The exceptionally powerful Chinese women leaders of the late seventh and early eighth centuries—including Wu Zhao, the Taiping and Anle princesses, Empress Wei, and Shangguan Wan’er—though quite prominent in the Chinese cultural tradition, remain elusive and often misunderstood or essentialized throughout history. Transgressive Typologies utilizes a new, multidisciplinary approach to understand how these figures’ historical identities are constructed in the mainstream secular literary-historical tradition and to analyze the points of view that inform these constructions.
Using close readings and rereadings of primary texts written in medieval China through later imperial times, this study elucidates narrative typologies and motifs associated with these women to explore how their power is rhetorically framed, gendered, and ultimately deemed transgressive. Rebecca Doran offers a new understanding of major female figures of the Tang era within their literary-historical contexts, and delves into critical questions about the relationship between Chinese historiography, reception-history, and the process of image-making and cultural construction.
The timeless human desire to be more beautiful, intelligent, healthy, athletic, or young has given rise in our time to technologies of human enhancement. Athletes use drugs to increase their strength or stamina; cosmetic surgery is widely used to improve physical appearance; millions of men take drugs like Viagra to enhance sexual performance. And today researchers are exploring technologies such as cell regeneration and implantable devices that interact directly with the brain. Some condemn these developments as a new kind of cheating—not just in sports but in life itself—promising rewards without effort and depriving us most of all of what it means to be authentic human beings. “Transhumanists,” on the other hand, reject what they see as a rationalizing of human limits, as if being human means being content forever with underachieving bodies and brains. To be human, they insist, is to be restless with possibilities, always eager to transcend biological limits.
As the debate grows in urgency, how should theology respond? Christian theologians recognize truth on both sides of the argument, pointing out how the yearnings of the transhumanists—if not their technological methods—find deep affinities in Christian belief. In this volume, Ronald Cole-Turner has joined seasoned scholars and younger, emerging voices together to bring fresh insight into the technologies that are already reshaping the future of Christian life and hope.
Transhumanism posits that humanity is on the verge of rapid evolutionary change as a result of emerging technologies and increased global consciousness. However, this insight is dismissed as a naive and controversial reframing of posthumanist thought, having also been vilified as “the most dangerous idea in the world” by Francis Fukuyama. In this book, Andrew Pilsch counters these critiques, arguing instead that transhumanism’s utopian rhetoric actively imagines radical new futures for the species and its habitat.
Pilsch situates contemporary transhumanism within the longer history of a rhetorical mode he calls “evolutionary futurism” that unifies diverse texts, philosophies, and theories of science and technology that anticipate a radical explosion in humanity’s cognitive, physical, and cultural potentialities. By conceptualizing transhumanism as a rhetoric, as opposed to an obscure group of fringe figures, he explores the intersection of three major paradigms shaping contemporary Western intellectual life: cybernetics, evolutionary biology, and spiritualism. In analyzing this collision, his work traces the belief in a digital, evolutionary, and collective future through a broad range of texts written by theologians and mystics, biologists and computer scientists, political philosophers and economic thinkers, conceptual artists and Golden Age science fiction writers. Unearthing the long history of evolutionary futurism, Pilsch concludes, allows us to more clearly see the novel contributions that transhumanism offers for escaping our current geopolitical bind by inspiring radical utopian thought.
Transiciones is a thorough ethnography of seven Latino students in transition between high school and community college or university. Data gathered over two years of interviews with the students, their high school English teachers, and their writing teachers and administrators at postsecondary institutions reveal a rich picture of the conflicted experience of these students as they attempted to balance the demands of schooling with a variety of personal responsibilities.
Todd Ruecker explores the disconnect between students’ writing experiences in high school and higher education and examines the integral role that writing plays in college. Considering the almost universal requirement that students take a writing class in their critical first year of college, he contends that it is essential for composition researchers and teachers to gain a fuller understanding of the role they play in supporting and hindering Latina and Latino students’ transition to college.
