The more than two dozen Rai languages in eastern Nepal, which make up the larger part of the Kiranti language family, are linguistically highly varied. Due to this, intergroup solidarity has been relatively weak, and Rai ethnicity must be seen as constructed in recent history. However, it is striking how the mythological narratives of these different Rai “subtribes”—oral stories about the origins of culture and the deeds of the ancestors—form a strong and coherent tradition in which the different variants of episodes possess an obvious “family resemblance.” This mythological tradition is clearly distinct from those of the neighboring Limbu, the other major Kiranti group.
This volume, which includes introductory chapters to Rai mythology and Rai grammar, for the first time brings together different variants of myths from various Rai languages, presenting them with linguistic glossings in interlinear translations. This makes it possible not only to study the myths and their cultural meanings as oral texts but also to compare narrative structures across different grammars. The book is of special interest for linguists, anthropologists, and folklorists with a focus on the Himalayas.
The past becomes readable when we can tell stories and make arguments about it. When we can tell more than one story or make divergent arguments, the readability of the past then becomes an issue. Therein lies the beginning of history, the sense of inquiry that heightens our awareness of interpretation. How do interpretive structures develop and disintegrate? What are the possibilities and limits of historical knowledge?
This book explores these issues through a study of the Zuozhuan, a foundational text in the Chinese tradition, whose rhetorical and analytical self-consciousness reveals much about the contending ways of thought unfolding during the period of the text's formation (ca. 4th c. BCE). But in what sense is this vast collection of narratives and speeches covering the period from 722 to 468 BCE "historical"? If one can speak of an emergent sense of history in this text, Wai-yee Li argues, it lies precisely at the intersection of varying conceptions of interpretation and rhetoric brought to bear on the past, within a larger context of competing solutions to the instability and disintegration represented through the events of the 255 years covered by the Zuozhuan. Even as its accounts of proliferating disorder and disintegration challenge the boundaries of readability, the deliberations on the rules of reading in the Zuozhuan probe the dimensions of historical self-consciousness.
In an age of social media and reality television, reading and consumption habits in India now demand homegrown pulp fictions. Ulka Anjaria categorizes post-2000 Indian literature and popular culture as constituting “the contemporary,” a movement defined by new and experimental forms—where high- and low-brow meet, and genres break down.
Reading India Now studies the implications of this developing trend as both the right-wing resurges and marginalized voices find expression. Anjaria explores the fiction of Chetan Bhagat and Anuja Chauhan as well as Aamir Khan’s television talk show, Satyamev Jayate, plus the work of documentarian Paromita Vohra, to argue how different kinds of texts are involved in imagining new political futures for an India in transition. Contemporary literature and popular culture in India might seem artless and capitalistic, but it is precisely its openness to the world outside that allows these new works to offer significant insight into the experiences and sensibilities of contemporary India.
Often depicted as one of the world’s most strictly isolationist and relentlessly authoritarian regimes, North Korea has remained terra incognita to foreign researchers as a site for anthropological fieldwork. Given the difficulty of gaining access to the country and its people, is it possible to examine the cultural logic and social dynamics of the Democratic People’s Republic of Korea?
In this innovative book, Sonia Ryang casts new light onto the study of North Korean culture and society by reading literary texts as sources of ethnographic data. Analyzing and interpreting the rituals and language embodied in a range of literary works published in the 1970s and 1980s, Ryang focuses critical attention on three central themes—love, war, and self—that reflect the nearly complete overlap of the personal, social, and political realms in North Korean society. The ideology embedded in these propagandistic works laid the cultural foundation for the nation as a “perpetual ritual state,” where social structures and personal relations are suspended in tribute to Kim Il Sung, the political and spiritual leader who died in 1994 but lives eternally in the hearts of his people and still weaves the social fabric of present-day North Korea.
In a formative period of Chinese culture, early medieval writers made extensive use of a diverse set of resources, in which such major philosophical classics as Laozi, Zhuangzi, and Classic of Changes featured prominently. Reading Philosophy, Writing Poetry examines how these writers understood and manipulated a shared intellectual lexicon to produce meaning. Focusing on works by some of the most important and innovative poets of the period, this book explores intertextuality—the transference, adaptation, or rewriting of signs—as a mode of reading and a condition of writing. It illuminates how a text can be seen in its full range of signifying potential within the early medieval constellation of textual connections and cultural signs.
