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The Ethnographic Frontier in German New Guinea, 1870–1935
Anthropologists and world historians make strange bedfellows. Although the latter frequently employ anthropological methods in their descriptions of cross-cultural exchanges, the former have raised substantial reservations about global approaches to history. Fearing loss of specificity, anthropologists object to the effacing qualities of techniques employed by world historians—this despite the fact that anthropology itself was a global, comparative enterprise in the nineteenth century. Rainer Buschmann here seeks to recover some of anthropology’s global flavor by viewing its history in Oceania through the notion of the ethnographic frontier—the furthermost limits of the anthropologically known regions of the Pacific. The colony of German New Guinea (1884–1914) presents an ideal example of just such a contact zone. Colonial administrators there were drawn to approaches partially inspired by anthropology. Anthropologists and museum officials exploited this interest by preparing large-scale expeditions to German New Guinea. Buschmann explores the resulting interactions between German colonial officials, resident ethnographic collectors, and indigenous peoples, arguing that all were instrumental in the formation of anthropological theory. He shows how changes in collecting aims and methods helped shift ethnographic study away from its focus on material artifacts to a broader consideration of indigenous culture. He also shows how ethnological collecting, often a competitive affair, could become politicized and connect to national concerns. Finally, he places the German experience in the broader context of Euro-American anthropology. Anthropology's Global Histories will interest students and scholars of anthropology, history, world history, and Pacific studies.
This book is a project in comparative history, but along two distinct axes, one historical and the other historiographical. Its purpose is to constructively juxtapose the early modern European and Chinese approaches to historical study that have been called "antiquarian." As an exercise in historical recovery, the essays in this volume amass new information about the range of antiquarian-type scholarship on the past, on nature, and on peoples undertaken at either end of the Eurasian landmass between 1500 and 1800. As a historiographical project, the book challenges the received---and often very much under conceptualized---use of the term "antiquarian" in both European and Chinese contexts. Readers will not only learn more about the range of European and Chinese scholarship on the past---and especially the material past---but they will also be able to integrate some of the historiographical observations and corrections into new ways of conceiving of the history of historical scholarship in Europe since the Renaissance, and to reflect on the impact of these European terms on Chinese approaches to the Chinese past. This comparison is a two-way street, with the European tradition clarified by knowledge of Chinese practices, and Chinese approaches better understood when placed alongside the European ones.
Migration and Tourism in the Indonesian Borderlands
Since the late 1960s the Indonesian island of Batam has been transformed from a sleepy fishing village to a booming frontier town, where foreign investment, mostly from neighboring Singapore, converges with inexpensive land and labor. Indonesian female migrants dominate the island’s economic landscape both as factory workers and as prostitutes servicing working class tourists from Singapore. Indonesians also move across the border in search of work in Malaysia and Singapore as plantation and construction workers or maids. Export processing zones such as Batam are both celebrated and vilified in contemporary debates on economic globalization. The Anxieties of Mobility moves beyond these dichotomies to explore the experiences of migrants and tourists who pass through Batam. Johan Lindquist’s extensive fieldwork allows him to portray globalization in terms of relationships that bind individuals together over long distances rather than as a series of impersonal economic transactions. He offers a unique ethnographic perspective, drawing together the worlds of factory workers and prostitutes, migrants and tourists, and creating a compelling account of everyday life in a borderland characterized by dramatic capitalist expansion. The book uses three Indonesian concepts (merantau, malu, liar) to shed light on the mobility of migrants and tourists on Batam. The first refers to a person’s relationship with home while in the process of migration. The second signifies the shame or embarrassment felt when one is between accepted roles and emotional states. The third, liar, literally means "wild" and is used to identify those who are out of place, notably squatters, couples in premarital cohabitation, and prostitutes without pimps. These sometimes overlapping concepts allow the book to move across geographical and metaphorical boundaries and between various economies.
Mining China's Revolutionary Tradition
How do we explain the surprising trajectory of the Chinese Communist revolution? Why has it taken such a different route from its Russian prototype? An answer, Elizabeth Perry suggests, lies in the Chinese Communists’ creative development and deployment of cultural resources – during their revolutionary rise to power and afterwards. Skillful "cultural positioning" and "cultural patronage," on the part of Mao Zedong, his comrades and successors, helped to construct a polity in which a once alien Communist system came to be accepted as familiarly "Chinese." Perry traces this process through a case study of the Anyuan coal mine, a place where Mao and other early leaders of the Chinese Communist Party mobilized an influential labor movement at the beginning of their revolution, and whose history later became a touchstone of "political correctness" in the People’s Republic of China. Once known as "China’s Little Moscow," Anyuan came over time to symbolize a distinctively Chinese revolutionary tradition. Yet the meanings of that tradition remain highly contested, as contemporary Chinese debate their revolutionary past in search of a new political future.