Arguing for situating writing programs in larger discussions of high school/college alignment, student engagement, and retention, Transiciones raises the profile of what writing programs can do while calling composition teachers, administrators, and scholars to engage in more collaboration across the institution, across institutions, and across disciplines to make the transition from high school to college writing more successful for this important group of students.
In this probing study, Eric Freedman focuses on what images from photography, mobile communications, and the Internet reveal about looking. Exploring subjectivity by critically examining the look, he elaborates on the nature of the photographic frame and its relation to interpretive practices. Freedman scrutinizes what he calls "technobiography"—a life written through technology, and considers the movement of personal images into public spaces. He also considers authorship that situates the self as inherently engaged with and inscribed by information technology.
All of the chapters in Transient Images explore Freedman's interest in examining how media technologies activate particular notions of self and community. He provides examples that address trauma—pictures of missing children on milk cartons and episodes of the reality series Intervention—as well as the strategies behind creating and distributing personal advertisements on the Internet. Transient Images draws out the tensions that exist in images circulating in the digital era.
Landscape—the unique combination of landforms, plants, animals, and weather that compose any natural place—is inherently transient. Each essay in Transient Landscapes introduces this idea of a constantly metamorphosing global landscape, revealing how to see the ubiquity of landscape transience, both that which results through Earth’s natural environmental and climatological processes and that which comes from human intervention.
The essays are grouped by type of environmental change: long-term, large-scale transformation driven by geologic forces such as tectonic uplift and volcanism; natural variability at shorter time scales, such as seasonal flooding; and modifications resulting from human activities, such as timber harvest, land drainage, and pollution. Each essay is set in a unique geographic location—including such diverse places as New Zealand, Northern California, Costa Rica, and the Scottish Highlands—and is largely drawn from Wohl’s personal experience researching in the field.
A combination of travel writing, nature writing, and science writing, Transient Landscapes is a beautiful and thoughtful journey through the natural world.
What might be gained from reading Native literatures from global rather than exclusively local perspectives of Indigenous struggle? In Trans-Indigenous, Chadwick Allen proposes methodologies for a global Native literary studies based on focused comparisons of diverse texts, contexts, and traditions in order to foreground the richness of Indigenous self-representation and the complexity of Indigenous agency.
Through demonstrations of distinct forms of juxtaposition—across historical periods and geographical borders, across tribes and nations, across the Indigenous–settler binary, across genre and media—Allen reclaims aspects of the Indigenous archive from North America, Hawaii, Aotearoa New Zealand, and Australia that have been largely left out of the scholarly conversation. He engages systems of Indigenous aesthetics—such as the pictographic discourse of Plains Indian winter counts, the semiotics of Navajo weaving, and Maori carving traditions, as well as Indigenous technologies like large-scale North American earthworks and Polynesian ocean-voyaging waka—for the interpretation of contemporary Indigenous texts. The result is a provocative reorienting of the call for Native intellectual, artistic, and literary sovereignty that fully prioritizes the global Indigenous.
In 1761 and again in 1768, European scientists raced around the world to observe the transit of Venus, a rare astronomical event in which the planet Venus passes in front of the sun. In The Transit of Empire, Jodi A. Byrd explores how indigeneity functions as transit, a trajectory of movement that serves as precedent within U.S. imperial history. Byrd argues that contemporary U.S. empire expands itself through a transferable “Indianness” that facilitates acquisitions of lands, territories, and resources.
Examining an array of literary texts, historical moments, and pending legislations—from the Cherokee Nation of Oklahoma’s vote in 2007 to expel Cherokee Freedmen to the Native Hawaiian Government Reorganization bill—Byrd demonstrates that inclusion into the multicultural cosmopole does not end colonialism as it is purported to do. Rather, that inclusion is the very site of the colonization that feeds U.S. empire.
Byrd contends that the colonization of American Indian and indigenous nations is the necessary ground from which to reimagine a future where the losses of indigenous peoples are not only visible and, in turn, grieveable, but where indigenous peoples have agency to transform life on their own lands and on their own terms.
