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In this bold, provocative collection, Wang Hui confronts some of the major issues concerning modern China and the status quo of contemporary Chinese thought. The book’s overarching theme is the possibility of an alternative modernity that does not rely on imported conceptions of Chinese history and its legacy. Wang Hui argues that current models, based largely on Western notions of empire and the nation-state, fail to account for the richness and diversity of pre-modern Chinese historical practice. At the same time, he refrains from offering an exclusively Chinese perspective and placing China in an intellectual ghetto. Navigating terrain on regional language and politics, he draws on China’s unique past to expose the inadequacies of European-born standards for assessing modern China’s evolution. He takes issue particularly with the way in which nation-state logic has dominated politically charged concerns like Chinese language standardization and “The Tibetan Question.” His stance is critical—and often controversial—but he locates hope in the kinds of complex, multifaceted arrangements that defined China and much of Asia for centuries. The Politics of Imagining Asia challenges us not only to re-examine our theories of “Asia” but to reconsider what “Europe” means as well. As Theodore Huters writes in his introduction, “Wang Hui’s concerns extend beyond China and Asia to an ambition to rethink world history as a whole.”
For centuries, Asian immigrants have been making vital contributions to the cultures of North and South America. Yet in many of these countries, Asians are commonly viewed as undifferentiated racial “others,” lumped together as chinos regardless of whether they have Chinese ancestry. How might this struggle for recognition in their adopted homelands affect the ways that Asians in the Americas imagine community and cultural identity? The essays in Imagining Asia in the Americas investigate the myriad ways that Asians throughout the Americas use language, literature, religion, commerce, and other cultural practices to establish a sense of community, commemorate their countries of origin, and anticipate the possibilities presented by life in a new land. Focusing on a variety of locations across South America, Central America, the Caribbean, and the United States, the book’s contributors reveal the rich diversity of Asian American identities. Yet taken together, they provide an illuminating portrait of how immigrants negotiate between their native and adopted cultures. Drawing from a rich array of source materials, including texts in Spanish, Portuguese, Korean, Japanese, Chinese, and Gujarati that have never before been translated into English, this collection represents a groundbreaking work of scholarship. Through its unique comparative approach, Imagining Asia in the Americas opens up a conversation between various Asian communities within the Americas and beyond.
What will the future look like? To judge from many speculative fiction films and books, from Blade Runner to Cloud Atlas, the future will be full of cities that resemble Tokyo, Hong Kong, and Shanghai, and it will be populated mainly by cold, unfeeling citizens who act like robots. Techno-Orientalism investigates the phenomenon of imagining Asia and Asians in hypo- or hyper-technological terms in literary, cinematic, and new media representations, while critically examining the stereotype of Asians as both technologically advanced and intellectually primitive, in dire need of Western consciousness-raising. The collection’s fourteen original essays trace the discourse of techno-orientalism across a wide array of media, from radio serials to cyberpunk novels, from Sax Rohmer’s Dr. Fu Manchu to Firefly. Applying a variety of theoretical, historical, and interpretive approaches, the contributors consider techno-orientalism a truly global phenomenon. In part, they tackle the key question of how these stereotypes serve to both express and assuage Western anxieties about Asia’s growing cultural influence and economic dominance. Yet the book also examines artists who have appropriated techno-orientalist tropes in order to critique racist and imperialist attitudes. Techno-Orientalism is the first collection to define and critically analyze a phenomenon that pervades both science fiction and real-world news coverage of Asia. With essays on subjects ranging from wartime rhetoric of race and technology to science fiction by contemporary Asian American writers to the cultural implications of Korean gamers, this volume offers innovative perspectives and broadens conventional discussions in Asian American Cultural studies.
In the decades since her defeat in the Second World War, Japan has continued to loom large in the national imagination of many of her East Asian neighbours. While for many, Japan still conjures up images of rampant military brutality, at different times and in different communities, alternative images of the Japanese ‘Other’ have vied for predominance – in ways that remain poorly understood, not least within Japan itself. Imagining Japan in Postwar East Asia analyses the portrayal of Japan in the societies of East and Southeast Asia, and asks how and why this has changed in recent decades, and what these changing images of Japan reveal about the ways in which these societies construct their own identities. It examines the role played by an imagined ‘Japan’ in the construction of national selves across the East Asian region, as mediated through a broad range of media ranging from school curricula and textbooks to film, television, literature and comics. Commencing with an extensive thematic and comparative overview chapter, the volume also includes contributions focusing specifically on Chinese societies (the mainland PRC, Hong Kong and Taiwan), Korea, the Philippines, Malaysia and Singapore. These studies show how changes in the representation of Japan have been related to political, social and cultural shifts within the societies of East Asia – and in particular to the ways in which these societies have imagined or constructed their own identities. Bringing together contributors working in the fields of education, anthropology, history, sociology, political science and media studies, this interdisciplinary volume will be of interest to all students and scholars concerned with issues of identity, politics and culture in the societies of East Asia, and to those seeking a deeper understanding of Japan’s fraught relations with its regional neighbours.