Literary Criticism and Cultural Anxiety in the Age of the Last Samurai
Considered by many to be the world’s first novel, The Tale of Genji by Murasaki Shikibu is a masterpiece of narrative fiction rich in plot, character development, and compositional detail. The tale, written by a woman in service to Japan’s imperial court in the early eleventh century, portrays a world of extraordinary romance, lyric beauty, and human vulnerability. Appraising Genji is the first work to bring the rich field of Genji reception to the attention of an English-language audience. Patrick W. Caddeau traces the tale’s place in Japanese culture through diaries, critical treatises, newspaper accounts, cinematic adaptation, and modern stage productions. The centerpiece of this study is a treatise on Genji by Hagiwara Hiromichi (1815–1863), one of the most astute readers of the tale who, after becoming a masterless samurai, embarked on a massive study of Genji. Hiromichi challenged dominant modes of literary interpretation and cherished beliefs about the supremacy of the nation’s aristocratic culture. In so doing, he inspired literary critics and authors as they struggled to articulate theories of fiction and the novel in early modern Japan. Appraising Genji promises to enhance our understanding of one of the greatest literary classics in terms of intellectual history, literary criticism, and the quest of scholars in early modern Japan to define their nation’s place in the world.
Among Borneo's spectacular indigenous buildings, the longhouses, mortuary monuments, and other architectural forms of the interior are some of the most outstanding, and much of the renewed interest in indigenous architecture has focused on the rapidly vanishing or now extinct traditional forms of a small number of surviving examples or recreations. Drawing on the author's extensive research and travel in Borneo, this impressive and original study offers a more comprehensive account of this architecture than any previous work. Organized into two sections, the book first documents and explains traditional built forms in terms of tools and materials, the environmental context, village organization, and social arrangements. This section includes a full discussion of architecture designs and symbolism, especially those dealing with life and death. The author next looks at the destruction or transformation of traditional architecture based on a number of interrelated developments, including religious conversion, Western influence, internal migration, and logging, as well as governmental attitudes and efforts. The book concludes with a discussion of recent efforts to document and preserve traditional structures and turn indigenous as well as colonial architecture into history and heritage.
Vol. 58 (2008) through current issue
Archives of Asian Art is an annual journal devoted to the arts of South, Southeast, Central, and East Asia. Each issue presents articles by leading scholars and a selection of outstanding works of Asian art acquired by North American museums during the previous year. The editors attempt to maintain a balanced representation of regions and types of art, as well as a variety of scholarly perspectives.
Silence, Memory, and the Photographic Record in Cambodia
In 2002 a manga (comic book) was for the first time successfully charged with the crime of obscenity in the Japanese courts. In The Art of Censorship Kirsten Cather traces how this case represents the most recent in a long line of sensational landmark obscenity trials that have dotted the history of postwar Japan. The objects of these trials range from a highbrow literary translation of Lady Chatterley’s Lover and modern adaptations and reprintings of Edo-period pornographic literary “classics” by authors such as Nagai Kafu to soft core and hard core pornographic films, including a collection of still photographs and the script from Oshima Nagisa’s In the Realm of the Senses, as well as adult manga. At stake in each case was the establishment of a new hierarchy for law and culture, determining, in other words, to what extent the constitutional guarantee of free expression would extend to art, artist, and audience.
The work draws on diverse sources, including trial transcripts and verdicts, literary and film theory, legal scholarship, and surrounding debates in artistic journals and the press. By combining a careful analysis of the legal cases with a detailed rendering of cultural, historical, and political contexts, Cather demonstrates how legal arguments are enmeshed in a broader web of cultural forces. She offers an original, interdisciplinary analysis that shows how art and law nurtured one another even as they clashed and demonstrates the dynamic relationship between culture and law, society and politics in postwar Japan.
The Art of Censorship will appeal to those interested in literary and visual studies, censorship, and the recent field of affect studies. It will also find a broad readership among cultural historians of the postwar period and fans of the works and genres discussed.
Ornamentation and Devotion
Since ancient times, Hindus have expressed their love and devotion to their deities through beautiful ornamentation -- dressing and decorating the deities with elaborate clothing, jewelry, and flowers. In this pioneering study of temples in Vrindaban and Jaipur, India, Cynthia Packert takes readers across temple thresholds and into the god Krishna's sacred domain. She describes what devotees see when they behold gorgeously attired representations of the god and why these images look the way they do. She discusses new media as well as global forms of devotion popular in India and abroad. The Art of Loving Krishna opens a universe of meaning in which art, religious action, and devotion are dynamically intertwined.