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From Dog Bridegroom to Wolf Girl

Contemporary Japanese Fairy-Tale Adaptations in Conversation with the West

Mayako Murai

As in the United States, fairy-tale characters, motifs, and patterns (many from the Western canon) have pervaded recent Japanese culture. Like their Western counterparts, these contemporary adaptations tend to have a more female-oriented perspective than traditional tales and feature female characters with independent spirits.In From Dog Bridegroom to Wolf Girl: Contemporary Japanese Fairy-Tale Adaptations in Conversation with the West, Mayako Murai examines the uses of fairy tales in the works of Japanese women writers and artists since the 1990s in the light of Euro-American feminist fairy-tale re-creation and scholarship.

After giving a sketch of the history of the reception of European fairy tales in Japan since the late nineteenth century, Murai outlines the development of fairy-tale retellings and criticism in Japan since the 1970s. Chapters that follow examine the uses of fairy-tale intertexts in the works of four contemporary writers and artists that resist and disrupt the dominant fairy-tale discourses in both Japan and the West. Murai considers Tawada Yoko's reworking of the animal bride and bridegroom tale, Ogawa Yoko's feminist treatment of the Bluebeard story, Yanagi Miwa's visual restaging of familiar fairy-tale scenes, and Konoike Tomoko's visual representations of the motif of the girl's encounter with the wolf in the woods in different media and contexts. Forty illustrations round out Murai's criticism, showing how fairy tales have helped artists reconfigure oppositions between male and female, human and animal, and culture and nature.

From Dog Bridegroom to Wolf Girl invites readers to trace the threads of the fairy-tale web with eyes that are both transcultural and culturally sensitive in order to unravel the intricate ways in which different traditions intersect and clash in today's globalising world. Fairy-tale scholars and readers interested in issues of literary and artistic adaptation will enjoy this volume.

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A Garden of Marvels

Tales of Wonder from Early Medieval China

Robert Ford Campany

Between 300 and 600 CE, Chinese writers compiled thousands of accounts of the strange and the extraordinary. Some described weird spirits, customs, and flora and fauna in distant lands. Some depicted individuals of unusual spiritual or moral achievement. But most told of ordinary people's encounters with ghosts, demons, or gods; sojourns in the land of the dead; eerily significant dreams; and uncannily accurate premonitions. The selection of such stories presented here provides an alluring introduction to early medieval Chinese storytelling and opens a doorway to the enchanted world of thought, culture, and religious belief of that era. Known as zhiguai, or "accounts of anomalies," they convey a great deal about how people saw the cosmos and their place in it. The tales were circulated because they were entertaining but also because their compilers meant to document the mysterious workings of spirits, the wonders of exotic places, and the nature of the afterlife. A collection of more than two hundred tales, A Garden of Marvels offers an authoritative yet accessible introduction to zhiguai writings, particularly those never before translated or adequately researched. This volume will likely find its way to bedside tables as well as into classrooms and libraries, just as collections of zhiguai did in early medieval times.

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A Garden of One’s Own

A Collection of Modern Chinese Essays, 1919–1949

Edited and translated by Tam King-fai

This authoritative collection contains writings by some thirty of the most significant Chinese writers of the period between 1919 and 1949. The three decades from which these pieces are drawn encompass most of the Republican period, a tumultuous era in Chinese history in which modernization and republicanism coexisted with classical culture. Thematically, these xiaopin wen, or modern Chinese essays, differ significantly from the more social and political fiction of the May Fourth movement. Their scope varies, from ruminations on broader existential issues to more personal contemplations on everyday life, often delving into issues of morality and interpersonal relations. Although described as “essays,” they are not restrained by the formal, expository connotations of this English term; rather, their tone is more intimate, reflective, and at times witty or tinged with melancholy.

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The Gate of Darkness

Studies on the Leftist Literary Movement

Tsi-an Hsia

As one of the few foundational texts to provide a critical overview of the aesthetics and politics of the leftist literary movement in China, The Gate of Darkness was previously published by the University of Washington Press in 1968 to great critical acclaim. Posthumously edited by the author’s brother Professor C. T. Hsia, this book critiques the works of leftist Chinese writers including Lu Hsün, Chiang Kuang-tz’u, and the “Five Martyrs.” As one of the few foundational texts to provide a critical overview of the aesthetics and politics of China’s leftist literary movement, The Gate of Darkness examines the conflicting dilemmas between leftist authors’ own ideals and the strict ideological frameworks imposed by the propaganda policies of the Chinese Communist Party in the early twentieth century. Numerous reviews appearing in the leading East Asian studies journals have acknowledged the historical importance of the book which has few comparisons. The cultural critic Leo Ou-fan Lee believes that this book gives one of the most significant scholarly analyses of Lu Xun’s work towards the end of his life, revealing the “darkness” that pervaded his later works such as “Wild Grass.” He calls Tsi-an Hsia “a creative and compassionate scholar” who has opened Lu Hsün’s inner “gate of darkness” to unveil “a fascinating world of demons and ghosts as dramatized in village operas and popular superstitions.”

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Gender and Story in South India

Gender and Story in South India presents exciting ethnographic research by Indian women scholars on Hindu and Muslim women-centered oral narratives. The book is unique for its geographic and linguistic focus on South India, for its inclusion of urban and rural locales of narration, and for its exploration of shared Hindu and Muslim female space. Drawing on the worldviews of South Indian female narrators in both everyday and performative settings, the contributors lead readers away from customary and comfortable assumptions about gender distinctions in India to experience a more dialogical, poetically ordered moral universe that is sensitive to women’s material and spiritual lives.

