Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
Vol. 1 (2002) - vol. 5 (2006)
Founded by Alu Like's Native Hawaiian Library and published by Kamehameha Schools Press in association with the University of Hawai'i Press, this unique new resource aims to enhance the use and understanding of the Hawaiian language by publishing archival Hawaiian language materials. These include the Hawaiian Ethnological Notes from Bishop Museum compiled by Mary Puku'i; government documents; Hawaiian-language newspapers; and cultural materials such as selected mele (songs and chants).
According to a myth constructed after Japan’s surrender to the Allied Forces in 1945, kabuki was a pure, classical art form with no real place in modern Japanese society. In Kabuki’s Forgotten War, senior theater scholar James R. Brandon calls this view into question and makes a compelling case that, up to the very end of the Pacific War, kabuki was a living theater and, as an institution, an active participant in contemporary events, rising and falling in consonance with Japan’s imperial adventures. Drawing extensively from Japanese sources—books, newspapers, magazines, war reports, speeches, scripts, and diaries—Brandon shows that kabuki played an important role in Japan’s Fifteen-Year Sacred War. He reveals, for example, that kabuki stars raised funds to buy fighter and bomber aircraft for the imperial forces and that pro-ducers arranged large-scale tours for kabuki troupes to entertain soldiers stationed in Manchuria, China, and Korea. Kabuki playwrights contributed no less than 160 new plays that dramatized frontline battles or rewrote history to propagate imperial ideology. Abridged by censors, molded by the Bureau of Information, and partially incorporated into the League of Touring Theaters, kabuki reached new audiences as it expanded along with the new Japanese empire. By the end of the war, however, it had fallen from government favor and in 1944–1946 it nearly expired when Japanese government decrees banished leading kabuki companies to minor urban theaters and the countryside. Kabuki’s Forgotten War includes more than a hundred illustrations, many of which have never been published in an English-language work. It is nothing less than a com-plete revision of kabuki’s recent history and as such goes beyond correcting a significant misconception. This new study remedies a historical absence that has distorted our understanding of Japan’s imperial enterprise and its aftermath.
Ka-Ching! is a book of poems that explores America’s obsession with money. It also includes a crown of sonnets about e-bay, sestinas on the subjects of Sean Penn and the main characters of fairytales, a pantoum that riffs on a childhood riddle, and a villanelle inspired by bathroom grafitti.
Tokugawa Culture Observed
Engelbert Kaempfer's History of Japan was a best-seller from the moment it was published in London in 1727. Born in Westphalia in 1651, Kaempfer traveled throughout the Near and Far East before settling in Japan as physician to the trading settlement of the Dutch East India Company at Nagasaki. During his two years residence, he made two extensive trips around Japan in 1691 and 1692, collecting, according to the British historian Boxer, "an astonishing amount of valuable and accurate information." He also learned all he could from the few Japanese who came to Deshima for instruction in the European sciences. To these observations, Kaempfer added details he had gathered from a wide reading of travelers' accounts and the reports of previous trading delegations. The result was the first scholarly study of Tokugawa Japan in the West, a work that greatly influenced the European view of Japan throughout the eighteenth and nineteenth centuries, serving as a reference for a variety of works ranging from encyclopedias to the libretto of "The Mikado."
The Hidden Openness of Tradition
"In Kafka's Jewish Languages David Suchoff quite persuasively argues that the Germanic interplay between high and low (Yiddish) languages and the rise of modern Hebrew account for far more of the plays and innovations of Kafka's writing than has previously been acknowledged. Suchoff's diligent, innovative, and supremely intelligent work adds significantly to Kafka scholarship and Judaic studies."--Henry Sussman, Yale University After Franz Kafka died in 1924, his novels and short stories were published in ways that downplayed both their author's roots in Prague and his engagement with Jewish tradition and language, so as to secure their place in the German literary canon. Now, nearly a century after Kafka began to create his fictions, Germany, Israel, and the Czech Republic lay claim to his legacy. Kafka's Jewish Languages brings Kafka's stature as a specifically Jewish writer into focus. David Suchoff explores the Yiddish and modern Hebrew that inspired Kafka's vision of tradition. Citing the Jewish sources crucial to the development of Kafka's style, the book demonstrates the intimate relationship between the author's Jewish modes of expression and the larger literary significance of his works. Suchoff shows how "The Judgment" evokes Yiddish as a language of comic curse and examines how Yiddish, African American, and culturally Zionist voices appear in the unfinished novel, Amerika. In his reading of The Trial, Suchoff highlights the black humor Kafka learned from the Yiddish theater, and he interprets The Castle in light of Kafka's involvement with the renewal of the Hebrew language. Finally, he uncovers the Yiddish and Hebrew meanings behind Kafka's "Josephine the Singer, or the Mouse-Folk" and considers the recent legal case in Tel Aviv over the possession of Kafka's missing manuscripts as a parable of the transnational meanings of his writing. David Suchoff is Professor of English at Colby College.
