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Martial experiences and the mythologies that surround them have profoundly affected the ways in which Americans think of themselves. Wars identify the heroes who help define national character, provide the stories for the grand narratives of belonging and sacrifice, and serve as markers for essential moments of transformation. However, only in the last several years have scholars begun using the term “cultural history of American warfare” to identify the study of how public discourse formulates these defining myths and narratives. This volume brings together scholarship from diverse fields in a common mission to demonstrate the usefulness and significance of studying the cultural history of American warfare. The Martial Imagination: Cultural Aspects of American Warfare canvasses the American war experience from the Revolution to the War on Terror, examining how it infuses legitimacy and conformity with an urgency that contorts ideas of citizenship, nationhood, gender, and other pliable categories. The multidisciplinary scholarship in this volume represents the varied perspectives of cultural history, American studies, literary criticism, war and society, media studies, and public culture analysis, illustrating the rich dialogues that epitomize the cultural history of American warfare. Bringing together both recognized and emerging scholars, this book is the first anthology to feature essays on this topic, comprising research from twelve authors who represent a wide range of experiences and disciplines. Their work uncovers new and surprising understandings of the American war experience that reveal the ways in which culture makers have grappled with the trauma of war, salvaged meaning from the meaningless, or advanced some ulterior agenda.
Martial experiences and the mythologies that surround them have profoundly affected the ways in which Americans think of themselves. Wars identify the heroes who help define national character, provide the stories for the grand narratives of belonging and sacrifice, and serve as markers for essential moments of transformation. However, only in the last several years have scholars begun using the term “cultural history of American warfare” to identify the study of how public discourse formulates these defining myths and narratives. This volume brings together scholarship from diverse fields in a common mission to demonstrate the usefulness and significance of studying the cultural history of American warfare. The Martial Imagination: Cultural Aspects of American Warfare canvasses the American war experience from the Revolution to the War on Terror, examining how it infuses legitimacy and conformity with an urgency that contorts ideas of citizenship, nationhood, gender, and other pliable categories. The multidisciplinary scholarship in this volume represents the varied perspectives of cultural history, American studies, literary criticism, war and society, media studies, and public culture analysis, illustrating the rich dialogues that epitomize the cultural history of American warfare. Bringing together both recognized and emerging scholars, this book is the first anthology to feature essays on this topic, comprising research from twelve authors who represent a wide range of experiences and disciplines. Their work uncovers new and surprising understandings of the American war experience that reveal the ways in which culture makers have grappled with the trauma of war, salvaged meaning from the meaningless, or advanced some ulterior agenda.
This is an analysis of the martial arts as socio-cultural and symbolic phenomena. As Americans search for a sense of purpose, belonging, and structure in life, they have chosen an Asian cultural tradition and changed it to suit the needs of contemporary American society. A brief historical summary of the development of martial arts in Japan sets the scene for the reinterpretation of the role of these arts by American mass media. Donohue, an anthropologist with a black belt in karate, explores the important role that the martial arts play in the American psyche. As a means of developing personal power, self-defense systems are aesthetic and spiritual practices as well as statements of urban paranoia reacting against street violence and life-threatening situations. Martial arts organizations are seen as symbolic vehicles for enmeshing participants in constellations of actions and philosophies that create a sense of self and community.
Deploys martial arts as a lens to analyze performance, power, and identity within the evolving fusion of Black and Asian American cultures in history and media.
In this age of the sound bite, what sort of author could be more relevant than a master of the epigram? Martial, the most influential epigrammatist of classical antiquity, was just such a virtuoso of the form, but despite his pertinence to today’s culture, his work has been largely neglected in contemporary scholarship. Arguing that Martial is a major author who deserves more sustained attention, William Fitzgerald provides an insightful tour of his works, shedding new and much-needed light on the Roman poet’s world—and how it might speak to our own. Writing in the late first century CE—when the epigram was firmly embedded in the social life of the Roman elite—Martial published his poems in a series of books that were widely read and enjoyed. Exploring what it means to read such a collection of epigrams, Fitzgerald examines the paradoxical relationship between the self-enclosed epigram and the book of poems that is more than the sum of its parts. And he goes on to show how Martial, by imagining these books being displayed in shops and shipped across the empire to admiring readers, prophetically behaved like a modern author. Chock-full of epigrams itself—in both Latin and English versions—Fitzgerald’s study will delight classicists, literary scholars, and anyone who appreciates an ingenious witticism.