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Gender, Discourse, and the Self in Literature

Issues in Mainland China, Taiwan, and Hong Kong

Edited by Kwok-kan Tam and

As a Cultural construct, gender is fictional and imagined, yet its ideological and representational effects on the formation of self and identity are quite real. The fiction behind the fictional, which many accepts as truth, is at the core of what is most intriguing about the problem of gender. Critiquing this narrative, Gender, Discourse, and the Self in Literature unravels the strategies that writers and filmmakers adopt in their (de)construction of the gendered self in three Chinese communities: mainland China, Taiwan, and Hong Kong. Writing from the vantage points of film, literature, and gender studies, contributors make an innovative marriage to Western gender discourse and the construction and representation of self and identity in contemporary China.

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Golden Age of Chinese Drama: Yuan Tsa-Chu

Chung-wen Shih

The 171 extant plays of the Yuan period (1279-1368) are the oldest and most brilliant examples of Chinese dramatic literature. In this first comprehensive study, Chung-wen Shih systematically explores the riches of Yuan drama, from its unexcelled lyric poetry to its colorful characterization. After tracing the popular genres that contributed to the flowering of Yuan drama, the author describes conventional features of dramatic construction, methods of characterization, and recurring themes. The central focus is on the use of language: prose passages and lyrics are cited to show how innovative use of spoken language invests the prose with a remarkable strength and suppleness, and how imaginative use of figurative language endows the poetry with an incomparable richness of texture. Attention is also given to the use of music and physical aspects of staging.

Originally published in 1976.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Guru English

South Asian Religion in a Cosmopolitan Language

Srinivas Aravamudan

Guru English is a bold reconceptualization of the scope and meaning of cosmopolitanism, examining the language of South Asian religiosity as it has flourished both inside and outside of its original context for the past two hundred years. The book surveys a specific set of religious vocabularies from South Asia that, Aravamudan argues, launches a different kind of cosmopolitanism into global use.

Using "Guru English" as a tagline for the globalizing idiom that has grown up around these religions, Aravamudan traces the diffusion and transformation of South Asian religious discourses as they shuttled between East and West through English-language use. The book demonstrates that cosmopolitanism is not just a secular Western "discourse that results from a disenchantment with religion, but something that can also be refashioned from South Asian religion when these materials are put into dialogue with contemporary social move-ments and literary texts. Aravamudan looks at "religious forms of neoclassicism, nationalism, Romanticism, postmodernism, and nuclear millenarianism, bringing together figures such as Swami Vivekananda, Sri Aurobindo, Mahatma Gandhi, and Deepak Chopra with Rudyard Kipling, James Joyce, Robert Oppenheimer, and Salman Rushdie.

Guru English analyzes writers and gurus, literary texts and religious movements, and the political uses of religion alongside the literary expressions of religious teachers, showing the cosmopolitan interconnections between the Indian subcontinent, the British Empire, and the American New Age.

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Having Once Paused

Poems of Zen Master Ikkyu (1394-1481)

Ikkyu Sojun

The influence of Zen Master Ikkyu (1394-1481) permeates the full field of medieval Japanese aesthetics. Though best known as a poet, he was central to the shaping and reshaping of practices in calligraphy, Noh theater, tea ceremony, and rock gardening, all of which now define Japan’s sense of its cultural tradition. Ikkyu is unique in Zen for letting his love of all appearance occupy him until it destroys any possibility for safety or seclusion.  In his poetry, he turns the eye of enlightenment to all phenomena: politics, pine trees, hard meditation practice, sex, wine. A lifelong outsider to religious establishments, Ikkyu nonetheless accepted Imperial command to rebuild his home temple, Daitoku-ji, destroyed in the civil wars. He died before that project was complete.

The poems in this collection express the unborn bliss of Ikkyu’s realization and equally his devastation at the horrors of this world. They are peopled with ancient Chinese poets, cantankerous Japanese Zen Masters, contemporary warlords, and his lover Mori, a blind musician who lived with Ikkyu the last eleven years of his life. All of this is his Buddhism. His awakening outshines the small idols of reason, emotion, self, desire, doctrine, even of Buddhism itself.

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Heroes of China's Great Leap Forward

Two Stories

edited by Richard King

Heroes of China’s Great Leap Forward presents contrasting narratives of the most ambitious and disastrous mass movement in modern Chinese history. The objective of the Great Leap, when it was launched in the late 1950s, was to catapult China into the ranks of the great military and industrial powers with no assistance from the outside world; it resulted in a famine that killed tens of millions of the nation’s peasants.

Li Zhun’s "A Brief Biography of Li Shuangshuang," written while the movement was underway, celebrates the Great Leap as it was supposed to be: a time of optimism, dynamism, and shared purpose. A spirited young peasant woman, freed from the restrictions of home life, launches a canteen and wins the recognition of authorities and the admiration of her husband. The story—and the film that followed it—made Li Shuangshuang the greatest fictional heroine of the Great Leap. In contrast, Zhang Yigong’s short novel The Story of the Criminal Li Tongzhong, written two decades later, was one of the first works published in China to suggest a much darker side to the Great Leap. A village official leads a raid on a state granary to feed starving peasants; he is later arrested and dies a criminal. Although Zhang stopped short of portraying the horrors of famine, his tone of moral outrage provides a rejoinder to the triumphalism of "Li Shuangshuang."

The stories are accompanied by an introduction to the Great Leap and portraits of the two writers, including their recollections of that traumatic time and the creation of their very different heroes.

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