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Beyond Brushtalk explores interactions between Japanese and Chinese writers during the golden age of such exchange, 1919 to 1937. During this period, there were unprecedented opportunities for exchange between writers, which was made possible by the ease of travel between Japan and China during these years and the educational background of Chinese writers as students in Japan. Although the salubrious interaction that developed during that period was destined not to last, it nevertheless was significant as a courageous essay at cultural interaction. This book will appeal not only to those interested in Sino-Japanese studies, an increasingly important field of study in its own right, but will also appeal to scholars of both Japanese literature and Chinese literature and researchers whose areas of interest correspond to the major writers included in this work such as Lu Xun and Zhou Zuoren on the Chinese side and Tanizaki Jun'ichirō and Hayashi Fumiko on the Japanese side. The relations and resulting literary works involving these major writers are often relatively neglected aspects of their total output and will draw interest from scholars of their work. This book will be accessible to both Sinologists and Japanologists with little background in the corresponding field, and to the generalist possessing an interest in literary exchange.
'Fascinating and richly documented . . . Few books manage to be so informative and so entertaining.' – Sunday Times 'Thanks to Neima’s rigorous research, each chapter offers something new.' – Spectator 'Neima ranges with impressive confidence across the world'. – Literary Review Santiniketan-Sriniketan in India, Dartington Hall in England, Atarashiki Mura in Japan, the Institute for the Harmonious Development of Man in France, the Bruderhof in Germany and Trabuco College in America: six experimental communities established in the aftermath of the First World War, each aiming to change the world. The Utopians is an absorbing and vivid account of these collectives and their charismatic leaders and reveals them to be full of eccentric characters, outlandish lifestyles and unchecked idealism. Dismissed and even mocked in their time, yet, a century later, their influence still resonates in progressive education, environmentalism, medical research and mindfulness training. Without such inspirational experiments in how to live, post-war society would have been a poorer place.
For hundreds of years until the 1900s, in today’s China, Japan, North and South Korea, and Vietnam, literati of Classical Chinese or Literary Sinitic (wényán 文言) could communicate in writing interactively, despite not speaking each other’s languages. This book outlines the historical background of, and the material conditions that led to, widespread literacy development in premodern and early modern East Asia, where reading and writing for formal purposes was conducted in Literary Sinitic. To exemplify how ‘silent conversation’ or ‘brush-assisted conversation’ is possible through writing-mediated brushed interaction, synchronously face-to-face, this book presents contextualized examples from recurrent contexts involving (i) boat drifters; (ii) traveling literati; and (iii) diplo- matic envoys. Where profound knowledge of classical canons and literary works in Sinitic was a shared attribute of the brush-talkers concerned, their brush-talk would characteristically be intertwined with poetic improvisation. Being the first monograph in English to address this fascinating lingua-cultural practice and cross-border communication phenomenon, which was possibly sui generis in Sinographic East Asia, it will be of interest to students of not only East Asian languages and linguistics, history, international relations, and diplomacy, but also (historical) pragmatics, sociolinguistics, sociology of language, scripts and writing systems, and cultural and linguistic anthropology.
The first two decades of the twenty-first century have witnessed a rise of populism and decline of public confidence in many of the formal institutions of democracy. This crisis of democracy has stimulated searches for alternative ways of understanding and enacting politics. Against this background, Tessa Morris-Suzuki explores the long history of informal everyday political action in the Japanese context. Despite its seemingly inflexible and monolithic formal political system, Japan has been the site of many fascinating small-scale experiments in 'informal life politics': grassroots do-it-yourself actions which seek not to lobby governments for change, but to change reality directly, from the bottom up. She explores this neglected history by examining an interlinked series of informal life politics experiments extending from the 1910s to the present day.