This unique book by Master Shi Ming and Siao Weijia explores the Chinese science of mind/body and the refinement of consciousness in the higher martial arts.
Chinese martial arts novels from the late nineteenth century are filled with a host of suggestive sounds. Characters cuss and curse in colorful dialect accents, vendor calls ring out from bustling marketplaces, and martial arts action scenes come to life with the loud clash of swords and the sounds of bodies colliding. What is the purpose of these sounds, and what is their history? In Sound Rising from the Paper, Paize Keulemans answers these questions by critically reexamining the relationship between martial arts novels published in the final decades of the nineteenth century and earlier storyteller manuscripts. He finds that by incorporating, imitating, and sometimes inventing storyteller sounds, these novels turned the text from a silent object into a lively simulacrum of festival atmosphere, thereby transforming the solitary act of reading into the communal sharing of an oral performance. By focusing on the role sound played in late nineteenth-century martial arts fiction, Keulemans offers alternatives to the visual models that have dominated our approach to the study of print culture, the commercialization of textual production, and the construction of the modern reading subject.
"The Invention of Martial Arts examines the media history of what we now call 'martial arts' and argues that martial arts is a cultural construction that was born in film, TV and other media. It argues that 'martial arts' exploded into popular consciousness entirely thanks to the work of media. Of course, the book does not deny the existence of real, material histories and non-media dimensions in martial arts practices. But it thoroughly recasts the status of such histories, combining recent myth-busting findings in historical martial arts research with important insights into the discontinuous character of history, the widespread 'invention of tradition', the orientalism and imagined geographies that animate many ideas about history, and the frequent manipulation of history for reasons of status, cultural capital, private or public power, politics, and/or financial gain. In doing so, The Invention of Martial Arts argues for the primacy of media representation as key player in the emergence and spread of martial arts. This argument overturns the dominant belief that 'real practices' are primary, while representations are secondary. The book makes its case via historical analysis of the British media history of such Eastern and Western martial arts as Bartitsu, jujutsu, judo, karate, tai chi and MMA across a range of media, from newspapers, comics and books to cartoon, film and TV series, as well as television adverts and music videos, focusing on key but often overlooked texts such as adverts for 'Hai Karate', the 1970s disco hit 'Kung Fu Fighting', and many other mainstream and marginal media texts"--
Gautam Chakravarty explores representations of the event which has become known in the British imagination as the 'Indian Mutiny' of 1857 in British popular fiction and historiography. Drawing on a wide range of primary sources including diaries, autobiographies and state papers, Chakravarty shows how narratives of the rebellion were inflected by the concerns of colonial policy and by the demands of imperial self-image. He goes on to discuss the wider context of British involvement in India from 1765 to the 1940s, and engages with constitutional debates, administrative measures, and the early nineteenth-century Anglo-Indian novel. Chakravarty approaches the mutiny from the perspectives of postcolonial theory as well as from historical and literary perspectives to show the extent to which the insurrection took hold of the popular imagination in both Britain and India. The book has a broad interdisciplinary appeal and will be of interest to scholars of English literature, British imperial history, modern Indian history and cultural studies.
This book explores five cases of monument and public commemorative space related to World War II (WWII) in contemporary China (Mainland), Hong Kong and Taiwan, all of which were built either prior to or right after the end of the War and their physical existence still remains. Through the study on the monuments, the project illustrates past and ongoing controversies and contestations over Chinese nation, sovereignty, modernism and identity. Despite their historical affinities, the three societies in question, namely, Mainland China, Hong Kong and Taiwan, vary in their own ways of telling, remembering and forgetting WWII. These divergences are not only rooted in their different political circumstances and social experiences, but also in their current competitions, confrontations and integrations. This book will be of great interest to historians, sinologists and analysts of new Asian nationalism.