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Between Tongues takes the subject of performance translation in a completely new direction. While the topic is often discussed in relation to the translation of dramatic texts, such as Shakespeare in Malay, the authors in this collection examine presentations of traditional and contemporary works in Asia in their original languages before audiences who do not share that language. They also discuss translation as a phenomenon inherent to much performance in Asia, particularly in multilingual settings.
The Routledge Companion to Korean Literature consists of 35 chapters written by leaders in the field, who explore significant topics and who have pioneered innovative approaches. The collection highlights the most dynamic current scholarship on Korean literature, presenting rigorous literary analysis, interdisciplinary methodologies, and transregional thinking so as to provide a valuable and inspiring resource for researchers and students alike. This Companion has particular significance as the most extensive collection to date of English-language articles on Korean literature; it both offers a thorough intellectual engagement with current scholarship and addresses a broad range of topics and time periods, from premodern to contemporary. It will contribute to an understanding of literature as part of a broad sociocultural process that aims to put the field into conversation with other fields of study in the humanities and social sciences. While presenting rigorous and innovative academic research that will be useful to graduate students and researchers, the chapters in the collection are written to be accessible to the average upper-level undergraduate student and include only minimal use of academic jargon. In an effort to provide substantially helpful material for researching, teaching, and learning Korean literature, this Companion includes as an appendix an extensive list of English translations of Korean literature.
Poetry. Cover art: "Betty's Revenge" by Laurel Sparks. "HYPERGLOSSIA is part anthropology, part anatomy; it is part song and part dissonance. Yet Szymaszek's poetry is always too wily, and too alive with its own pleasures--in short, too wise--to accept any conscription to stable identity. In this 'skirmish with a makeshift tongue,' the poet keeps us 'attuned to close-calls and eruptions of selfhoods.' Demonstrating that language and identity are 'a temporary site,' this poetry is a cultural mirroror,' full of sly heresies which abet Szymaszek's poetic subversions so that she is able to 'elude detection and find company.' Indeed, in her company, we can be grateful to find such a 'superior sayerer.'"--Elizabeth Robinson "HYPERGLOSSIA takes us on a journey into the interior where the skin, both liminal and littoral, shifts before us. This movement ('push the boats out / move them far from my / inaccuracy') struggles for and against the sense and eventual record of it. Embodied and disembodied, orienting and disorienting, the mind strives against where a soul might reside, evading the shadows cast by disfigurement, estrangement, or violence. But the itinerant cannot always cover her tracks and the poet hangs on, asking, until the very end, 'what of my persuasion now.'"--Ammiel Alcalay "'Who is Eustace, and where's use in that name? How is his tongue doing that thing in my mouth? How is her mouth doing this thing in my tongue?' Out beyond the laws of kinship, HYPERGLOSSIA is equal parts kin with Kathy Acker's In Memoriam to Identity and kari edwards's a day in the life of p. Szymaszek's book proposes a world of post-mortality nobody can be slain in absentia where bodies and souls are transported trans-oceanically in leaky vessels whose very uselessness argues for a radically queer trans-poetics, a kind of transmigratory being in which identity, like gender a tomb, can only fail because one ceases to exist as this or that thing. HYPERGLOSSIA nourishes trans-identity, an ailment not to be treated except with anagrammatic homeopathies sibilant whispers which cure our injured declarations of love by transmuting a language that otherwise falsifies us into wholeness and pretends to fix us. HYPERGLOSSIA is the critical form disruption takes to interrupt the regime. This is writing as metempsychosis, activating a movement across bodies and names, species and spaces, making what's been excluded from sense sensible blown pink omissions where we're all twice dying between honey and shipwreck."--Rob Halpern
About the Book: The canvas of India’s history, literature, science, and culture spans not just centuries, but several millennia. This book provides a bird’s eye view of everything Indian or simply the proverbial ‘omnibus capsule’. For modern readers who have little time to read eclectic sources, the ‘omnibus capsule‘ hopes to provide a comprehensive compendium about India. Part I narrates the fascinating history of Board Games and Martial Arts in India. Race Games like Pachisi, Moksha Patam, and Ashtapada became channels for many popular games like Ludo, Snake & Ladders, and Backgammon. Pachisi was however appropriated by Alfred Collier, who took the game to England and called it ‘Royal Ludo’ and even earned a patent for it. One of the earliest war games was Chaturanga, the precursor of modern Chess. It traces the transmission of Chaturanga to the West via the Persians (Chatrang) and the Arabs (Shatranj), and its evolution into the contemporary form. It describes various kinds of derived chess games, like circular chess, four-handed chess, decimal chess, and chess with dice etc. The relationship between Chitra Kavya, a genre of Sanskrit poetry and the Knights Tour, is fascinating. The earliest mention of hand combat is to be found in the Buddhist text Lotus Sutra. Chua-Fa practised today can be traced to the original 18 Luohan Hands of Boddhidharma. The book covers 14 different forms of martial arts practised in India. Martial Arts to Performance describes how Kalaripayattu continues to influence contemporary dance forms. About the Author: Satish Joglekar is an engineer from IIT Bombay, with a Master’s in computer science. He has worked with several software companies for more than 30 years which included a long stint at Bell Laboratories, USA. Satish is trained in Hindustani classical music and has intense interest in history, non-fiction literature, and travel.