This book responds to the lack of Asian representation in creative cities literature. It aims to use the creative cities paradigm as part of a wider process involving first, a rapid de-industrialisation in Asia that has left a void for new development models, resulting in a popular uptake of cultural economies in Asian cities; and second, the congruence and conflicts of traditional and modern cultural values leading to a necessary re-interpretation and re-imagination of cities as places for cultural production and cultural consumption. Focusing on the ‘Asian century’, it seeks to recognise and highlight the rapid rise of these cities and how they have stepped up to the challenge of transforming and regenerating themselves. The book aims to re-define what it means to be an Asian creative city and generate more dialogue and new debate around different urban issues.
In South Asia, as elsewhere, the category of ‘the public’ has come under increased scholarly and popular scrutiny in recent years. To better understand this current conjuncture, we need a fuller understanding of the specifically South Asian history of the term. To that end, this book surveys the modern Indian ‘public’ across multiple historical contexts and sites, with contributions from leading scholars of South Asia in anthropology, history, literary studies and religious studies. As a whole, this volume highlights the complex genealogies of the public in the Indian subcontinent during the colonial and postcolonial eras, showing in particular how British notions of ‘the public’ intersected with South Asian forms of publicity. Two principal methods or approaches—the genealogical and the typological—have characterised this scholarship. This book suggests, more in the mode of genealogy, that the category of the public has been closely linked to the sub-continental history of political liberalism. Also discussed is how the studies collected in this volume challenge some of liberalism’s key presuppositions about the public and its relationship to law and religion.
This collection of new essays explores how Germany's imagined Asia informed its national fantasies at crucial historical junctures. It will influence future scholarly explorations of Asian-German cultural transfer. The first collection of essays in the new field of Asian-German Studies, Imagining Germany Imagining Asia demonstrates that Germany and Asia have always shared cultural spaces. Indeed, since the time of the German Enlightenment, Asia served as the foil for fantasies of sexuality, escape, danger, competition, and racial and spiritual purity that were central to foundational ideas of a cohesive German national culture during crucial historical junctures such as fascism or reunification. By exploring the complex and varied phenomenon of German "Orientalism," these essays argue that the relation between an imagined Germany and an imagined Asia defies the idea of a one-way influence, instead conceiving of their cultural transfers and synergies as multidirectional and mutually perpetuating. Examining literary and non-literary texts from the eighteenth century to the present, these essays cover a wide rangeof topics and genres in disciplines including philosophy, film and visual culture, theater, literary studies, and the history of science. Ideally positioned to shape further contributions, Imagining Germany Imagining Asiawill attract a wide range of readers interested in German, Asian, colonial, postcolonial, and transnational studies. Contributors: Sai Bhatawadekar, Petra Fachinger, Veronika Fuechtner, Randall Halle, David D. Kim, Hoi-eun Kim, Kamakshi Murti, Perry Myers, Mary Rhiel, Qinna Shen, Quinn Slobodian, Chunjie Zhang Veronika Fuechtner is Associate Professor of German at Dartmouth College. Mary Rhiel is Associate Professor of German at the University of New Hampshire.
Despite widespread recognition that we are living in an era of mass globalization, there has been a startling resurgence of nationalism in many regions of the world. Alongside this development, many new national museums are being built or refurbished, pointing to the critical role the telling of history plays in processes of building national identity. From new museum construction to the re-purposing of colonial monuments, and from essentialized narratives to spaces which encourage visitors to dream, this book explores the development and influence of national museums in three contemporary Asian societies – Singapore, Hong Kong, and Macau.
An innovative exploration of how colonial interventions in Afghanistan have been made possible through representations of the country as 'backward'.
Religious imaginary is a way of conceiving and structuring the world within the conceptual and imaginative traditions of the religious. Using religious imaginary as a reference, this book analyses temporal ideologies and expressions of historicity in South Asia in the early modern, pre-colonial and early colonial period. Chapters explore the multiple understandings of time and the past that informed the historical imagination in various kinds of literary representations, including historiographical and literary texts, hagiography, and religious canonical literature. The book addresses the contributing forces and comparative implications of the formation of religious and communitarian sensibilities as expressed through the imagination of the past, and suggests how these relate to each other within and across traditions in South Asia. By bringing diverse materials together, this book presents new commonalities and distinctions that inform a larger understanding of how religion and other cultural formations impinge on the concept of temporality, and the representation of it as history.