Factionalism, Traditionalism, and Nationalism in a Mohawk Community
The core of Kahnawà:ke’s cultural and political revitalization involved efforts to revive and refashion the community’s traditional political institutions, reforge ties to and identification with the Iroquois Confederacy, and reestablish the traditional longhouse within the community. Gerald F. Reid interprets these developments as the result of the community’s efforts to deal with internal ecological, economic, and political pressures and the external pressures for assimilation, particularly as they stemmed from Canadian Indian policy. Factionalism was a consequence of these pressures and an important ingredient in the development of traditionalist and nationalist responses within the community. These responses within Kahnawà:ke also contributed to and were supported by similar processes of revitalization in other Iroquois communities.
Drawing on primary documents and numerous oral histories, Kahnawà:ke provides a detailed ethnohistory of a major Kanien’keká:ka community at a turbulent and transformative time in its history and the history of the Iroquois Confederacy. It not only makes an important contribution to the understanding of this vital but little studied community but also sheds new light on recent Iroquois history and Native political and cultural revitalization.
This book is the first comprehensive study of the music and career of contemporary composer Kaija Saariaho. Born in Finland in 1952, Saariaho received her early musical training at the Sibelius Academy, where her close circle included composer and conductor Esa-Pekka Salonen. She has since become internationally known and recognized for her operas L'amour de loin and Adriana Mater and other works that involve electronic music. Her influences include the spectral analysis of timbre, especially string sounds, micropolyphonic techniques, the visual and literary arts, and sounds in the natural world. Pirkko Moisala approaches the unique characteristics of Saariaho's music through composition sketches, scores, critical reviews, and interviews with the composer and her trusted musicians.
A Collective Memory (Ka Hokuwelowelo)
Between 1866 and 1969, an estimated 8,000 individuals—at least 90 percent of whom were Native Hawaiians—were sent to Molokai’s remote Kalaupapa peninsula because they were believed to have leprosy. Unwilling to accept the loss of their families, homes, and citizenship, these individuals ensured they would be accorded their rightful place in history. They left a powerful testimony of their lives in the form of letters, petitions, music, memoirs, and oral history interviews. Kalaupapa combines more than 200 hours of interviews with archival documents, including over 300 letters and petitions written by the earliest residents translated from Hawaiian.
It has long been assumed that those sent to Kalaupapa were unconcerned with the world they were forced to leave behind. The present work shows that residents remained actively interested and involved in life beyond Kalaupapa. They petitioned the Hawaii Legislative Assembly in 1874, seeking justice. They fervently supported Queen Liliuokalani and the Hawaiian Kingdom prior to annexation and contributed to the relief effort in Europe following World War I. In 1997 Kalaupapa residents advocated at the United Nations together with people affected by leprosy from around the world.
This book presents at long last the story of Kalaupapa as told by its people.
The title of this collection of poetry, Kale ya Washairi wa Pemba: Kamange na Sarahani is translated as, ìThe Past of Pemba Poets: Kamange and Sarahaniî. Pemba, for those who may need reminding is the smaller of the two islands known as Zanzibar, the other being Unguja. The poets whose works make up the collection lived between the last half of the 19th and early 20th century in Pemba, but their poetry was known and much appreciated throughout the Swahili world of the time, meaning the coastal towns of East Africa, in particular, Mombasa, Lamu, Zanzibar and other settlements. The two famous and rival poets, Kamange and Sarahani, were influenced, as all artists inevitably are, by their environment and culture, among the most important of its manifestations being religion and language. Both of them were Muslims, and were therefore influenced by Islamic literature and Arabic language. But they were also influenced by the multiplicity of Swahili sub-cultures and dialects ñ which were not in fact called Swahili but Kim vita, Kiamu, Kipemba, Kimrima and Kivumba respectively (for the Swahili spoken in Mombasa, Lamu, Pemba, Vanga and Wasini off the Southern Kenya coast) and several others. One aspect of the richness of the collection of Kamange and Sarahaniís poetry is the length and breadth of their command of the different dialects. At the height of their fame, the two poets divided the world of poetry into followers of Kamange or Sarahani. This rivalry became even fiercer after Kamangeís death with Sarahani refusing to be engaged in it, because as he voiced it, in the absence of his real sparring partner there was no one to pit himself against. Kamange was the boisterous, and daring one writing on subjects of love and bravery while Sarahani was interested in religion erudition, philosophy and moral instruction. The collectors of the poems, Abdurrahman Saggaf Alawy and Ali Abdala El Maawy saved the poems from extinction after the1964 revolution in Zanzibar and kept them for more than forty years before presenting them to Abdilatif Abdala, editor of this collection (himself a renowned poet) to find a publisher for them. This is a real treasure of Swahili poetry that will open up a new window to the richness of Swahili literary and poetic culture.
The Alexandrian Library and the Origins of Bibliography
The famous library of Alexandria, founded around 295 BCE by Ptolemaios I, housed the greatest collection of texts in the ancient world and was a fertile site of Hellenistic scholarship. Rudolf Blum’s landmark study, originally published in German in 1977, argues that Kallimachos of Kyrene was not only the second director of the Alexandrian library but also the inventor of two essential scholarly tools still in use to this day: the library catalog and the “biobibliographical” reference work. Kallimachos expanded the library’s inventory lists into volumes called the Pinakes, which extensively described and categorized each work and became in effect a Greek national bibliography and the source and paradigm for most later bibliographic lists of Greek literature. Though the Pinakes have not survived, Blum attempts a detailed reconstruction of Kallimachos’s inventories and catalogs based on a careful analysis of surviving sources, which are presented here in full translation.