Suitable for college and high school students and those learning on their own, this fully illustrated coursebook provides comprehensive instruction in the history and practical techniques of Chinese calligraphy. No previous knowledge of the language is required to follow the text or complete the lessons. The work covers three major areas: 1) descriptions of Chinese characters and their components, including stroke types, layout patterns, and indications of sound and meaning; 2) basic brush techniques; and 3) the social, cultural, historical, and philosophical underpinnings of Chinese calligraphy—all of which are crucial to understanding and appreciating this art form. Students practice brush writing as they progress from tracing to copying to free-hand writing. Model characters are marked to indicate meaning and stroke order, and well-known model phrases are shown in various script types, allowing students to practice different calligraphic styles. Beginners will find the author’s advice on how to avoid common pitfalls in writing brush strokes invaluable. Chinese Writing and Calligraphy will be welcomed by both students and instructors in need of an accessible text on learning the fundamentals of the art of writing Chinese characters.

For centuries the accommodation between Japan and Christianity has been an uneasy one. Compared with others of its Asian neighbors, the churches in Japan have never counted more than a small minority of believers more or less resigned to patterns of ritual and belief transplanted from the West. But there is another side to the story, one little known and rarely told: the rise of indigenous movements aimed at a Christianity that is at once made in Japan and faithful to the scriptures and apostolic tradition. Christianity Made in Japan draws on extensive field research to give an intriguing and sympathetic look behind the scenes and into the lives of the leaders and followers of several indigenous movements in Japan. Focusing on the "native" response rather than Western missionary efforts and intentions, it presents varieties of new interpretations of the Christian tradition. It gives voice to the unheard perceptions and views of many Japanese Christians, while raising questions vital to the self-understanding of Christianity as a truly "world religion." This ground-breaking study makes a largely unknown religious world accessible to outsiders for the first time. Students and scholars alike will find it a valuable addition to the literature on Japanese religions and society and on the development of Christianity outside the West. By offering an alternative approach to the study and understanding of Christianity as a world religion and the complicated process of cross-cultural diffusion, it represents a landmark that will define future research in the field.

Pierre Loti’s novel Madame Chrysanthème (1888) enjoyed great popularity during the author’s lifetime, served as a source of Puccini’s opera Madama Butterfly, and remains in print to this day as a classic in Western literature. Loti’s story, cast in the form of his fictionalized diary, describes the affair between a French naval officer and Chrysanthème, a temporary "bride" purchased in Nagasaki. More broadly, Loti’s novel helped define the terms in which Occidentals perceived Japan as delicate, feminine, and, to use one of Loti’s favorite words, "preposterous"—in short, ripe for exploitation. The Pink Notebook of Madame Chrysanthème (1893) sought, according to a newspaper reviewer at the time, "to avenge Japan for the adjectives that Pierre Loti has inflicted on it." Written by Félix Régamey, a talented illustrator with firsthand knowledge of Japan, The Pink Notebook retells Loti’s story but this time as the diary of Chrysanthème. The book, presented here in English for the first time and together with the original French text and illustrations by Régamey and others, is certainly surprising in its late nineteenth-century context. Its retelling of a classic tale from the position of a character marginalized by her sex and race provocatively anticipates certain aspects of postmodern literature. Translator Christopher Reed’s rich and satisfying introduction compares Loti and Régamey in relation to attitudes toward Japan held by notable Japonistes Vincent van Gogh, Lafcadio Hearn, Edmond de Goncourt, and Philippe Burty. Reed provides further intellectual context by including new translations of excerpts from Loti’s novel as well as a portion of the travel journal of Régamey’s travel companion, the renowned collector Emile Guimet. Reed’s emphasis on competing Western ideas about Japan challenges conventional scholarly generalizations concerning Japanism in this era. This elegant translation of The Pink Notebook and Japoniste documents will delight both general and specialized readers, particularly those interested in the ambiguities in the dynamics of nationalism, gender, identification, and exploitation that, since the nineteenth century, have characterized the West’s relationship to Japan.

Although little known in the West, Kajiyama Toshiyuki was one of Japan's most prolific and popular writers. The son of a civil engineer, Kajiyama was born in Seoul in 1930 and remained there until his family was repatriated to Japan at the end of [World War II]. The Clan Records: Five stories of Korea not only offers a sampling of Kajiyama's work in English for the first time but also represents the first English translations from the Japanese that deal with Korea under Japan's harsh military rule, which lasted from 1910 to 1945.

"Complex and imaginative" --Journal of Southeast Asian Studies 32 (2001) "This book is truly a fabulous tale in all senses of the word.... Aguilar combines innovation and sound scholarship to provide insights into another dimension of the Filipino past and substantially expands our conceptualization of 'history from below'." --American Historical Review, October 2000 "In addition to being a talented researcher, Aguilar writes with ease and grace. His book is particularly insightful, albeit a definite downer." --Journal of Asian Studies, August 2000 "This is a world-class original work in which the author, Filomeno Aguilar, combines the skills of a historian, political scientist, anthropologist, and even a bit of an economist in a fascinating inquiry on the history of the island of Negros.... A delightful book." --Pilipinas

It is well known that Taiwan and South Korea, both former Japanese colonies, achieved rapid growth and industrialization after 1960. The performance of former European and American colonies (Malaysia, Singapore, Burma, Vietnam, Laos, Cambodia, Indonesia, and the Philippines) has been less impressive. Some scholars have attributed the difference to better infrastructure and greater access to education in Japan’s colonies. Anne Booth examines and critiques such arguments in this ambitious comparative study of economic development in East and Southeast Asia from the beginning of the twentieth century until the 1960s. Booth takes an in-depth look at the nature and consequences of colonial policies for a wide range of factors, including the growth of export-oriented agriculture and the development of manufacturing industry. She evaluates the impact of colonial policies on the growth and diversification of the market economy and on the welfare of indigenous populations. Indicators such as educational enrollments, infant mortality rates, and crude death rates are used to compare living standards across East and Southeast Asia in the 1930s. Her analysis of the impact that Japan’s Greater Asian Co-Prosperity Sphere and later invasion and conquest had on the region and the living standards of its people leads to a discussion of the painful and protracted transition to independence following Japan’s defeat. Throughout Booth emphasizes the great variety of economic and social policies pursued by the various colonial governments and the diversity of outcomes. Lucidly and accessibly written, Colonial Legacies offers a balanced and elegantly nuanced exploration of a complex historical reality. It will be a lasting contribution to scholarship on the modern economic history of East and Southeast Asia and of special interest to those concerned with the dynamics of development and the history of colonial regimes.

