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Beyond the Book is the first book dedicated to studies of rare East Asian materials collected by individuals and institutions in North America. It sheds new light on the two centuries of cultural exchanges between East Asia and North America and provides fresh clues for East Asian studies scholars in their hunt for raw research materials.
Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.
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.
Chinese poetry has a long history of interaction with the visual arts. Classical aesthetic thought held that painting, calligraphy, and poetry were cross-fertilizing and mutually enriching. What happened when the Chinese poetic tradition encountered photography, a transformative technology and presumably realistic medium that reshaped seeing and representing the world? Shengqing Wu explores how the new medium of photography was transformed by Chinese aesthetic culture. She details the complex negotiations between poetry and photography in the late Qing and early Republican eras, examining the ways traditional textual forms collaborated with the new visual culture. Drawing on extensive archival research into illustrated magazines, poetry collections, and vintage photographs, Photo Poetics analyzes a wide range of practices and genres, including self-representation in portrait photography; gifts of inscribed photographs; mass-media circulation of images of beautiful women; and photography of ghosts, immortals, and imagined landscapes. Wu argues that the Chinese lyrical tradition provided rich resources for artistic creativity, self-expression, and embodied experience in the face of an increasingly technological and image-oriented society. An interdisciplinary study spanning literary studies, visual culture, and media history, Photo Poetics is an original account of media culture in early twentieth-century China and the formation of Chinese literary and visual modernities.
Since Edward Said’s foundational work, Orientalism has been singled out for critique as the quintessential example of Western intellectuals’ collaboration with oppression. Controversies over the imbrications of knowledge and power and the complicity of Orientalism in the larger project of colonialism have been waged among generations of scholars. But has Orientalism come to stand in for all of the sins of European modernity, at the cost of neglecting the complicity of the rest of the academic disciplines? In this landmark theoretical investigation, Wael B. Hallaq reevaluates and deepens the critique of Orientalism in order to deploy it for rethinking the foundations of the modern project. Refusing to isolate or scapegoat Orientalism, Restating Orientalism extends the critique to other fields, from law, philosophy, and scientific inquiry to core ideas of academic thought such as sovereignty and the self. Hallaq traces their involvement in colonialism, mass annihilation, and systematic destruction of the natural world, interrogating and historicizing the set of causes that permitted modernity to wed knowledge to power. Restating Orientalism offers a bold rethinking of the theory of the author, the concept of sovereignty, and the place of the secular Western self in the modern project, reopening the problem of power and knowledge to an ethical critique and ultimately theorizing an exit from modernity’s predicaments. A remarkably ambitious attempt to overturn the foundations of a wide range of academic disciplines while also drawing on the best they have to offer, Restating Orientalism exposes the depth of academia’s lethal complicity in modern forms of capitalism, colonialism, and hegemonic power.
Yu's essays juxtapose Chinese and Western texts - Cratylus next to Xunzi,for example - and discuss their relationship to language and subjects, such as liberal Greek education against general education in China. He compares a specific Western text and religion to a specific Chinese text and religion. He considers the Divina Commedia in the context of Catholic theology alongside The Journey to the West as it relates to Chinese syncretism, united by the theme of pilgrimage. Yet Yu's focus isn't entirely tied to the classics. He also considers the struggle for human rights in China and how this topic relates to ancient Chinese social thought and modern notions of rights in the West.
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.
In The Columbia Anthology of Chinese Folk and Popular Literature, two of the world's leading sinologists, Victor H. Mair and Mark Bender, capture the breadth of China's oral-based literary heritage. This collection presents works drawn from the large body of oral literature of many of China's recognized ethnic groups--including the Han, Yi, Miao, Tu, Daur, Tibetan, Uyghur, and Kazak--and the selections include a variety of genres. Chapters cover folk stories, songs, rituals, and drama, as well as epic traditions and professional storytelling, and feature both familiar and little-known texts, from the story of the woman warrior Hua Mulan to the love stories of urban storytellers in the Yangtze delta, the shaman rituals of the Manchu, and a trickster tale of the Daur people from the forests of the northeast. The Cannibal Grandmother of the Yi and other strange creatures and characters unsettle accepted notions of Chinese fable and literary form. Readers are introduced to antiphonal songs of the Zhuang and the Dong, who live among the fantastic limestone hills of the Guangxi Zhuang Autonomous Region; work and matchmaking songs of the mountain-dwelling She of Fujian province; and saltwater songs of the Cantonese-speaking boat people of Hong Kong. The editors feature the Mongolian epic poems of Geser Khan and Jangar; the sad tale of the Qeo family girl, from the Tu people of Gansu and Qinghai provinces; and local plays known as "rice sprouts" from Hebei province. These fascinating juxtapositions invite comparisons among cultures, styles, and genres, and expert translations preserve the individual character of each thrillingly imaginative work.
This definitive anthology casts Sinophone studies as the study of Sinitic-language cultures born of colonial and postcolonial influences. Essays by such authors as Rey Chow, Ha Jin, Leo Ou-fan Lee, Ien Ang, Wei-ming Tu, and David Wang address debates concerning the nature of Chineseness while introducing readers to essential readings in Tibetan, Malaysian, Taiwanese, French, Caribbean, and American Sinophone literatures. By placing Sinophone cultures at the crossroads of multiple empires, this anthology richly demonstrates the transformative power of multiculturalism and multilingualism, and by examining the place-based cultural and social practices of Sinitic-language communities in their historical contexts beyond "China proper," it effectively refutes the diasporic framework. It is an invaluable companion for courses in Asian, postcolonial, empire, and ethnic studies, as well as world and comparative literature.