In May of 1976, documentary filmmaker and proclaimed socialist Raymundo Gleyzer mysteriously disappeared in Buenos Aires. Like many political activists, Gleyzer was the target of a brutalizing military junta that had recently assumed power. Amazingly, within a few decades, leftist filmmakers would be celebrated as intellectual vanguards in this same city.
In Transition Cinema, Jessica Stites Mor documents the critical role filmmakers, the film industry, and state regulators played in Argentina’s volatile transition to democracy. She shows how, during different regimes, the state moved to either inhibit or facilitate film production and its content, distribution, and exhibition. She also reveals the strategies the film industry employed to comply with, or circumvent these regulations.
Stites Mor divides the transition period into three distinct generations, each defined by a major political event and the reactions to these events in film. The first generation began with the failed civil uprising in Córdoba in 1969, and ended with the 1976 military takeover. During military rule, repressive censorship spurred underground exhibitions, and allied filmmakers with the Peronist left and radical activists. The second generation arose after the return of civilian rule in 1983. Buenos Aires became the center for state-level cultural programs that included filmmakers in debates over human rights and collective memory campaigns. In 1989, a third generation of filmmaking emerged, with new genres such as cine piquetero (picketer cinema) that portrayed a variety of social movements and brought them into the public eye. By the new millennium, Argentine filmmakers had gained the attention and financial support of international humanitarian and film industry organizations.
In this captivating study, Stites Mor examines how populist movements, political actors, filmmakers, government, and industry institutions all became deeply enmeshed in the project of Argentina’s transition cinema. She demonstrates how film emerged as the chronicler of political struggles in a dialogue with the past, present, and future, whose message transcended both cultural and national borders.
Subjects obey. Citizens choose. Transitional Citizens looks at the newly empowered citizens of Russia's protodemocracy facing choices at the ballot box that just a few years ago, under dictatorial rule, they could not have dreamt of.
The stakes in post-Soviet elections are extraordinary. While in the West politicians argue over refinements to social systems in basically good working order, in the Russian Federation they address graver concerns--dysfunctional institutions, individual freedom, nationhood, property rights, provision of the basic necessities of life in an unparalleled economic downswing. The idiom of Russian campaigns is that of apocalypse and mutual demonization. This might give an impression of political chaos. However, as Timothy Colton finds, voting in transitional Russia is highly patterned. Despite their unfamiliarity with democracy, subjects-turned-citizens learn about their electoral options from peers and the mass media and make choices that manifest a purposiveness that will surprise many readers.
Colton reveals that post-Communist voting is not driven by a single explanatory factor such as ethnicity, charismatic leadership, or financial concerns, but rather by multiple causes interacting in complex ways. He gives us the most sophisticated and insightful account yet of the citizens of the new Russia.
The late archaic and early woodland peoples lived in the Ohio region between 5,000 and 2,000 years ago. This was a time of transition, when hunters and gatherers began to grow native seed crops, establish more permanent settlements, and develop complex forms of ritual and ceremonialism, sometimes involving burial mound construction.
The focused archaeological studies described in Transitions: Archaic and Early Woodland Research in the Ohio Country shed light on this important episode in human cultural development. The authors describe important archaeological sites such as the rich Late Archaic settlements of southwestern Ohio and the early Adena Dominion Land Company enclosure in Franklin County. They present detailed accounts of Native American behavior, such as the use of smoking pipes by Adena societies and a reconstruction of mound use and ritual.
Transitions is the result of a comprehensive, long-term study focusing on particular areas of Ohio with the most up-to-date and detailed treatment of Ohio’s native cultures during this important time of change. This book will be of great value to students and other readers who wish to go beyond the general and often dated treatments of Ohio archaeology currently available.
Transitions: Legal Change, Legal Meanings illustrates the various intersections, crises, and shifts that continually occur within the law, and how these moments of change interact with and comment on contemporary society.
