What is lost in translation may be a war, a world, a way of life. A unique look into the nineteenth-century clash of empires from both sides of the earthshaking encounter, this book reveals the connections between international law, modern warfare, and comparative grammar--and their influence on the shaping of the modern world in Eastern and Western terms.
The Clash of Empires brings to light the cultural legacy of sovereign thinking that emerged in the course of the violent meetings between the British Empire and the Qing Dynasty (1644-1911). Lydia Liu demonstrates how the collision of imperial will and competing interests, rather than the civilizational attributes of existing nations and cultures, led to the invention of "China," "the East," "the West," and the modern notion of "the world" in recent history. Drawing on her archival research and comparative analyses of English--and Chinese--language texts, as well as their respective translations, she explores how the rhetoric of barbarity and civilization, friend and enemy, and discourses on sovereign rights, injury, and dignity were a central part of British imperial warfare. Exposing the military and philological--and almost always translingual--nature of the clash of empires, this book provides a startlingly new interpretation of modern imperial history.
The identity and role of writing has evolved in the age of digital media. But how did writing itself make digital media possible in the first place? Lydia H. Liu offers here the first rigorous study of the political history of digital writing and its fateful entanglement with the Freudian unconscious.
Liu’s innovative analysis brings the work of theorists and writers back into conversation with one another to document significant meetings of minds and disciplines. She shows how the earlier avant-garde literary experiments with alphabetical writing and the word-association games of psychoanalysis contributed to the mathematical making of digital media. Such intellectual convergence, she argues, completed the transformation of alphabetical writing into the postphonetic, ideographic system of digital media, which not only altered the threshold of sense and nonsense in communication processes but also compelled a new understanding of human-machine interplay at the level of the unconscious.
Ranging across information theory, cybernetics, modernism, literary theory, neurotic machines, and psychoanalysis, The Freudian Robot rewrites the history of digital media and the literary theory of the twentieth century.
Contributors. Jianhua Chen, Nancy Chen, Alexis Dudden Eastwood, Roger Hart, Larissa Heinrich, James Hevia, Andrew F. Jones, Wan Shun Eva Lam, Lydia H. Liu, Deborah T. L. Sang, Haun Saussy, Q. S. Tong, Qiong Zhang
Speaking about Chinese writing entails thinking about how writing speaks through various media. In the guises of the written character and its imprints, traces, or ruins, writing is more than textuality. The goal of this volume is to consider the relationship of writing to materiality in China’s literary history and to ponder the physical aspects of the production and circulation of writing. To speak of the thing-ness of writing is to understand it as a thing in constant motion, transported from one place or time to another, one genre or medium to another, one person or public to another.
Thinking about writing as the material product of a culture shifts the emphasis from the author as the creator and ultimate arbiter of a text’s meaning to the editors, publishers, collectors, and readers through whose hands a text is reshaped, disseminated, and given new meanings. By yoking writing and materiality, the contributors to this volume aim to bypass the tendency to oppose form and content, words and things, documents and artifacts, to rethink key issues in the interpretation of Chinese literary and visual culture.
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