If culture is that which connects its members past, present, and future, then the past becomes an inherited and continually replenished repository of cultural patterns and signs with which the literati maintains an organic and constantly negotiated relationship of give and take. Wendy Swartz explores how early medieval writers in China developed a distinctive mosaic of ways to participate in their cultural heritage by weaving textual strands from a shared and expanding store of literary resources into new patterns and configurations.
The contentious relationship between modernism and realism has powerfully influenced literary history throughout the twentieth century and into the present. In 1930s Korea, at a formative moment in these debates, a “crisis of representation” stemming from the loss of faith in language as a vehicle of meaningful reference to the world became a central concern of literary modernists as they operated under Japanese colonial rule.
Christopher P. Hanscom examines the critical and literary production of three prose authors central to 1930s literary circles—Pak T’aewon, Kim Yujong, and Yi T’aejun—whose works confront this crisis by critiquing the concept of transparent or “empiricist” language that formed the basis for both a nationalist literary movement and the legitimizing discourse of assimilatory colonization. Bridging literary and colonial studies, this re-reading of modernist fiction within the imperial context illuminates links between literary practice and colonial discourse and questions anew the relationship between aesthetics and politics.
The Real Modern challenges Eurocentric and nativist perspectives on the derivative particularity of non-Western literatures, opens global modernist studies to the similarities and differences of the colonial Korean case, and argues for decolonization of the ways in which non-Western literatures are read in both local and global contexts.
This is a critical edition of the Kramapatha and Jatapatha forms of recitational permutations of several sections of the Saunakiya Atharvaveda available in six rare manuscripts found in Pune, India. Such recitational variations for the Atharvaveda are no longer available in the surviving oral tradition in India, and hence the texts, critically edited here, provide rare access to these materials. Some of these recitational variations are defined in the ancient text, Saunakiya Caturadhyayika, which was recently published in a critical edition in Harvard Oriental Studies (vol. 52, 1997).
The texts offered here allow scholars to compare the recitational tradition of the Atharvaveda with those of other Vedas, which are still available in the surviving oral tradition. The edition has a detailed introduction that investigates the historical origins, development, and significance of these recitational permutations.
One of the most exciting recent developments in the study of Chinese literature has been the rediscovery of an extremely rich and diverse tradition of women's writing of the imperial period (221 BCE-1911 CE). Many of these writings are of considerable literary quality. Others provide us with moving insights into the lives and feelings of a surprisingly diverse group of women living in Confucian China, a society that perhaps more than any other is known for its patriarchal tradition.
Because of the burgeoning interest in the study of both premodern and modern women in China, several scholarly books, articles, and even anthologies of women's poetry have been published in the last two decades. This anthology differs from previous works by offering a glimpse of women's writings not only in poetry but in other genres as well, including essays and letters, drama, religious writing, and narrative fiction.
The authors have presented the selections within their respective biographical and historical contexts. This comprehensive approach helps to clarify traditional Chinese ideas on the nature and function of literature as well as on the role of the woman writer.
Reflecting the Past is the first English-language study to address the role of historiography in medieval Japan, an age at the time widely believed to be one of irreversible decline. Drawing on a decade of research, including work with medieval manuscripts, it analyzes a set of texts—eight Mirrors—that recount the past in an effort to order the world around them. They confront rebellions, civil war, “China,” attempted invasions, and even the fracturing of the court into two lines. To interrogate the significance for medieval writers of narrating such pasts as a Mirror, Erin Brightwell traces a series of innovations across these and related texts that emerge in the face of disorder. In so doing, she uncovers how a dynamic web of evolving concepts of time, place, language use, and cosmological forces was deployed to order the past in an age of unprecedented social movement and upheaval.
Despite the Mirrors’ common concerns and commitments, traditional linguistic and disciplinary boundaries have downplayed or obscured their significance for medieval thinkers. Through their treatment here as a multilingual, multi-structured genre, the Mirrors are revealed, however, as the dominant mode for reading and writing the past over almost three centuries of Japanese history.