The first comprehensive study of the lifework of Guo Moruo (1892–1978) in English, this book explores the dynamics of translation, revolution, and historical imagination in twentieth-century Chinese culture. Guo was a romantic writer who eventually became Mao Zedong’s last poetic interlocutor; a Marxist historian who evolved into the inaugural president of China’s Academy of Sciences; and a leftist politician who devoted almost three decades to translating Goethe’s Faust. His career, embedded in China’s revolutionary century, has generated more controversy than admiration. Recent scholarship has scarcely treated his oeuvre as a whole, much less touched upon his role as a translator.
Leaping between different genres of Guo’s works, and engaging many other writers’ texts, The Translatability of Revolution confronts two issues of revolutionary cultural politics: translation and historical interpretation. Part 1 focuses on the translingual making of China’s revolutionary culture, especially Guo’s translation of Faust as a “development of Zeitgeist.” Part 2 deals with Guo’s rewritings of antiquity in lyrical, dramatic, and historiographical-paleographical forms, including his vernacular translation of classical Chinese poetry. Interrogating the relationship between translation and historical imagination—within revolutionary cultural practice—this book finds a transcoding of different historical conjunctures into “now-time,” saturated with possibilities and tensions.
How authors rendered Dakhóta philosophy by literary means to encode ethical and political connectedness and sovereign life within a settler surveillance state
Translated Nation examines literary works and oral histories by Dakhóta intellectuals from the aftermath of the 1862 U.S.–Dakota War to the present day, highlighting creative Dakhóta responses to violences of the settler colonial state. Christopher Pexa argues that the assimilation era of federal U.S. law and policy was far from an idle one for the Dakhóta people, but rather involved remaking the Oyáte (the Očéti Šakówiŋ Oyáte or People of the Seven Council Fires) through the encrypting of Dakhóta political and relational norms in plain view of settler audiences.
From Nicholas Black Elk to Charles Alexander Eastman to Ella Cara Deloria, Pexa analyzes well-known writers from a tribally centered perspective that highlights their contributions to Dakhóta/Lakhóta philosophy and politics. He explores how these authors, as well as oral histories from the Spirit Lake Dakhóta Nation, invoke thióšpaye (extended family or kinship) ethics to critique U.S. legal translations of Dakhóta relations and politics into liberal molds of heteronormativity, individualism, property, and citizenship. He examines how Dakhóta intellectuals remained part of their social frameworks even while negotiating the possibilities and violence of settler colonial framings, ideologies, and social forms.
Bringing together oral and written as well as past and present literatures, Translated Nation expands our sense of literary archives and political agency and demonstrates how Dakhóta peoplehood not only emerges over time but in everyday places, activities, and stories. It provides a distinctive view of the hidden vibrancy of a historical period that is often tied only to Indigenous survival.
Skilled in two vernaculars, children shoulder basic and more complicated verbal exchanges for non-English speaking adults. Readers hear, through children's own words, what it means be "in the middle" or the "keys to communication" that adults otherwise would lack. Drawing from ethnographic data and research in three immigrant communities, Marjorie Faulstich Orellana's study expands the definition of child labor by assessing children's roles as translators as part of a cost equation in an era of global restructuring and considers how sociocultural learning and development is shaped as a result of children's contributions as translators.
Historians have traditionally used the discourses of free trade and laissez faire to explain the development of political economy during the Enlightenment. But from Sophus Reinert’s perspective, eighteenth-century political economy can be understood only in the context of the often brutal imperial rivalries then unfolding in Europe and its former colonies and the positive consequences of active economic policy. The idea of economic emulation was the prism through which philosophers, ministers, reformers, and even merchants thought about economics, as well as industrial policy and reform, in the early modern period. With the rise of the British Empire, European powers and others sought to selectively emulate the British model.
In mapping the general history of economic translations between 1500 and 1849, and particularly tracing the successive translations of the Bristol merchant John Cary’s seminal 1695 Essay on the State of England, Reinert makes a compelling case for the way that England’s aggressively nationalist policies, especially extensive tariffs and other intrusive market interventions, were adopted in France, Italy, Germany, and Scandinavia before providing the blueprint for independence in the New World. Relatively forgotten today, Cary’s work served as the basis for an international move toward using political economy as the prime tool of policymaking and industrial expansion.