Drawing from more than a decade of field and archival research, this monograph concerns Cambodian cultural history and historiography, with an ultimate aim of broadening and deepening bases for understanding the Cambodian Theravadin politico-cultural complex. The book takes the form of an interdisciplinary analysis of performative and representational strategies for constituting social collectivities, largely developed at Angkor. The analysis involves extended close readings of a wide range of cultural artefacts including epigraphic and manuscript texts, sculpture and ritual practices. The author proposes a critical re-evaluation of dominant paradigms of Cambodian historiography in view of engendering new histories, or hybrid histories, which make room for previously absent perspectives and voices, while developing new theoretical tools engaging with and partially derived from "indigenous" narrative practices in the broadest sense. In this history-making process the historical event is shown to never be entirely separable from its aesthetic representation. Particular attention is paid to the roles of sexual difference in such (re)constructions of history. The book presents a theory of power capable of accounting for the historical phenomena by which vernacular cultures appropriate, subvert and submit to cosmopolitan forces. It charts out a novel approach to the study of classical Southeast Asian materials, and is of interest to students and scholars of Asian Art, Religion and Philosophy, Buddhism and Southeast Asian History.
"The scholarship exhibited here is not only superior; it is in many ways staggering. The author's control of an astonishing range of primary and secondary texts from many languages, eras, and disciplines is awe-inspiring. This is a learned, original, and important work."—Robert Goldman, Sanskrit and India Studies, University of California, Berkeley
Poetry. "EMPTIED OF ALL SHIPS is a setting out onto crucial waters. Each word here has its own weight and position--its own vital movement between poles of loss and discovery. With our sight-lines thus widened, the observance itself becomes activated--another mode of transport. A poetry of brevity is a tough task (especially the word-as-line), but in these pages it registers as achievement"--George Albon. "Each poem is what I am looking for: a resonance with a particular location, an intelligence unafraid of its humanity, a sort of desperate adequacy with the people or objects that Szymaszek encounters"--Etel Adnan.
How choosing a language created a people
Spoken by eighty million people in South Asia and a diaspora that stretches across the globe, Tamil is one of the great world languages, and one of the few ancient languages that survives as a mother tongue for so many speakers. David Shulman presents a comprehensive cultural history of Tamil—language, literature, and civilization—emphasizing how Tamil speakers and poets have understood the unique features of their language over its long history. Impetuous, musical, whimsical, in constant flux, Tamil is a living entity, and this is its biography. Two stories animate Shulman’s narrative. The first concerns the evolution of Tamil’s distinctive modes of speaking, thinking, and singing. The second describes Tamil’s major expressive themes, the stunning poems of love and war known as Sangam poetry, and Tamil’s influence as a shaping force within Hinduism. Shulman tracks Tamil from its earliest traces at the end of the first millennium BCE through the classical period, 850 to 1200 CE, when Tamil-speaking rulers held sway over southern India, and into late-medieval and modern times, including the deeply contentious politics that overshadow Tamil today. Tamil is more than a language, Shulman says. It is a body of knowledge, much of it intrinsic to an ancient culture and sensibility. “Tamil” can mean both “knowing how to love”—in the manner of classical love poetry—and “being a civilized person.” It is thus a kind of grammar, not merely of the language in its spoken and written forms but of the creative potential of its speakers.
Meanings of Antiquity is the first dedicated study of how the oldest Japanese myths, recorded in the eighth-century texts Kojiki and Nihon shoki, changed in meaning and significance between 800 and 1800 CE. Generations of Japanese scholars and students have turned to these two texts and their creation myths to understand what it means to be Japanese and where Japan fits into the world order. As the shape and scale of the world explained by these myths changed, these myths evolved in turn. Over the course of the millennium covered in this study, Japan transforms from the center of a proud empire to a millet seed at the edge of the Buddhist world, from the last vestige of China’s glorious Zhou Dynasty to an archipelago on a spherical globe. Analyzing historical records, poetry, fiction, religious writings, military epics, political treatises, and textual commentary, Matthieu Felt identifies the geographical, cosmological, epistemological, and semiotic changes that led to new adaptations of Japanese myths. Felt demonstrates that the meanings of Japanese antiquity and of Japan’s most ancient texts were—and are—a work in progress, a collective effort of writers and thinkers over the past 1,300 years.