The refugee is conventionally considered a powerless figure, eagerly cast aside by both migrant and host communities. In his book, The Refugee Aesthetic, Timothy August investigates how and why a number of Southeast Asian American artists and writers have recently embraced the figure of the refugee as a particularly transformative position. He explains how these artists, theorists, critics, and culture-makers reconstruct their place in the American imagination by identifying and critiquing the underlying structures of power that create refugees in the contemporary world.
August looks at the outside forces that shape refugee representation and how these expressions are received. He considers the visual legacy of the Southeast Asian refugee experience by analyzing music videos, graphic novels, and refugee artwork. August also examines the power of refugee literature, showing how and why Southeast Asian American writers look to the refugee position to disentangle their complicated aesthetic legacy.
Arguing that “aesthetics” should be central to the conceptualization of critical refugee studies, August shows how representational structures can galvanize or marginalize refugees, depending on how refugee aesthetics are used and circulated.
Regional Literature and the Transmission of Culture provides a richly textured picture of cultural transmission in the Qing and early Republican eras. Drum ballad texts (guci) evoke one of the most popular performance traditions of their day, a practice that flourished in North China. Study of these narratives opens up surprising new perspectives on vital topics in Chinese literature and history: the creation of regional cultural identities and their relation to a central “Chinese culture”; the relationship between oral and written cultures; the transmission of legal knowledge and popular ideals of justice; and the impact of the changing technology of the late nineteenth and early twentieth centuries on the reproduction and dissemination of popular texts.
Margaret B. Wan maps the dissemination over time and space of two legends of wise judges; their journey through oral, written, and visual media reveals a fascinating but overlooked world of “popular” literature. While drum ballads form a distinctively regional literature, lithography in early twentieth-century Shanghai drew them into national markets. The new paradigm this book offers will interest scholars of cultural history, literature, book culture, legal history, and popular culture.
During China’s transition from dynastic empire to nation-state, the crowd emerged as a salient trope. Intellectuals across the ideological spectrum have used the crowd trope to ruminate on questions of selfhood and nationhood, and to advance competing models of enlightenment and revolution.
Revolutionary Waves analyzes the centrality of the crowd in the Chinese cultural and political imagination and its global resonances by delving into a wide range of fiction, philosophy, poetry, and psychological studies. Bringing together literary studies, intellectual history, critical theory, and the history of human sciences, this interdisciplinary work highlights unexplored interactions among emerging social-scientific forms of knowledge, new aesthetic modes of representation, and changing political imperatives. The work brings into relief the complexities of the modern Chinese crowd discourse, which generated subjectivities and oriented actions, enabled as well as constrained the expression of togetherness, and thus both expanded and limited the horizon of political possibilities in the emerging age of mass politics.
The first in-depth examination of the aesthetics and politics of the crowd in modern Chinese literature and thought, Revolutionary Waves raises questions about the promise and peril of community as communion and reimagines collective life in China’s post-socialist present.
What India’s founders derived from Western political traditions as they struggled to free their country from colonial rule is widely understood. Less well-known is how India’s own rich knowledge traditions of two and a half thousand years influenced these men as they set about constructing a nation in the wake of the Raj. In Righteous Republic, Ananya Vajpeyi furnishes this missing account, a ground-breaking assessment of modern Indian political thought.
Taking five of the most important founding figures—Mohandas Gandhi, Rabindranath Tagore, Abanindranath Tagore, Jawaharlal Nehru, and B. R. Ambedkar—Vajpeyi looks at how each of them turned to classical texts in order to fashion an original sense of Indian selfhood. The diverse sources in which these leaders and thinkers immersed themselves included Buddhist literature, the Bhagavad Gita, Sanskrit poetry, the edicts of Emperor Ashoka, and the artistic and architectural achievements of the Mughal Empire. India’s founders went to these sources not to recuperate old philosophical frameworks but to invent new ones. In Righteous Republic, a portrait emerges of a group of innovative, synthetic, and cosmopolitan thinkers who succeeded in braiding together two Indian knowledge traditions, the one political and concerned with social questions, the other religious and oriented toward transcendence.
Within their vast intellectual, aesthetic, and moral inheritance, the founders searched for different aspects of the self that would allow India to come into its own as a modern nation-state. The new republic they envisaged would embody both India’s struggle for sovereignty and its quest for the self.
The greatest classic of Sindhi literature presented here in an authoritative and vivid modern English translation.