Reinert’s work challenges previous narratives about the origins of political economy and invites the current generation of economists to reexamine the foundations, and future, of their discipline.
Lomas challenges longstanding conceptions about Martí through readings of neglected texts and reinterpretations of his major essays. Against the customary view that emphasizes his strong identification with Ralph Waldo Emerson and Walt Whitman, the author demonstrates that over several years, Martí actually distanced himself from Emerson’s ideas and conveyed alarm at Whitman’s expansionist politics. She questions the association of Martí with pan-Americanism, pointing out that in the 1880s, the Cuban journalist warned against foreign geopolitical influence imposed through ostensibly friendly meetings and the promotion of hemispheric peace and “free” trade. Lomas finds Martí undermining racialized and sexualized representations of America in his interpretations of Buffalo Bill and other rituals of westward expansion, in his self-published translation of Helen Hunt Jackson’s popular romance novel Ramona, and in his comments on writing that stereotyped Latino/a Americans as inherently unfit for self-government. With Translating Empire, Lomas recasts the contemporary practice of American studies in light of Martí’s late-nineteenth-century radical decolonizing project.
A revealing account of the lives and work of Ethiopian Orthodox pilgrims in sixteenth-century Rome, examining how this African diasporic community navigated the challenges of religious pluralism in the capital of Latin Christianity.
Tucked behind the apse of Saint Peter’s Basilica in Rome is the ancient church of Santo Stefano. During the sixteenth century, Santo Stefano hosted an unusual community: a group of Ethiopian Orthodox pilgrims whose faith and culture were both like and unlike those of Latin Europe. The pilgrims of Santo Stefano were the only African community in premodern Europe to leave extensive documents in their own language (Gǝʿǝz). They also frequently collaborated with Latin Christians to disseminate their expert knowledge of Ethiopia and Ethiopian Christianity, negotiating the era’s heated debates over the boundaries of religious belonging.
Translating Faith is the first book-length study of this community in nearly a century. Drawing on Gǝʿǝz and European-language sources, Samantha Kelly documents how pilgrims maintained Ethiopian Orthodox practices while adapting to a society increasingly committed to Catholic conformity. Focusing especially on the pilgrims’ scholarly collaborations, Kelly shows how they came to produce and share Ethiopian knowledge—as well as how Latin Christian assumptions and priorities transformed that knowledge in unexpected ways. The ambivalent legacies of these exchanges linger today in the European tradition of Ethiopian Studies, which Santo Stefano is credited with founding.
Kelly’s account of the Santo Stefano pilgrim community is a rich tale about the possibilities and pitfalls of ecumenical dialogue, as well as a timely history in our own age marked by intensive and often violent negotiations of religious and racial difference.
The 2006 United Nations Convention on the Rights of Persons with Disabilities (UN CRPD) is the first human rights treaty to explicitly acknowledge the right to education for persons with disabilities. In order to realize this right, the convention’s Article 24 mandates state parties to ensure inclusive education systems that overcome outright exclusion as well as segregation in special education settings. Despite this major global policy change to tackle the discriminations persons with disabilities face in education, this has yet to take effect in most school systems worldwide.
Focusing on the factors undermining the realization of disability rights in education, Julia Biermann probes current meanings of inclusive education in two contrasting yet equally challenged state parties to the UN CRPD: Nigeria, whose school system overtly excludes disabled children, and Germany, where this group primarily learns in special schools. In both countries, policy actors aim to realize the right to inclusive education by segregating students with disabilities into special education settings. In Nigeria, this demand arises from the glaring lack of such a system. In Germany, conversely, from its extraordinary long-term institutionalization. This act of diverting from the principles embodied in Article 24 is based on the steadfast and shared belief that school systems, which place students into special education, have an innate advantage in realizing the right to education for persons with disabilities. Accordingly, inclusion emerges to be an evolutionary and linear process of educational expansion that depends on institutionalized special education, not a right of persons with disabilities to be realized in local schools on an equal basis with others. This book proposes a refined human rights model of disability in education that shifts the analytical focus toward the global politics of formal mass schooling as a space where discrimination is sustained.
