Yan analyzes how the migrant women workers are subjected to, make sense of, and reflect on a range of state and neoliberal discourses about development, modernity, consumption, self-worth, quality, and individual and collective longing and struggle. She offers keen insight into the workers’ desire and efforts to achieve suzhi (quality) through self-improvement, the way workers are treated by their employers, and representations of migrant domestic workers on television and the Internet and in newspapers and magazines. In so doing, Yan demonstrates that contestations over the meanings of migrant workers raise broad questions about the nature of wage labor, market economy, sociality, and postsocialism in contemporary China.
Through interpretation of a wide array of historical sources—including descriptions of public rituals, accounts of indigenous rebellions, idolatry trials, legal petitions, court cases, land disputes, and indigenous pictorial histories—Yannakakis weaves together an elegant narrative that illuminates political and cultural struggles over the terms of local rule. As cultural brokers, native intermediaries at times reconciled conflicting interests, and at other times positioned themselves in opposing camps over the outcome of municipal elections, the provision of goods and labor, landholding, community ritual, the meaning of indigenous “custom” in relation to Spanish law, and representations of the past. In the process, they shaped an emergent “Indian” identity in tension with other forms of indigenous identity and a political order characterized by a persistent conflict between local autonomy and colonial control. This innovative study provides fresh insight into colonialism’s disparate cultures and the making of race, ethnicity, and the colonial state and legal system in Spanish America.
Contributors. Jonathan Beller, Joan Kee, Kyung Hyun Kim, Helen Hok-sze Leung, Bliss Cau Lim, Gina Marchetti, Susan Napier, Esther C. M. Yau
Yip traces a distinctly Taiwanese sense of self vis-à-vis China, Japan, and the West through two of the island’s most important cultural movements: the hsiang-t’u (or “nativist”) literature of the 1960s and 1970s, and the Taiwanese New Cinema of the 1980s and 1990s. At the heart of the book are close readings of the work of the hsiang-t’u writer Hwang Chun-ming and the New Cinema filmmaker Hou Hsiao-hsien. Key figures in Taiwan’s assertion of a national identity separate and distinct from China, both artists portray in vibrant detail daily life on the island. Through Hwang’s and Hou’s work and their respective artistic movements, Yip explores “the imagining of a nation” on the local, national, and global levels. In the process, she exposes a perceptible shift away from traditional models of cultural authenticity toward a more fluid, postmodern hybridity—an evolution that reflects both Taiwan’s peculiar multicultural reality and broader trends in global culture.
Moving back and forth between a critique of modern discourses on Heian literature and close analyses of the Heian texts themselves, Yoda sheds light on some of the most persistent interpretive models underwriting Japanese literary studies, particularly the modern paradigm of a masculine national subject. She proposes new directions for disciplinary critique and suggests that historicized understandings of premodern texts offer significant insights into contemporary feminist theories of subjectivity and agency.
Several of the essayists reflect on the politics of history, considering changes in the relationship between Japan and the United States, the complex legacy of Japanese colonialism, Japan’s chronic unease with its wartime history, and the postwar consolidation of an ethnocentric and racist nationalism. Others analyze anxieties related to the role of children in society and the weakening of the gendered divide between workplace and home. Turning to popular culture, contributors scrutinize the avid consumption of “real events” in formats including police shows, quiz shows, and live Web camera feeds; the creation, distribution, and reception of Pokémon, the game-based franchise that became a worldwide cultural phenomenon; and the ways that the behavior of zealous fans of anime both reinforces and clashes with corporate interests. Focusing on contemporary social and political movements, one essay relates how a local citizens’ group pressed the Japanese government to turn an international exposition, the Aichi Expo 2005, into a more environmentally conscious project. Another essay offers both a survey of emerging political movements and a manifesto identifying new possibilities for radical politics in Japan. Together the contributors to Japan After Japan present much-needed insight into the wide-ranging transformations of Japanese society that began in the 1990s.
Contributors. Anne Allison, Andrea G. Arai, Eric Cazdyn, Leo Ching, Harry Harootunian, Marilyn Ivy, Sabu Kohso, J. Victor Koschmann, Thomas LaMarre, Masao Miyoshi, Yutaka Nagahara, Naoki Sakai, Tomiko Yoda, Yoshimi Shunya, Mitsuhiro Yoshimoto
Young analyzes a range of U.S. figures and organizations, examining how each deployed Third World discourse toward various cultural and political ends. She considers a trip that LeRoi Jones, Harold Cruse, and Robert F. Williams made to Cuba in 1960; traces key intellectual influences on Angela Y. Davis’s writing; and reveals the early history of the hospital workers’ 1199 union as a model of U.S. Third World activism. She investigates Newsreel, a late 1960s activist documentary film movement, and its successor, Third World Newsreel, which produced a seminal 1972 film on the Attica prison rebellion. She also considers the L.A. Rebellion, a group of African and African American artists who made films about conditions in the Watts neighborhood of Los Angeles. By demonstrating the breadth, vitality, and legacy of the work of U.S. Third World Leftists, Soul Power firmly establishes their crucial place in the history of twentieth-century American struggles for social change.
In his introduction, Mark Driscoll provides a nuanced and engaging discussion of Yuasa’s life and work and of the cultural politics of Japanese colonialism. He describes Yuasa’s sharp turn, in the years following the publication of Kannani and Document of Flames, toward support for Japanese nationalism and the assimilation of Koreans into Japanese culture. This abrupt ideological reversal has made Yuasa’s early writing—initially censored for its anticolonialism—all the more controversial. In a masterful concluding essay, Driscoll connects these novels to larger theoretical issues, demonstrating how a deep understanding of Japanese imperialism challenges prevailing accounts of postcolonialism.
Yúdice contends that a new international division of cultural labor has emerged, combining local difference with transnational administration and investment. This does not mean that today’s increasingly transnational culture—exemplified by the entertainment industries and the so-called global civil society of nongovernmental organizations—is necessarily homogenized. He demonstrates that national and regional differences are still functional, shaping the meaning of phenomena from pop songs to antiracist activism. Yúdice considers a range of sites where identity politics and cultural agency are negotiated in the face of powerful transnational forces. He analyzes appropriations of American funk music as well as a citizen action initiative in Rio de Janeiro to show how global notions such as cultural difference are deployed within specific social fields. He provides a political and cultural economy of a vast and increasingly influential art event— insite a triennial festival extending from San Diego to Tijuana. He also reflects on the city of Miami as one of a number of transnational “cultural corridors” and on the uses of culture in an unstable world where censorship and terrorist acts interrupt the usual channels of capitalist and artistic flows.
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