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As the first comprehensive study of Chinese fiction of the Cultural Revolution, this pioneering work explores the position of the literature of this turbulent period in the context of contemporary China.The book covers the choice of subject matter, authorship and readership of Cultural Revolution fiction.
A Critical Edition
First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound's understanding-it is fair to say, his appropriation-of the text. Fenollosa's manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North Americaand East Asia.Pound's editing of the essay obscured two important features, here restored to view: Fenollosa's encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry.This book is the definitive critical edition of Fenollosa's important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound's deletions, insertions, and alterations to Fenollosa's sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa's ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition.This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.
Hong Kong Playwriting in English
City Stage is an anthology of recent Hong Kong English-language drama written for Hong Kong performers and audiences. All the plays were written in the last ten years and so capture and reflect the fast-developing multiculturalism of the Hong Kong scene – a somewhat paradoxical phenomenon in view of the 1997 return to China Mainland sovereignty.
Hong Kong Writing in English 1945 to the Present
City Voices is the first showcase of postwar Hong Kong literature originating in English. Fiction, poetry, essays and memoirs from more than 70 authors are featured to demonstrate 'the rich variety and vitality of the city's literary production'.
Not at Home in Singaporean and Malaysian Literature
The literature of Malaysia and Singapore, the multicultural epicenter of Asia, offers a rich body of source material for appreciating the intellectual heritage of colonial and postcolonial Southeast Asia. Focusing on themes of home and belong, Eddie Tay illuminates many aspects of identity anxiety experienced in the region, and helps construct a dialogue between postcolonial theory and the Anglophone literatures of Singapore and Malaysia. A chronologically ordered selection of texts is examined, including Swettenham, Bird, Maugham, Burgess, and Thumboo. The genealogy of works includes travel writings and sketches as well as contemporary diasporic novels by Malaysian and Singapore-born authors based outside their countries of origin. The premise is that home is a physical space as well as a symbolic terrain invested with social, political and cultural meanings. As discussions of politics and history argument close readings of literary works, the book should appeal not only to scholars of literature, but also to scholars of Southeast Asian politics and history.
and Other Novels of Struggle
This collection introduces the work of Japan’s foremost Marxist writer, Kobayashi Takiji (1903–1933), to an English-speaking audience, providing access to a vibrant, dramatic, politically engaged side of Japanese literature that is seldom seen outside Japan. The volume presents a new translation of Takiji’s fiercely anticapitalist Kani kōsen—a classic that became a runaway bestseller in Japan in 2008, nearly eight decades after its 1929 publication. It also offers the first-ever translations of Yasuko and Life of a Party Member, two outstanding works that unforgettably explore both the costs and fulfillments of revolutionary activism for men and women. The book features a comprehensive introduction by Komori Yōichi, a prominent Takiji scholar and professor of Japanese literature at Tokyo University.
For South Asians, food regularly plays a role in how issues of race, class, gender, ethnicity, and national identity are imagined as well as how notions of belonging are affirmed or resisted. Culinary Fictions provides food for thought as it considers the metaphors literature, film, and TV shows use to describe Indians abroad. When an immigrant mother in Jhumpa Lahiri’s The Namesake combines Rice Krispies, Planters peanuts, onions, salt, lemon juice, and green chili peppers to create a dish similar to one found on Calcutta sidewalks, it evokes not only the character’s Americanization, but also her nostalgia for India.
Food, Anita Mannur writes, is a central part of the cultural imagination of diasporic populations, and Culinary Fictions maps how it figures in various expressive forms. Mannur examines the cultural production from the Anglo-American reaches of the South Asian diaspora. Using texts from novels—Chitra Divakaruni’s Mistress of Spices and Shani Mootoo’s Cereus Blooms at Night—and cookbooks such as Madhur Jaffrey’s Invitation to Indian Cooking and Padma Lakshmi’s Easy Exotic, she illustrates how national identities are consolidated in culinary terms.
Cosmopolitanism and the Indian Novel in English
Interrogating current theories of cosmopolitanism, nationalism, and aesthetics in Postcolonial Studies, Decentering Rushdie offers a new perspective on the Indian novel in English. Since Salman Rushdie’s Midnight’s Children won the Booker Prize in 1981, its postmodern style and postnational politics have dominated discussions of postcolonial literature. As a result, the rich variety of narrative forms and perspectives on the nation that constitute the field have been obscured, if not erased altogether. Reading a range of novels published between the 1950s and 1990s, including works by Nayantara Sahgal, Kamala Markandaya, Anita Desai, and Arundhati Roy, Decentering Rushdie suggests an alternative understanding of the genre in postcolonial India. Pranav Jani documents the broad shift from nation-oriented to postnationalist perspectives following the watershed crisis of the Emergency of the 1970s. Recovering the “namak-halaal cosmopolitanism” of early novels—a cosmopolitanism that is “true to its salt”—Decentering Rushdie also explains the rise and critical celebration of postnational cosmopolitanism. Decentering Rushdie thus resituates contemporary literature within a nuanced history of Indian debates about cosmopolitanism and the national question. In the process, Jani articulates definitions of cosmopolitanism and nationalism that speak to the complex negotiation of language, culture, and representation in postcolonial South Asia.
The Singaporean/Malaysian Novel
The Different Voices: Singaporean/Malaysian Novel, focuses on the challenges that face a novelist in the literary representation of a multilingual environment. The early writers used strategies like vernacular transcription and mimetic translation. However, the close readings of twelve selected novels by non-European writers from 1980 to 2001 indicate the increasing use of strategies like lexical borrowings, code mixing, code switching and varieties of Singapore-Malayan English, instead. Puthucheary asserts in her book that the methods of language appropriation have a direct connection to how the writer conveys the multilingual nature of the Singapore-Malayan society through the speaking person while developing the central theme of the novel. The book maps out the verbal artistic representation of the speaking person and the correlation between speech and character in a multilingual environment.
Selected Poetry of Ouyang Jianghe
Ouyang Jianghe played a central role in the 1980s underground Sichuanese poetry scene that gave rise to the Chinese poetic avant-garde, and during that time he became known as one of the “Five Masters from Sichuan.” Since then he has emerged as one of China’s most prominent literary figures, authoring four books of poetry and essays and publishing numerous works of criticism on art, music, and literature. He is also a noted calligrapher. In 2010 he was awarded the Chinese Literature Media Award for poetry. He lives in Beijing and travels frequently to the U.S. and Germany. Doubled Shadows is his first poetry collection in English.