Translating a work of literature from one language to another is an art form, in which the translated work becomes a "conduit" through which the reader of one language may pass into the cultural world of another. For the translator, the process of translation offers an intimate experience of the text that is perhaps unavailable even to the author. And yet, as M. R. Ghanoonparvar observes at the outset of this book, "every translation is inevitably a failure, with occasional moments of success."
In Translating the Garden, Ghanoonparvar allows readers to watch him in the process of translating Shahrokh Meskub's Goftogu dar Bagh(Dialogue in the Garden) from Persian into English. This short philosophical work uses a conversation between a writer and a painter to explore Persian perceptions of art, literature, nature, identity, and spirituality. As he translates the text, Ghanoonparvar discusses the myriad decisions that a literary translator faces, from word choices to the problems of conveying cultural concepts and deciphering authorial intent. He also compares some of his translated passages with those of other translators to highlight the uniqueness of each act of translation. The complete English translation of Dialogue in the Garden rounds out the volume.
A prominent avant-garde poet charts both her personal artistic development and the difficulties faced by women writers pursuing innovative paths.
An accomplished and influential poet, Kathleen Fraser has been instrumental in drawing attention to other women poets working
outside the mainstream. Translating the Unspeakable gathers eighteen of her essays written over nearly twenty years, combining autobiography and criticism to examine what it means for any artist to innovate instead of following an already traveled path.
In autobiographical passages Fraser tells how her generation was influenced by revolutions in art and philosophy during the early 1960s and how she spent years pursuing idiosyncratic means of rediscovering the poem's terms. By the 1970s her evolving poetics were challenged by questions of gender, until immersion in feminist/modernist scholarship led her to initiate greater dialogue among experimentalist poets.
Other essays examine modernist women writers, their contemporary successors, and the visual poetics they have practiced. By exploring the work of such poets as H. D., Mina Loy, Lorine Niedecker, and Barbara Guest, Fraser conveys their struggle to establish a presence within accepted poetic conventions and describes the role experimentation plays in helping women overcome self-imposed silence.
All of Fraser's writings explore how the search to find one's own way of speaking into a very private yet historic space—of translating the unspeakable—drives poetic experimentation for women and men alike. This provocative book provides a glimpse into the thought processes of
the poetic mind, enhancing our understanding of innovative writing.
In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple “immiscible temporalities” that strain against the modern concept of homogeneous time. In this wide-ranging study—encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)—Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception.
Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson’s understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.
Contributors. Dina Al-Kassim, Emily Apter, Timothy Brennan, Elena Climent, Maryse Condé, Michael Eng, Renée Green, Rainer Ganahl, Sarah M. Hudgins, Michael North, Gayatri Chakravorty Spivak
The Third Volume in the Studies in Interpretation Series
This new volume focuses on scholarship over a refined spectrum of issues that confront interpreters internationally. Editors Melanie Metzger and Earl Fleetwood call upon researchers from the United States, Ireland, Australia, and the Philippines to share their findings in six chapters.
In the first chapter, Roberto R. Santiago and Lisa A. Frey Barrick reveal how interpreters deal with translating source language idioms into American Sign Language (ASL). In Chapter 2, Lorraine Neeson and Susan Foley-Cave review the particular demands for decision-making that face interpreters on several levels in a class on semantics and pragmatics. Liza B. Martinez explains in Chapter 3 the complicated, multilingual process of code switching by Filipino interpreters when voice-interpreting Filipino Sign Language.
Chapter 4 offers a deconstruction by Daniel Roush of the stereotype that Deaf ASL-users are direct or blunt, based on his analysis of two speech/social activities of requests and refusals. Jemina Napier investigates interpreting from the perspective of deaf consumers in Australia in Chapter 5 to explore their agenda for quality interpreting services. In the final chapter, Amy Frasu evaluates methods for incorporating visual aids into interpretations from spoken English to American Sign Language and the potential cognitive dissonance for deaf persons that could result.
