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Critically surveying the power of narratives in shaping the discourse on the post-Cold War Asia Pacific, See Seng Tan examines the purposes, practices, power relations, and protagonists behind policy networks such as the Council for Security Cooperation in the Asia Pacific and the Pacific Economic Cooperation Council. The author argues that, filled with economic, social, and political meaning, the policy and academic discourses regarding the Asia Pacific and its subregions authorize and provoke certain understandings while preventing counternarratives from emerging.
Musical sounds are some of the most mobile human elements, crossing national, cultural, and regional boundaries at an ever-increasing pace in the twentieth and twenty-first centuries. Whole musical products travel easily, though not necessarily intact, via musicians, CDs (and earlier, cassettes), satellite broadcasting, digital downloads, and streaming. The introductory chapter by the volume editors develops two framing metaphors: “traveling musics” and “making waves.” The wave-making metaphor illuminates the ways that traveling musics traverse flows of globalization and migration, initiating change, and generating energy of their own. Each of the nine contributors further examines music—its songs, makers, instruments, aurality, aesthetics, and images—as it crosses oceans, continents, and islands. In the process of landing in new homes, music interacts with older established cultural environments, sometimes in unexpected ways and with surprising results. They see these traveling musics in Hawai‘i, Asia, and the Pacific as “making waves”—that is, not only riding flows of globalism, but instigating ripples of change. What is the nature of those ripples? What constitutes some of the infrastructure for the wave itself? What are some of the effects of music landing on, transported to, or appropriated from distant shores? How does the Hawai‘i-Asia-Pacific context itself shape and get shaped by these musical waves? The two poetic and evocative metaphors allow the individual contributors great leeway in charting their own course while simultaneously referring back to the influence of their mentor and colleague Ricardo D. Trimillos, whom they identify as “the wave maker.” The volume attempts to position music as at once ritual and entertainment, esoteric and exoteric, tradition and creativity, within the cultural geographies of Hawai‘i, Asia, and the Pacific. In doing so, they situate music at the very core of global human endeavors.
Northeast Asia, where the interests of three major nuclear powers and the world's two largest economies converge around the unstable pivot of the Korean peninsula, is a region rife with political-economic paradox. It ranks today among the most dangerous areas on earth, plagued by security problems of global importance, including nuclear and missile proliferation. Yet, despite its insecurity, the region has continued to be the most rapidly growing on earth for over five decades—and it is emerging as an identifiable economic, political, and strategic region in its own right. As the locus of both economic growth and political-military uncertainty in Asia has moved further to the Northeast, a need has developed for a book that focuses analytically on prospects for Northeast Asian cooperation within the context of both Asia and the Asia-Pacific regional relationship. This book does exactly that, while also offering a more general theory for Asian institution building.
This second edition of Michael Yahuda's extremely successful textbook introduces students to the international politics of the Asia Pacific region since 1945. The new edition is completely updated with contemporary coverage of the economic crises and includes new chapters on: the current role of East Asia in world affairs prospects post-2000 the strengths and weaknesses of US dominance and the challenge of other powers prospects for and implications of an East Asian economic recovery.
As social, locative, and mobile media render the intimate public and the public intimate, this volume interrogates how this phenomenon impacts art practice and politics. Contributors bring together the worlds of art and media culture to rethink their intersections in light of participatory social media. By focusing upon the Asia-Pacific region, they seek to examine how regionalism and locality affect global circuits of culture. The book also offers a set of theoretical frameworks and methodological paradigms for thinking about contemporary art practice more generally.
This book addresses the changing nature of high-tech industries in Asia, particularly in the electronics sector. Its up-to-date findings will be invaluable to those involved in management, production networks and corporate strategy.
This book promotes the creation of advanced knowledge-based economies driven by innovation networks and the continuous development of human capital and capability. It provides valuable insights into the growing emergence of knowledge-based industries of the Asia Pacific, and highlights research on: modes of creativity and innovation; intellectual property; the components of national innovation systems such as firms, education and training; knowledge and technical infrastructure; and public policy. The Asia Pacific region is currently in the process of transforming from being the manufacturing centre of the global economy to a centre of innovation for the knowledge economy, with the successful IPO of Alibaba in 2014 being a prime example of this shift. From a neo-Schumpeterian perspective, the region is increasingly engaged in shortening and intensifying cycles of innovation. The historic agreement at the Beijing APEC meeting between China and the US to radically reduce carbon emissions indicates that one imperative of this innovation is to contribute to sustainability. The fact that the US Government is moving away from this historic commitment, while the Chinese Government is endorsing the commitment, indicates an emerging opportunity for Asia to lead the world technologically in a vital industrial sector of the future.
Animation has had a global renaissance during the 1990s, and nowhere is this more evident than in Asia. With the exception of China and Japan, most Asian nations are relatively new to this art form. Over the last decade, countries such as Taiwan, South Korea, the Philippines, and Thailand, as well as China, have acted as major offshore production plants for North American and European studios. One of the spurs for this increase in activity has been the global growth of terrestrial, cable, satellite, and video systems, all demanding large menus of programming, including animation. A second spur has been the exceptional popularity that Japanese animé has enjoyed across Asia, Europe, and the United States. Despite these developments, there has not been corresponding growth of a serious literature covering industrial and aesthetic issues about Asian animation, and the small amount of work that has been produced has not been published in English. Animation in Asia and the Pacific provides the first continent-wide analysis, delving into issues of production, distribution, exhibition, aesthetics, and regulation in this burgeoning field. Animation in Asia and the Pacific also offers vignettes of the fascinating experiences of a group of animation pioneers. The historical and contemporary perspectives derive from interviews, textual analysis, archival research, and participation/observation data.
This book provides a contemporary overview of developing areas of copyright law in the Asian Pacific region. While noting the tendency towards harmonisation through free trade agreements, the book takes the perspective that there is a significant amount of potential for the nations of the Asian Pacific region to work together, find common ground and shift international bargaining power. Moreover, in so doing, the region can tailor any regional agreements to suit local needs. The book addresses the development of norms in the region and the ways in which this can occur in light of the specific nature of the creator–owner–user paradigm in the region and the common interests of Indigenous peoples.
This book examines cross-regional film collaboration within the Asia-Pacific region. Through a mixed methods approach of political economy, industry and market, as well as textual analysis, the book contributes to the understanding of the global fusion of cultural products and the reconfiguration of geographic, political, economic, and cultural relations. Issues covered include cultural globalization and Asian regionalization; identity, regionalism, and industry practices; and inter-Asian and transpacific co-production practices among the U.S.A., China, South Korea, Japan, India, Hong Kong, Taiwan, Argentina, Australia, and New Zealand.