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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'.
A skilled observer and noted scholar of Chinese culture, Tsuen-Hsuin Tsien has contributed profoundly to the West's understanding of the East and vice versa. Having spent six decades as a professor and curator at The University of Chicago, he has been an indispensable resource on a wide range of topics that include Chinese paleography, paper, inkmaking, printing, cultural exchange, libraries, and biographies. Collected Writings on Chinese Culture contains distilled selections from Tsien's major works and journal articles, as well as his Memoir of a Centenarian, which traces Tsien's life from his youth in China through sixty years of scholarship at The University of Chicago. This volume is an excellent companion for anyone familiar with Tsien's work and also a welcome resource for readers unfamiliar with the author's writings and extensive impact within East Asian studies and across all of academia.
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.
A Critical Anthology on Arthur Yap
This collection of essays on the Singaporean writer and artist Arthur Yap is dedicated to his multifaceted creative work and makes it accessible to both general and academic readers. It features new and innovative essays on Yapâ€™s prose, poetry and paintings by an international group of scholars and critics. The essays approach Yapâ€™s work through literary and analytical methods drawn from postcolonial criticism, ecocriticism, studies of urban spaces, visual art and sexuality, with particular consideration for how his work contributes to a specifically Singaporean form of postcolonial critique.
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.
Wŏnhyo (617-686) is the dominant figure in the history of Korean Buddhism and one of the two or three most influential thinkers in the Korean philosophical tradition more broadly. Koreans know Wŏnhyo in his various roles as Buddhist mystic, miracle worker, social iconoclast, religious proselytist, and cultural hero. Above all else, Wŏnhyo was an innovative thinker and prolific writer, whose works cover the gamut of Indian and Sinitic Buddhist materials. The some one hundred treatises and commentaries attributed to this prolific writer, twenty-three of which are extant today, find no rivals among his fellow Korean exegetes. Wŏnhyo was comfortable with all of the major theoretical paradigms prominent in Buddhism of his day and eventually came to champion a highly synthetic approach to the religion that has come to be called t'ong pulgyo, or the Buddhism of Total Interpenetration, an approach that left an indelible imprint on the subsequent course of Korean and East Asian Buddhism. Indeed, it is no exaggeration to say that it was Wŏnhyo who created the Korean tradition of Buddhism. His importance is not limited to the peninsula, however. His writings were widely read in China and Japan as well, and his influence on the overall development of East Asian Mahāyāna thought is significant, particularly in relation to the Huayan, Chan, and Pure Land schools. The five volumes in this series will offer full translations of all of Wonhyo’s extant works, with complete annotation, and extensive introductions framing Wŏnhyo’s insights and contributions in the broader context of East Asian Buddhism. In this first volume in the series, Cultivating Original Enlightenment, Robert E. Buswell Jr. translates Wŏnhyo’s longest and probably culminating work, the Exposition of the Vajrasamādhi-Sūtra (Kŭmgang sammaegyŏng non). Wŏnhyo here brings to bear all the tools acquired throughout a lifetime of scholarship and meditation to the explication of a scripture that has a startling, even unique, connection to the Korean Buddhist tradition. In his treatise, Wŏnhyo examines the crucial question of how enlightenment can be turned from a tantalizing prospect into a palpable reality that manifests itself in all activities. East Asian Buddhism is founded on the assurance that the prospect of enlightenment is something innate to the mind itself and inherently accessible to all living creatures. This doctrine of “original enlightenment,” along with its related teaching of the “womb (or embryo) of buddhahood,” is foundational to the Korean Buddhist tradition. Given, however, the delusion we persistently face in ourselves and the evil we see surrounding us every day, it is obvious that the fact of being enlightened does not mean that we have necessarily learned how to act enlightened. In Wŏnhyo’s presentation, the notion of original enlightenment is transformed from an abstract philosophical concept into a practical tool of meditative training. Wŏnhyo’s Exposition provides a ringing endorsement of the prospect that all human beings have to recover the enlightenment that is said to be innate in the mind and to make it a tangible force in all of our activities.
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.
Daoism, Territorial Networks, and the History of a Ming Novel
Revealing the fundamental continuities between vernacular fiction and exorcist, martial rituals in the vernacular language, Meulenbeld argues that a specific type of Daoist exorcism helped shape vernacular novels in the late Ming dynasty (1368–1644). Focusing on the once famous novel Fengshen yanyi (“Canonization of the Gods”), the author maps out the general ritual structure and divine protagonists that it borrows from much older systems of Daoist exorcism.
By exploring how the novel reflects the specific concerns of communities associated with Fengshen yanyi and its ideology, Meulenbeld is able to reconstruct the cultural sphere in which Daoist exorcist rituals informed late imperial “novels.” He first looks at temple networks and their religious festivals, then shows that it is by means of dramatic practices like ritual, theatre, and temple processions that divine acts were embodied and brought to life.
Meulenbeld makes a convincing case for the need to debunk the retrospective reading of China through the modern, secular Western categories of “literature,” “society,” and “politics.” He shows that this disregard of religious dynamics has distorted our understanding of China and that “religion” cannot be conveniently isolated from scholarly analysis.