In October 1943, twenty-seven-year-old combat infantry chaplain Israel Yost arrived in Italy with the 100th Battalion, a little-known National Guard unit of mostly Japanese Americans from Hawai‘i. Yost was apprehensive when he learned of his assignment to this unusual unit composed of soldiers with whom he felt he had little in common and who were mostly Buddhists. But this would soon change. For the next nineteen months at the front—from Salerno to Monte Cassino to Anzio to Bruyeres—Yost assisted medics, retrieved bodies from the battlefield, buried enemy soldiers, struggled to bolster morale as the number of casualties rose higher and higher, and wrote countless letters of condolence, all in addition to fulfilling his ministerial duties, which included preaching in the foxholes. Although his sermons won few converts, Yost’s tireless energy and concern for others earned him admiration from his fellow soldiers, who often turned to him as a trusted friend and spiritual advisor. Forty years after the war had ended, with the help of his field diaries and the letters he had written almost daily to his wife, Yost wrote of his wartime experiences in the hopes that they might one day be published as a record of the remarkable character and accomplishments of the 100th. Combat Chaplain presents this heartfelt memoir intact. with the addition of photographs and subsequent letters and speeches by Yost and other veterans.

The issue of sinification—the manner and extent to which Buddhism and Chinese culture were transformed through their mutual encounter and dialogue—has dominated the study of Chinese Buddhism for much of the past century. Robert Sharf opens this important and far-reaching book by raising a host of historical and hermeneutical problems with the encounter paradigm and the master narrative on which it is based. Coming to Terms with Chinese Buddhism is, among other things, an extended reflection on the theoretical foundations and conceptual categories that undergird the study of medieval Chinese Buddhism. Sharf draws his argument in part from a meticulous historical, philological, and philosophical analysis of the Treasure Store Treatise (Pao-tsang lun), an eighth-century Buddho-Taoist work apocryphally attributed to the fifth-century master Seng-chao (374–414). In the process of coming to terms with this recondite text, Sharf ventures into all manner of subjects bearing on our understanding of medieval Chinese Buddhism, from the evolution of T’ang "gentry Taoism" to the pivotal role of image veneration and the problematic status of Chinese Tantra. The volume includes a complete annotated translation of the Treasure Store Treatise, accompanied by the detailed exegesis of dozens of key terms and concepts.

Existing literature on the Chinese Revolution takes into account the influence of peasant society on Mao’s ideas and policies but rarely discusses a reverse effect of comparable significance: namely, how peasant cadres were affected by the urban environment into which they moved. In this detailed examination of the cultural dimension of regime change in the early years of the Revolution, James Gao looks at how rural-based cadres changed and were changed by the urban culture that they were sent to dominate. He investigates how Communist cadres at the middle and lower levels left their familiar rural environment to take over the city of Hangzhou and how they consolidated political control, established economic stability, developed institutional reforms, and created political rituals to transform the urban culture. His book analyzes the interplay between revolutionary and non-revolutionary culture with respect to the varying degrees with which they resisted and adapted to each other. It reveals the essential role of cultural identity in legitimizing the new regime and keeping its revolutionary ideal alive.

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Asian theatre is usually studied from the perspective of the major traditions of China, Japan, India, and Indonesia. Now, in this wide-ranging look at the contemporary theatre scene in Southeast Asia, Catherine Diamond shows that performance in some of the lesser known theatre traditions offers a vivid and fascinating picture of the rapidly changing societies in the region. Diamond examines how traditional, modern, and contemporary dramatic works, with their interconnected styles, stories, and ideas, are being presented for local audiences. She not only places performances in their historical and cultural contexts, but also connects them to the social, political, linguistic, and religious movements of the last two decades.

Each chapter addresses theatre in a different country and highlights performances exhibiting the unique conditions and concerns of a particular place and time. Most performances revolve in some manner around “contemporary modernity,” questioning what it means—for good or ill—to be a part of the globalized world. In addition, chapters are grouped by three general and overlapping themes. The first, which includes Thailand, Vietnam, and Bali, is defined by the increased participation of women in the performing arts—not only as performers, but also as playwrights and directors. Cambodia, Singapore, and Myanmar are linked by a shared concern with the effects of censorship on theatre production. A third group, the Philippines, Laos, and Malaysia, is characterized by their focus on nationalism: theatres are either contributing to official versions of historical and political events or creating alternative narratives that challenge those interpretations.

Communities of Imagination shows the many influences of the past and how it continues to affect cultural perceptions. It addresses major trends, suggesting why they have developed and why they are popular with the public. It also underscores how theatre continues to attract new practitioners and reflect the changing aspirations and anxieties of societies in immediate and provocative ways even as it is being marginalized by television, film, and the internet. The book will be of interest to students and scholars of theatre and performance, Asian literature, Southeast Asian studies, cultural studies, and gender studies. Travelers who view attending local performances as important to their experience abroad will find it an essential reference to theatres of the region.

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