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Vol. 1 (2007) through current issue
Azalea aims to promote Korean literature among English-language readers. The first volume includes works of several contemporary Korean writers and poets, as well as essays and book reviews by Korean studies professors in the United States. Azalea will introduce to the world new writers and also promising translators. The journal will provide the academic community of Korean studies with well-translated texts for college classes. Writers from elsewhere in the world will also share their experience of Korean literature or culture with wider audiences.
Politics and Public Service
Backstage in a Bureaucracy provides a first-hand day-to-day look at running a large bureaucracy. Susan Chandler candidly shares her experiences while serving as director of the Hawai‘i State Department of Human Services for eight years, while Dick Pratt, a public administration professor and advisor to numerous public and private organizations here and abroad, offers his thoughts on what these experiences tell us about the inner workings of government agencies. Their stories—some sad, some funny, but all educational—reveal the challenges and rewards of public service.
On a spring afternoon in 1509 a local bandit found himself in the emperor's private quarters deep within the Forbidden City and in the presence of the Son of Heaven himself. This bizarre meeting was the doing of the eunuch Zhang Zhong, the emperor's personal servant and companion. In time court intrigue between competing palace eunuchs would lead to the death of this bandit-turned-rebel, setting off a massive uprising that resulted in China's largest rebellion of the sixteenth century. To understand how this extraordinary meeting came about requires a consideration of the economy of violence during the Ming Dynasty (1368-1644). Here, for the first time in any language, is a detailed look at the role of illicit violence during the Ming. Drawing on court annals, imperial law codes, administrative regulations, private writings, and local gazetteers, David Robinson recreates in vivid detail a world where heavily armed highwaymen and bandits raided the boulevards in and around the Ming capital, Beijing. He then convincingly traces the roots of this systemic mayhem to economic, ethnic, social, and institutional factors at work in local society.
It is 1969 and China is in the throes of the Cultural Revolution. The Tao family is banished to the countryside, forced to leave comfortable lives in Nanjing to be reeducated in the true nature of the revolution by the peasants of Sanyu village. The parents face exile with stoicism and teach their son to embrace reeducation wholeheartedly. Is this simple pragmatism, an attempt to protect the boy and ensure his future? Or do the banished cadres really cling to their belief in their leaders and the ideals of the Revolution? These questions remain tantalizingly unanswered in this prize-winning first novel.
The Institutions and Cultures of Philippine Sugar
This innovative ethnography takes a new approach to the study of Philippine sugar. For much of the late colonial history of the Philippines, sugar was its most lucrative export, the biggest employer, and the greatest source of political influence. The so-called "Sugar Barons"--wealthy hacendero planters located mainly in Central Luzon and on the Visayan island of Negros--gained the reputation as kingmakers and became noted for their lavish lifestyles and the quasi-feudal nature of their estates. But Philippine sugar gradually declined into obsolescence; today it is regarded as a "sunset industry" that can barely satisfy domestic demand. While planters continue to think of themselves as wielding considerable power and influence, they are more often seen as vestiges of a bygone era. Michael Billig examines sugar's decline within both the dynamic context of contemporary Philippine society and the global context of the international sugar market. His multi-sited ethnographic analysis focuses mainly on conflicts among the various elite sectors (planters, millers, traders, commercial buyers, politicians) and concludes that the most salient political, economic, and cultural trend in the Philippines today is the decline of rural, agrarian elite power and the rise of urban industrial, commercial, and financial power. His reflections on his relationships with informants in the midst of the politically charged atmosphere that surrounds the sugar industry provide a candid look at the role of the observer who, try as he might to remain impartial, finds himself swept into the vortex of policy debates and power plays.
The Zhuangzi and the Transformation of Haikai
Although haiku is well known throughout the world, few outside Japan are familiar with its precursor, haikai (comic linked verse). Fewer still are aware of the role played by the Chinese Daoist classics in turning haikai into a respected literary art form. Bashō and the Dao examines the haikai poets’ adaptation of Daoist classics, particularly the Zhuangzi, in the seventeenth century and the eventual transformation of haikai from frivolous verse to high poetry. The author analyzes haikai’s encounter with the Zhuangzi through its intertextual relations with the works of Bashō and other major haikai poets, and also the nature and characteristics of haikai that sustained the Zhuangzi’s relevance to haikai poetic construction. She demonstrates how the haikai poets’ interest in this Daoist work was rooted in the intersection of deconstructing and reconstructing the classical Japanese poetic tradition. Well versed in both Chinese and Japanese scholarship, Qiu explores the significance of Daoist ideas in Bashō’s and others’ conceptions of haikai. Her method involves an extensive hermeneutic reading of haikai texts, an in-depth analysis of the connection between Chinese and Japanese poetic terminology, and a comparison of Daoist traits in both traditions. The result is a penetrating study of key ideas that have been instrumental in defining and rediscovering the poetic essence of haikai verse. Bashō and the Dao adds to an increasingly vibrant area of academic inquiry—the complex literary and cultural relations between Japan and China in the early modern era. Researchers and students of East Asian literature, philosophy, and cultural criticism will find this book a valuable contribution to cross-cultural literary studies and comparative aesthetics.