Since the 1980s, poets in Canada and the U.S. have increasingly turned away from the use of English, bringing multiple languages into dialogue—and into conflict—in their work. This growing but under-studied body of writing differs from previous forms of multilingual poetry. While modernist poets offered multilingual displays of literary refinement, contemporary translingual poetries speak to and are informed by feminist, anti-racist, immigrant rights, and Indigenous sovereignty movements. Although some translingual poems have entered Chicanx, Latinx, Asian American, and Indigenous literary canons, translingual poetry has not yet been studied as a cohesive body of writing.
The first book-length study on the subject, Translingual Poetics argues for an urgent rethinking of Canada and the U.S.’s multiculturalist myths. Dowling demonstrates that rising multilingualism in both countries is understood as new and as an effect of cultural shifts toward multiculturalism and globalization. This view conceals the continent’s original Indigenous multilingualism and the ongoing violence of its dismantling. It also naturalizes English as traditional, proper, and, ironically, native.
Reading a range of poets whose work contests this “settler monolingualism”—Jordan Abel, Layli Long Soldier, Myung Mi Kim, Guillermo Gómez-Peña, M. NourbeSe Philip, Rachel Zolf, Cecilia Vicuña, and others—Dowling argues that translingual poetry documents the flexible forms of racialization innovated by North American settler colonialisms. Combining deft close readings of poetry with innovative analyses of media, film, and government documents, Dowling shows that translingual poetry’s avoidance of authentic, personal speech reveals the differential forms of personhood and non-personhood imposed upon the settler, the native, and the alien.
Translocas focuses on drag and transgender performance and activism in Puerto Rico and its diaspora. Arguing for its political potential, Lawrence La Fountain-Stokes explores the social and cultural disruptions caused by Latin American and Latinx “locas” (effeminate men, drag queens, transgender performers, and unruly women) and the various forms of violence to which queer individuals in Puerto Rico and the U.S. are subjected. This interdisciplinary, auto-ethnographic, queer-of-color performance studies book explores the lives and work of contemporary performers and activists including Sylvia Rivera, Nina Flowers, Freddie Mercado, Javier Cardona, Jorge Merced, Erika Lopez, Holly Woodlawn, Monica Beverly Hillz, Lady Catiria, and Barbra Herr; television programs such as RuPaul’s Drag Race; films such as Paris Is Burning, The Salt Mines, and Mala Mala; and literary works by authors such as Mayra Santos-Febres and Manuel Ramos Otero. Lawrence La Fountain-Stokes, a drag performer himself, demonstrates how each destabilizes (and sometimes reifies) dominant notions of gender and sexuality through drag and their embodied transgender expression. These performances provide a means to explore and critique issues of race, class, poverty, national identity, and migratory displacement while they posit a relationship between audiences and performers that has a ritual-like, communal dimension. The book also analyzes the murders of Jorge Steven López Mercado and Kevin Fret in Puerto Rico, and invites readers to challenge, question, and expand their knowledge about queer life, drag, trans performance, and Puerto Rican identity in the Caribbean and the diaspora. The author also pays careful attention to transgender experience, highlighting how trans activists and performers mold their bodies, promote social change, and create community in a context that oscillates between glamour and abjection.
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.
The Analects (Lunyu) is one of the most influential texts in human history. As a putative record of Confucius’s (551–479 B.C.E.) teachings and a foundational text in scriptural Confucianism, this classic was instrumental in shaping intellectual traditions in China and East Asia until the early twentieth century.
But no premodern reader read only the text of the Analects itself. Rather, the Analects was embedded in a web of interpretation that mediated its meaning. Modern interpreters of the Analects only rarely acknowledge this legacy of two thousand years of commentaries. How well do we understand prominent or key commentaries from this tradition? How often do we read such commentaries as we might read the text on which they comment? Many commentaries do more than simply comment on a text. Not only do they shape the reading of the text, but passages of text serve as pretexts for the commentator to develop and expound his own body of thought.
