truth logically, based on facts, and without being affected by what outside the law, and then a fair and just legal decision can be made. The idea of storytelling, from the perspective of literature—literary narrative, on the other end is opposite to legal narrative that: a story does not need to be true or real; a story can be as bizarre as it can get as long as it is explainable and acceptable when the story comes to law. In a Japanese drama “Legal High 2” a black widow spider woman is accused of murdering her fiancée and his daughter. Since this woman is the only suspect and has been involved in many marriage fraudulent cases, the prosecutor proves that she is the murder based on the motivation and evidences found (the poison she bought from internet) in the crime scene. However, the defense attorney for getting this woman acquitted tells a story absolutely different from the prosecutor’s based on the same evidences. Therefore, in this present paper I am going to discuss that: how literary narrative and legal narrative in a law drama create both legit but opposite stories that challenges the idea that law and its language is a tool used to pursue the truth based on logics and facts. And, I will compare the similarity and the difference between literary narrative and legal narrative, from the both sides of legal theory and literary theory about language, to examine the idea of “truth” in law and in literature about law.

Place, publisher, year, edition, pages
Netherlands: Springer, 2021
Keywords
Law and literature; Court-room drama; Story-telling; Truth and justice
National Category
Specific Literatures
Identifiers
urn:nbn:se:du-28993 (URN)10.1007/s11196-018-9595-4 (DOI)000612377600007 ()2-s2.0-85057298455 (Scopus ID)
Available from: 2018-12-02 Created: 2018-12-02 Last updated: 2023-04-14Bibliographically approved
Hu, L.-L. (2020). Guoxue and Transdiscipline As Illustrated by Law and Literature. Paper presented at Contributions to the International Workshop “Sinology – Chinese/China Studies – Guoxue: Their Interrelation, Methodologies, and Impact,”Siegburg, Germany, 21–22 October 2019. Monumenta Serica: Journal of Oriental Studies, 68(2), 473-493
Open this publication in new window or tab >>Guoxue and Transdiscipline As Illustrated by Law and Literature
2020 (English)In: Monumenta Serica: Journal of Oriental Studies, ISSN 0254-9948, E-ISSN 2057-1690, Vol. 68, no 2, p. 473-493Article in journal (Refereed) Published
Abstract [en]

The complexity of society is producing more and more disciplines – yet the side effect of such proliferation is a lack of collaboration between these disciplines. Therefore, researchers are introducing transdisciplinary work to integrate them. Although guoxue is an old-fashioned research about China and things Chinese, it not only indicates that the idea of disciplines has existed in traditional Chinese academia, but it also has a transdisciplinary nature. In this article, in order to make transdisciplinarity and guoxue illustrate each other, I will explain how it is possible for guoxue to be transdisciplinary and use law and literature as an example to show how disciplines can work together and be transcended. In addition, I will use some Confucian classics, which scholars read as guidelines for how to be a local government official, as examples to illustrate the transdisciplinary nature of guoxue.

National Category
Languages and Literature
Research subject
Research Profiles 2009-2020, Intercultural Studies
Identifiers
urn:nbn:se:du-35498 (URN)10.1080/02549948.2020.1831255 (DOI)000593929800009 ()2-s2.0-85096840506 (Scopus ID)
Conference
Contributions to the International Workshop “Sinology – Chinese/China Studies – Guoxue: Their Interrelation, Methodologies, and Impact,”Siegburg, Germany, 21–22 October 2019
Available from: 2020-11-26 Created: 2020-11-26 Last updated: 2022-03-25Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0002-0536-6242

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