In this book, Ruth Y. Y. Hung provides a study of Hu Feng (1902–1985) as a critic, writer, and editor within the context of the People's Republic of China's political ascendancy. A member of the Japanese Communist Party and the Chinese Communist Party, Hu rose to fame in the 1940s and became a representative persecuted intellectual soon after 1949. "The Hu Feng Case" of 1955—more than a decade before the Cultural Revolution—was a significant, large-scale campaign of intellectual persecution. Hung examines Hu's work as a literary critic in this context, and examines the intricate historical and sociopolitical forces against which intellectuals in his milieu in twentieth-century China adopted Marxism as a measure of their critical position. She demonstrates how this first generation of modern Chinese literary critics practiced criticism, examining the skills and arguments they used to negotiate their institutional and ideological relations with state-party power. This exceptional case of intellectual engagement offers broader insight on critical literature's humanistic aims and methods in the context of intellectual globalization and changing political climates.
In A Modernity Set to a Pre-Modern Tune, Haosheng Yang provides an in-depth study of the classical-style poems of the most iconoclastic May Fourth Chinese writers (Lu Xun, Yu Dafu, Zhou Zuoren, Guo Moruo, and Nie Gannu) and highlights the five literary masters’ engagement with traditional lyricism as their critical response to the sociopolitical turbulence of twentieth-century China. This study challenges the bias against classical forms as allegedly outdated modes incapable of representing modern reality in current Chinese literary history. Yang’s fascinating book positions modern Chinese literature’s formalistic nonlinearity, representational experiences, and aspiration for a new voice through an old form as factors that are all crucial to exploring more fully the blurred boundary between the traditional and the modern.
Spend time in New York City and, soon enough, you will encounter some of the Japanese nationals who live and work there—young English students, office workers, painters, and hairstylists. New York City, one of the world’s most vibrant and creative cities, is also home to one of the largest overseas Japanese populations in the world. Among them are artists and designers who produce cutting-edge work in fields such as design, fashion, music, and art. Part of the so-called “creative class” and a growing segment of the neoliberal economy, they are usually middle-class and college-educated. They move to New York for anywhere from a few years to several decades in the hope of realizing dreams and aspirations unavailable to them in Japan. Yet the creative careers they desire are competitive, and many end up working illegally in precarious, low paying jobs. Though they often migrate without fixed plans for return, nearly all eventually do, and their migrant trajectories are punctuated by visits home. Japanese New York offers an intimate, ethnographic portrait of these Japanese creative migrants living and working in NYC. At its heart is a universal question—how do adults reinvent their lives? In the absence of any material or social need, what makes it worthwhile for people to abandon middle-class comfort and home for an unfamiliar and insecure life? Author Olga Sooudi explores these questions in four different venues patronized by New York’s Japanese: a grocery store and restaurant, where hopeful migrants work part-time as they pursue their ambitions; a fashion designer’s atelier and an art gallery, both sites of migrant aspirations. As Sooudi’s migrant artists toil and network, biding time until they “make it” in their chosen industries, their optimism is complicated by the material and social limitations of their lives. The story of Japanese migrants in NYC is both a story about Japan and a way of examining Japan from beyond its borders. The Japanese presence abroad, a dynamic process involving the moving, settling, and return to Japan of people and their cultural products, is still underexplored. Sooudi’s work will help fill this lacuna and will contribute to international migration studies, to the study of contemporary Japanese culture and society, and to the study of Japanese youth, while shedding light on what it means to be a creative migrant worker in the global city today.
Provides a new perspective on the Chinese avant-garde through the figure of artist and activist Tian Han
Sino-Japanese Reflections offers ten richly detailed case studies that examine various forms of cultural and literary interaction between Japanese and Chinese intellectuals from the late Ming to the early twentieth century. The authors consider efforts by early modern scholars on each side of the Yellow Sea to understand the language and culture of the other, to draw upon received texts and forms, and to contribute to shared literary practices. Whereas literary and cultural flow within the Sinosphere is sometimes imagined to be an entirely unidirectional process of textual dissemination from China to the periphery, the contributions to this volume reveal a more complex picture: highlighting how literary and cultural engagement was always an opportunity for creative adaptation and negotiation. Examining materials such as Chinese translations of Japanese vernacular poetry, Japanese engagements with Chinese supernatural stories, adaptations of Japanese historical tales into vernacular Chinese, Sinitic poetry composed in Japan, and Japanese Sinology, the volume brings together recent work by literary scholars and intellectual historians of multiple generations, all of whom have a strong comparative interest in Sino-Japanese studies.