Shah Abdul Latif’s Risalo is acknowledged across Pakistan and the wider diaspora as the greatest classic of Sindhi literature. In this collection of short Sufi verses, originally composed for musical performance, the poet creates a vast imaginative world of interlocking references to traditional Islamic themes of mystical and divine love and the scenery, society, and legends of the Sindh region.
Latif (1689–1752), a contemporary of the Panjabi poet Bullhe Shah, belonged to the class of Sufi saints whose shrines remain prominent features of the Sindhi landscape. The Risalo reflects Latif’s profound engagement with the fundamental literature of Islam as well as his openness to varied local traditions, including notable poems praising the spiritual devotion of local Hindu yogis.
This edition presents, alongside the original text in the Sindhi Naskh script, the first translation of the Risalo into modern English prose, offering a new readership access to the writings of one of the masters of Sufi poetry.
As the rest of the world worries about what a future might look like under Chinese supremacy, Edward Luttwak worries about China’s own future prospects. Applying the logic of strategy for which he is well known, Luttwak argues that the most populous nation on Earth—and its second largest economy—may be headed for a fall.
For any country whose rising strength cannot go unnoticed, the universal logic of strategy allows only military or economic growth. But China is pursuing both goals simultaneously. Its military buildup and assertive foreign policy have already stirred up resistance among its neighbors, just three of whom—India, Japan, and Vietnam—together exceed China in population and wealth. Unless China’s leaders check their own ambitions, a host of countries, which are already forming tacit military coalitions, will start to impose economic restrictions as well.
Chinese leaders will find it difficult to choose between pursuing economic prosperity and increasing China’s military strength. Such a change would be hard to explain to public opinion. Moreover, Chinese leaders would have to end their reliance on ancient strategic texts such as Sun Tzu’s Art of War. While these guides might have helped in diplomatic and military conflicts within China itself, their tactics—such as deliberately provoking crises to force negotiations—turned China’s neighbors into foes. To avoid arousing the world’s enmity further, Luttwak advises, Chinese leaders would be wise to pursue a more sustainable course of economic growth combined with increasing military and diplomatic restraint.
With $4.5 trillion in total assets, the People’s Bank of China now surpasses the U.S. Federal Reserve as the world’s biggest central bank. The Rise of the People’s Bank of China investigates how this increasingly authoritative institution grew from a Leninist party-state that once jealously guarded control of banking and macroeconomic policy. Relying on interviews with key players, this book is the first comprehensive and up-to-date account of the evolution of the central banking and monetary policy system in reform China.
Stephen Bell and Hui Feng trace the bank’s ascent to Beijing’s policy circle, and explore the political and institutional dynamics behind its rise. In the early 1990s, the PBC—benefitting from political patronage and perceptions of its unique professional competency—found itself positioned to help steer the Chinese economy toward a more liberal, market-oriented system. Over the following decades, the PBC has assumed a prominent role in policy deliberations and financial reforms, such as fighting inflation, relaxing China’s exchange rate regime, managing reserves, reforming banking, and internationalizing the renminbi. Today, the People’s Bank of China confronts significant challenges in controlling inflation on the back of runaway growth, but it has established a strong track record in setting policy for both domestic reform and integration into the global economy.
An environmental humanist’s study of extractive capitalism and colonial occupation in Indian fiction.
Rogues in the Postcolony is a study of Anglophone Indian picaresque novels that dramatize the impacts of extractive capitalism and colonial occupation on local communities in several Indian states. In this materialist history of development on the subcontinent, Stacey Balkan considers works by Amitav Ghosh, Indra Sinha, and Aravind Adiga that critique violent campaigns of enclosure and dispossession at the hands of corporate entities like the English East India Company and its many legatees. By foregrounding the intersections among landscape ideology, agricultural improvement, extractive capitalism, and aesthetic expression, Rogues in the Postcolony also attends to the complicity of popular aesthetic forms with political and economic policy, as well as the colonial and extractivist logics that often frame discussions around the so-called Anthropocene epoch.
Bringing together questions about settler-colonial practices and environmental injustice, Rogues in the Postcolony concludes with an investigation of new extractivist frontiers, including solar capitalism, and considers the possibility of imagining life after extraction on the Indian subcontinent and beyond.
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