Stories and Essays by Sato Haruo
Sato Haruo has been called one of the most representative writers of the Taisho era (1912-1926), a transitional period following Japan's monumental push toward modernization. Although he never identified himself as a modernist, Sato exhibited what some writers have identified as a characteristic of modernism: a complex net of contradictory impulses that embrace both the revolutionary and the conservative, revealing both an optimistic looking to the future and a pessimistic nostalgia for the past. Six stories of amazing diversity and two critical essays revealing the understated Japanese ideals of beauty make up this volume, all translated into English for the first time. Forming a sequel to the three stories published in Sato's The Sick Rose, these stories exhibit an extraordinary variety of themes and styles, ranging from poetic fairy tales to psychological portraits to who-done-it crime stories. The title story is a utopian dream of a better city, populated by ideal people, that vanishes in a mirage. Another tale portrays the loneliness of a man unsuccessful with women. A third embellishes a bare Basho haiku about the man next door. Here too are the dream ballad of a Chinese prince, the imaginary world of a mad Japanese artist in Paris, and the probing search for an opium-drugged murderer. Sato's critical essays that conclude this volume have their themes in an exploration of the sad beauty of impermanence, the nature of enlightenment, the awareness of self, the merging of the instant and the eternal, and the "self-indulgent, unrestrained beauty" of the Japanese language. This collection not only affords insights into the complexity of the work of a gifted writer, but also significantly broadens the perspective of the literary world of the Taisho period.
The Art and Identity Crisis of Yasuo Kuniyoshi
"A few short days has changed my status in this country, although I myself have not changed at all."
On December 8, 1941, artist Yasuo Kuniyoshi (1889-1953) awoke to find himself branded an "enemy alien" by the U.S. government in the aftermath of Japan’s attack on Pearl Harbor. The historical crisis forced Kuniyoshi, an émigré Japanese with a distinguished career in American art, to rethink his pictorial strategies and to confront questions of loyalty, assimilation, national and racial identity that he had carefully avoided in his prewar art. As an immigrant who had proclaimed himself to be as "American as the next fellow," the realization of his now fractured and precarious status catalyzed the development of an emphatic and conscious identity construct that would underlie Kuniyoshi’s art and public image for the remainder of his life.
Drawing on previously unexamined primary sources, Becoming American? is the first scholarly book in over two decades to offer an in-depth and critical analysis of Yasuo Kuniyoshi’s pivotal works, including his "anti-Japan" posters and radio broadcasts for U.S. propaganda, and his coded and increasingly enigmatic paintings, within their historical contexts. Through the prism of an identity crisis, the book examines Kuniyoshi’s imagery and writings as vital means for him to engage, albeit often reluctantly and ambivalently, in discussions about American democracy and ideals at a time when racial and national origins were grounds for mass incarceration and discrimination. It is also among the first scholarly studies to investigate the activities of Americans of Japanese descent outside the internment camps and the intense pressures with which they had to deal in the aftermath of Pearl Harbor.
As an art historical book, Becoming American? foregrounds broader historical debates of what constituted American art, a central preoccupation of Kuniyoshi’s artistic milieu. It illuminates the complicating factors of race, diasporas, and ideology in the construction of an American cultural identity. Timely and provocative, the book historicizes and elucidates the ways in which "minority" artists have been, and continue to be, both championed and marginalized for their cultural and ethnic "difference" within the twentieth-century American art canon.
Scripting Modernity in Japanese Drama, 1900-1930
In the opening decades of the twentieth century in Japan, practically every major author wrote plays that were published and performed. The plays were seen not simply as the emergence of a new literary form but as a manifestation of modernity itself, transforming the stage into a site for the exploration of new ideas and ways of being. A Beggar’s Art is the first book in English to examine the full range of early twentieth-century Japanese drama. Accompanying his study, M. Cody Poulton provides his translations of representative one-act plays. Poulton looks at the emergence of drama as a modern literary and artistic form and chronicles the creation of modern Japanese drama as a reaction to both traditional (particularly kabuki) dramaturgy and European drama. Translations and productions of the latter became the model for the so-called New Theater (shingeki), where the question of how to be both modern and Japanese at the same time was hotly contested. Following introductory essays on the development of Japanese drama from the 1880s to the early 1930s, are translations of nine seminal one-act plays by nine dramatists, including two women, Okada Yachiyo and Hasegawa Shigure. The subject matter of these plays is that of modern drama everywhere: discord between men and women, between parents and children, and the resulting disintegration of marriages and families. Both the bourgeoisie and the proletariat make their appearances; modern pretensions are lampooned and modern predicaments lamented in equal measure. Realism (as evidenced in the plays of Kikuchi Kan and Tanaka Chikao) prevails as the mode of modernity, but other styles are presented: the symbolism of Izumi Kyoka, Suzuki Senzaburo’s brittle melodrama, Kubota Mantaro’s minimalistic lyricism, Akita Ujaku’s politically incisive expressionism, and even a proto-absurdist work by Japan’s master of prewar drama, Kishida Kunio. With its combination of new translations and informative and theoretically engaging essays, A Beggar’s Art will prove invaluable for students and researchers in world theater and Japanese studies, particularly those with an interest in modern Japanese literature and culture.
An analytically innovative work, Begin Here widens the current critical focus of Asian North American literary studies by proposing an integrated thematic and narratological approach to the practice of autobiography. It demonstrates how Asian North American memoirs of childhood challenge the construction and performative potential of national experiences. This understanding influences theoretical approaches to ethnic life writing, expanding the boundaries of traditional autobiography by negotiating narrative techniques and genre and raising complex questions about self-representation and the construction of cultural memory. By examining the artistic project of some fifty Asian North American writers who deploy their childhood narratives in the representation of the individual processes of self-identification and negotiation of cultural and national affiliation, this work provides a comprehensive overview of Asian North American autobiographies of childhood published over the last century. Importantly, it also attends to new ways of writing autobiographies, employing comics, blending verse, prose, diaries, and life writing for children, and using relational approaches to self-identification, among others.