This book attempts to redress our neglect of commentaries by analyzing four key works dating from the late second century to the mid-nineteenth century (a period substantially contemporaneous with the rise and decline of scriptural Confucianism): the commentaries of He Yan (ca. 190–249); Huang Kan (488–545); Zhu Xi (1130–1200); and Liu Baonan (1791–1855) and Liu Gongmian (1821–1880).
Original essays exploring important developments in radio and television broadcasting
The essays included in this collection represent some of the best cultural and historical research on broadcasting in the U. S. today. Each one concentrates on a particular event in broadcast history—beginning with Marconi’s introduction of wireless technology in 1899.
Michael Brown examines newspaper reporting in America of Marconi's belief in Martians, stories that effectively rendered Marconi inconsequential to the further development of radio. The widespread installation of radios in automobiles in the 1950s, Matthew Killmeier argues, paralleled the development of television and ubiquitous middle-class suburbia in America. Heather Hundley analyzes depictions of male and female promiscuity as presented in the sitcom Cheers at a time concurrent with media coverage of the AIDS crisis. Fritz Messere examines the Federal Radio Act of 1927 and the clash of competing ideas about what role radio should play in American life. Chad Dell recounts the high-brow programming strategy NBC adopted in 1945 to distinguish itself from other networks. And George Plasketes studies the critical reactions to Cop Rock, an ill-fated combination of police drama and musical, as an example of society's resistance to genre-mixing or departures from formulaic programming.
The result is a collection that represents some of the most recent and innovative scholarship, cultural and historical, on the intersections of broadcasting and American cultural, political, and economic life.
Transnational Actors in War and Peace provides a comparative examination of a range of transnational actors who have been key to the conduct of war and peace promotion, and of how they interact with states and each other. It explores the identities, organization, strategies and influence of transnational actors involved in contentious politics, armed conflict, and peacemaking.
While the study of transnational politics has been a rapidly growing field, to date, the disparate actors have not been analyzed alongside each other, making it difficult to develop a common theoretical framework or determine their influence on international security. This book brings together a diverse set of scholars focused on a range of transnational actors, such as: foreign fighters, terrorists, private military security companies, religious groups, diasporas, NGOs, and women’s peace groups. Malet and Anderson provide the standard for future study of transnational actors in this work intended for those interested in security studies, international relations, conflict resolution, and global governance.
In this special issue, scholars—several of whom are adoptive parents—from a variety of disciplines focus on the culture and politics of transnational adoption, exploring relationships between the sending and receiving nations. Until the mid-1970s, adoptive families were pressured to forget the child’s past and birth culture and to create “as if” biological families. Since then, the culture of adoption has moved dramatically toward openness, generating preoccupations with origins and loss, as well as new kinds of border-crossing movements such as orphanage visits, homeland journeys, and culture camps established by sending nations now eager to embrace the adoptees. This collection of essays examines the complex interplay of race, culture, identity, kinship, and belonging in this contemporary form of family building.
Contributors. Lisa Cartwright, Claudia Fonseca, Cindi Katz, Eleana Kim, Toby Alice Volkman, Barbara Yngvesson
Grewal combines a postcolonial perspective with social and cultural theory to argue that contemporary notions of gender, race, class, and nationality are linked to earlier histories of colonization. Through an analysis of Mattel’s sales of Barbie dolls in India, she discusses the consumption of American products by middle-class Indian women newly empowered with financial means created by India’s market liberalization. Considering the fate of asylum-seekers, Grewal looks at how a global feminism in which female refugees are figured as human rights victims emerged from a distinctly Western perspective. She reveals in the work of three novelists who emigrated from India to the United States—Bharati Mukherjee, Chitra Banerjee Divakaruni, and Amitav Ghosh—a concept of Americanness linked to cosmopolitanism. In Transnational America Grewal makes a powerful, nuanced case that the United States must be understood—and studied—as a dynamic entity produced and transformed both within and far beyond its territorial boundaries.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press