Piracy and smuggling are as great a problem today as they were several hundreds of years ago. The studies in Elusive Pirates, Pervasive Smugglers, for the first time, carefully describe and critically analyze piracy and smuggling in the Greater China Seas region from the sixteenth century to the present. Because piracy and smuggling involve complex historical processes that are still evolving, to fully understand contemporary problems it is important to place them in larger historical and comparative perspectives. The essays in this book add significantly to the scholarship on East and Southeast Asian history, and in particular to the maritime history of the region we call the Greater China Seas. This is the first book to analyze the whole region from Japan to Southeast Asia as a single, integrated historical and geographical area. This book takes a radical departure from the standard terra-centered histories to place the seas at the center rather than at the margins of our inquiries. By focusing on the water we are better able to stitch together the diverse histories of Japan, China, and Southeast Asia. Although often dismissed as historically unimportant, the contributors to this anthology show that in fact pirates and smugglers have played significant roles in the development of the modern world. Elusive Pirates, Pervasive Smugglers should appeal to undergraduate and graduate students in history and Asian studies, as well as to general readers interested in pirates and maritime history.

Looking at the life and legacy of Emperor Yang (569–618) of the brief Sui dynasty in a new light, this book presents a compelling case for his importance to Chinese history. Author Victor Cunrui Xiong utilizes traditional scholarship and secondary literature from China, Japan, and the West to go beyond the common perception of Emperor Yang as merely a profligate tyrant. Xiong accepts neither the traditional verdict against Emperor Yang nor the apologist effort to revise it, and instead offers a reassessment of Emperor Yang by exploring the larger political, economic, military, religious, and diplomatic contexts of Sui society. This reconstruction of the life of Emperor Yang reveals an astute visionary with literary, administrative, and reformist accomplishments. While a series of strategic blunders resulting from the darker side of his personality led to the collapse of the socioeconomic order and to his own death, the Sui legacy that Emperor Yang left behind lived on to provide the foundation for the rise of the Tang dynasty, the pinnacle of medieval Chinese civilization.

In Empire and Poetic Voice Patrick Colm Hogan draws on a broad and detailed knowledge of Indian, African, and European literary cultures to explore the way colonized writers respond to the subtle and contradictory pressures of both metropolitan and indigenous traditions. He examines the work of two influential theorists of identity, Judith Butler and Homi Bhabha, and presents a revised evaluation of the important Nigerian critics, Chinweizu, Jemie, and Madubuike. In the process, he presents a novel theory of literary identity based equally on recent work in cognitive science and culture studies. This theory argues that literary and cultural traditions, like languages, are entirely personal and only appear to be a matter of groups due to our assertions of categorical identity, which are ultimately both false and dangerous.

Julie Hemment's engrossing study traces the development encounter through interactions between international foundations and Russian women's groups during a decade of national collapse. Prohibited from organizing independently under state socialism, women's groups became a focus of attention in the mid-1990s for foundations eager to promote participatory democracy, but the version of civil society that has emerged (the "third sector") is far from what Russian activists envisioned and what donor agencies promised. Drawing on ethnographic methods and Participatory Action Research, Hemment tells the story of her introduction to and growing collaboration with members of the group Zhenskii Svet (Women's Light) in the provincial city of Tver'.

The story of two women from worlds that could not seem farther apart—imperial China and the American Midwest—who found common ground before and after one of the greatest clashes between East and West, the fifty-five-day siege of the Beijing foreign legations known as the Boxer Uprising. Using diaries, letters and untapped sources, The Empress and Mrs. Conger traces the parallel lives of the Empress Dowager Cixi and American diplomat’s wife Sarah Pike Conger, which converged to alter their perspectives of each other and each other’s worlds.

It's been a pilgrimage for Annie Dillard: from Tinker Creek to the Galapagos Islands, the high Arctic, the Pacific Northwest, the Amazon Jungle--and now, China. This informative narrative is full of fascinating people: Chinese people, mostly writers, who encounter American writers in various bizarre circumstances in both China and the U.S. There is a toasting scene at a Chinese banquet; a portrait of a bitter, flirtatious diplomat at a dance hall; a formal meeting with Chinese writers; a conversation with an American businessman in a hotel lobby; an evening with long-suffering Chinese intellectuals in their house; a scene in the Beijing foreigners' compound with an excited European journalist; and a scene of unwarranted hilarity at the Beijing Library. In the U.S., there is Allen Ginsberg having a bewildering conversation in Disneyland with a Chinese journalist; there is the lovely and controversial writer Zhang Jie suiting abrupt mood changes to a variety of actions; and there is the fiercely spirited Jiange Zilong singing in a Connecticut dining room, eyes closed. These are real stories told with a warm and lively humor, with a keen eye for paradox, and with fresh insight into the human drama.

