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Who Is the Asianist? reconsiders the past, present, and future of Asian Studies through the lens of positionality, questions of authority, and an analysis of race with an emphasis on Blackness in Asia. From self-reflective essays on being a Black Asianist to the Black Lives Matter movement in Papua New Guinea, Japan, and Viet Nam, scholars grapple with the global significance of race and local articulations of difference. Other contributors call for a racial analysis of the figure of the Muslim as well as a greater transregional comparison of slavery and intra-Asian dynamics that can be better understood, for instance, from a Black feminist perspective or through the work of James Baldwin. As a whole, this diversified set of essays insists that the possibilities of change within Asian Studies occurs when, and only when, it reckons with the entirety of the scholars, geographies, and histories that it comprises.
Chinese Asianism analyzes Chinese views of East Asian solidarity in light of Chinese nationalism and Sino-Japanese relations. Advocates of Asianism packaged Asia for their own agendas, often by translating and interpreting Japanese perspectives. As China now plays a central role in East Asian development, Asianism is once again of great importance.
Hip Hop Desis explores the aesthetics and politics of South Asian American (desi) hip hop artists. Nitasha Tamar Sharma argues that through their lives and lyrics, young “hip hop desis” express a global race consciousness that reflects both their sense of connection with Blacks as racialized minorities in the United States and their diasporic sensibility as part of a global community of South Asians. She emphasizes the role of appropriation and sampling in the ways that hip hop desis craft their identities, create art, and pursue social activism. Some desi artists produce what she calls “ethnic hip hop,” incorporating South Asian languages, instruments, and immigrant themes. Through ethnic hip hop, artists, including KB, Sammy, and Deejay Bella, express “alternative desiness,” challenging assumptions about their identities as South Asians, children of immigrants, minorities, and Americans. Hip hop desis also contest and seek to bridge perceived divisions between Blacks and South Asian Americans. By taking up themes considered irrelevant to many Asian Americans, desi performers, such as D’Lo, Chee Malabar of Himalayan Project, and Rawj of Feenom Circle, create a multiracial form of Black popular culture to fight racism and enact social change.
This book examines how Asianism became a key concept in mainstream political discourse between China and Japan and how it was used both domestically and internationally in the contest for political hegemony. It argues that, from the early 1910s to the early 1930s, this contest changed Chinese and Japanese perceptions of ‘Asia’, from a concept that was foreign-referential, foreign-imposed, peripheral, and mostly negative and denied (in Japan) or largely ignored (in China) to one that was self-referential, self-defined, central, and widely affirmed and embraced. As an ism, Asianism elevated ‘Asia’ as a geographical concept with culturalist-racialist implications to the status of a full-blown political principle and encouraged its proposal and discussion vis-à-vis other political doctrines of the time, such as nationalism, internationalism, and imperialism. By the mid-1920s, a great variety of conceptions of Asianism had emerged in the transnational discourse between Japan and China. Terminologically and conceptually, they not only paved the way for the appropriation of ‘Asia’ discourse by Japanese imperialism from the early 1930s onwards but also facilitated the embrace of Sino-centric conceptions of Asianism by Chinese politicians and collaborators.
Teaching About Asia in a Time of Pandemic presents many lessons learned by educators during the COVID-19 outbreak. The volume consists of two sections, one discussing how to teach using examples and case studies emerging from the pandemic and the other focusing on pedagogical tools and methods beyond the traditional face-to-face classroom.
The book explores the critical importance of Pan-Asianism in Japanese imperialism. Pan-Asianism was a cultural as well as political ideology that promoted Asian unity and recognition. The focus is on Pan-Asianism as a propeller behind Japan's expansionist policies from the Manchurian Incident until the end of the Pacific War.
This collection of essays provides analyses of the COVID-19 pandemic in Asia. It includes interpretations by leading scholars in anthropology, food studies, history, media studies, political science, and visual studies, who examine the political, social, economic, and cultural impact of COVID-19 in China, India, Korea, Japan, Taiwan, and beyond.
An anthropologist explores the politics and society of Kyrgyzstan through a study of one influential man’s life. A pioneering study of kinship, patronage, and politics in Central Asia, Blood Ties and the Native Son tells the story of the rise and fall of a man called Rahim, an influential and powerful patron in rural northern Kyrgyzstan, and of how his relations with clients and kin shaped the economic and social life of the region. Many observers of politics in post-Soviet Central Asia have assumed that corruption, nepotism, and patron-client relations would forestall democratization. Looking at the intersection of kinship ties with political patronage, Aksana Ismailbekova finds instead that this intertwining has in fact enabled democratization—both kinship and patronage develop apace with democracy, although patronage relations may stymie individual political opinion and action. “This book is an important contribution to a growing literature on Central Asian politics and society, and by complicating dominant narratives about the dangers of weak state institutions, Ismailbekova has much to offer to the broader research project on democratization and clientelism.” —Europe-Asia Studies
Playing in the Shadows considers the literature engendered by postwar Japanese authors’ robust cultural exchanges with African Americans and African American literature. The Allied Occupation brought an influx of African American soldiers and culture to Japan, which catalyzed the writing of black characters into postwar Japanese literature. This same influx fostered the creation of organizations such as the Kokujin kenkyū no kai (The Japanese Association for Negro Studies) and literary endeavors such as the Kokujin bungaku zenshū (The Complete Anthology of Black Literature). This rich milieu sparked Japanese authors’—Nakagami Kenji and Ōe Kenzaburō are two notable examples—interest in reading, interpreting, critiquing, and, ultimately, incorporating the tropes and techniques of African American literature and jazz performance into their own literary works. Such incorporation leads to literary works that are “black” not by virtue of their representations of black characters, but due to their investment in the possibility of technically and intertextually black Japanese literature. Will Bridges argues that these “fictions of race” provide visions of the way that postwar Japanese authors reimagine the ascription of race to bodies—be they bodies of literature, the body politic, or the human body itself.
In Japanese Pan-Asianism and the Philippines from the Late 19th Century to the End of World War II – Going to the Philippines Is Like Coming Home? Sven Matthiessen examines the development of Japanese Pan-Asianism and the perception of the Philippines within this ideology. Due to the archipelago’s previous colonisation by Spain and the US the Philippines was a special case among the Japanese occupied territories during the war. Matthiessen convincingly proves that the widespread pro-Americanism among the Philippine population made it impossible for Japanese administrators to implement a pan-Asianist ideology that centred on a 'return to Asian values'. The expectation among some Japanese Pan-Asianists that ‘going to the Philippines was like coming home’ was never fulfilled.