Enemies of Civilization is a work of comparative history and cultural consciousness that discusses how “others” were perceived in three ancient civilizations: Mesopotamia, Egypt, and China. Each civilization was the dominant culture in its part of the world, and each developed a mind-set that regarded itself as culturally superior to its neighbors. Mu-chou Poo compares these societies’ attitudes toward other cultures and finds differences and similarities that reveal the self-perceptions of each society. Notably, this work shows that in contrast to modern racism based on biophysical features, such prejudice did not exist in these ancient societies. It was culture rather than biophysical nature that was the most important criterion for distinguishing us from them. By examining how societies conceive their prejudices, this book breaks new ground in the study of ancient history and opens new ways to look at human society, both ancient and modern.

Insurance is one of Hong Kong's oldest industries. In the nineteenth century the lucrative trade between China and Europe carried many risks — piracy, warfare, fire, loss of goods, and other mishaps. Dozens of different insurance firms — some home-grown, others imported — established themselves in the colony to protect ships and their cargoes. With the diversification of Hong Kong’s economy into manufacturing and services, and the development of life and health insurance policies, Hong Kong became a global centre of insurance. The industry continues to transform itself today through changing practices and new lines of business. This is the first comprehensive history of Hong Kong’s insurance industry, and argues its central importance in the economy. Typhoons, shipwrecks, fires, wars, political turbulence and unexpected events of all kinds provide a dramatic background to a fascinating survey. The book is richly illustrated with photographs and documents.

Whereas some other scholars read selected films mainly to illustrate political arguments, Roan never loses sight of the particularities of film as a distinctive cultural form and practice. Her drive to see 'cinema as a mechanism of American orientalism' results in not just a textual analysis of these films, but also a history of their material production and distribution. ---Josephine Lee, University of Minnesota "Envisioning Asia offers an exciting new contribution to our understandings of the historical developments of American Orientalism. Jeannette Roan deftly situates changing cinematic technologies within the context of U.S. imperial agendas in this richly nuanced analysis of 'shooting on location' in Asia in early 20th century American cinema." ---Wendy Kozol, Oberlin College "Through her vivid illustration of the role of American cinema in the material, visual, and ideological production of Asia, Jeanette Roan takes the reader on a journey to Asia through a very different route from the virtual travel taken by the viewers of the films she discusses." ---Mari Yoshihara, University of Hawai'i at Manoa The birth of cinema coincides with the beginnings of U.S. expansion overseas, and the classic Hollywood era coincides with the rise of the United States as a global superpower. In Envisioning Asia, Jeanette Roan argues that throughout this period, the cinema's function as a form of virtual travel, coupled with its purported "authenticity," served to advance America's shifting interests in Asia. Its ability to fulfill this imperial role depended, however, not only on the cinematic representations themselves but on the marketing of the films' production histories---and, in particular, their use of Asian locations. Roan demonstrates this point in relation to a wide range of productions, offering an engaging and useful survey of a largely neglected body of film. Not only that, by focusing on the material practices involved in shooting films on location---that is, the actual travels, negotiations, and labor of making a film---she moves beyond formal analysis to produce a richly detailed history of American interests, attitudes, and cultural practices during the first half of the twentieth century. Jeanette Roan is Adjunct Professor of Visual Studies at California College of the Arts and author of "Exotic Explorations: Travels to Asia and the Pacific in Early Cinema" in Re/collecting Early Asian America: Essays in Cultural History (2002). Cover art: Publicity still, Tokyo File 212 (Dorrell McGowan and Stuart McGowan, 1951). The accompanying text reads: "Hundreds of spectators gather on the sidelines as technicians prepare to photograph a parade scene in 'Tokyo File 212,' a Breakston-McGowan Production filmed in Japan for RKO Radio distribution." Courtesy of the Academy of Motion Picture Arts and Sciences.

On 25 December 1941, the day of Hong Kong’s surrender to the Japanese, Admiral Chan Chak—the Chinese government’s chief agent in Hong Kong—and more than 60