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The Chinese Communist Party has long depended on ideology to set the agenda, communicate its priorities, and legitimize its rule. The Pliant Public argues that for Chinese citizens, however, ideology is in short supply. Surveys show that public opinion is depolarized. Ordinary people have little sense of what ideological labels like “left” and “right” mean, and most of the people who put themselves on the right have the scale backwards. Since a depolarized public is ill-equipped to check the state, China’s leaders can make massive changes to government policy without triggering much backlash. 

But depolarization does not always strengthen the state. When citizens lack clear ideological commitments, it is easier for them to set aside their differences. If China’s leaders lost their performance legitimacy, then depolarization could facilitate a broader challenge to party rule.

For more than half a century, Chinese-Western comparative literature has been recognized as a formal academic discipline, but critics and scholars in the field have done little to develop a viable, common basis for comparison between these disparate literatures. In this pioneering book, Cecile Chu-chin Sun establishes repetition as the ideal perspective from which to compare the poetry and poetics from these two traditions.

Sun contends that repetition is at the heart of all that defines the lyric as a unique art form and, by closely examining its use in Chinese and Western poetry, she demonstrates howone can identify important points of convergence and divergence. Through a representative sampling of poems from both traditions, she illustrates how the irreducible generic nature of the lyric transcends linguistic and cultural barriers but also reveals the fundamental distinctions between the traditions. Most crucially, she dissects the two radically different conceptualizations of reality—mimesis and xing—that serve as underlying principles for the poetic practices of each tradition.

Skillfully integrating theory and practice, The Poetics of Repetition in English and Chinese Lyric Poetryprovides a much-needed model for future study of Chinese and English poetry as well as lucid, succinct interpretations of individual poems.

Since the right-wing, Hindu-nationalist government of Narendra Modi’s Bharatiya Janata Party (BJP) came to power at the national level in 2014, and with its consolidation of power in the 2019 general election, India has witnessed a significant realignment of its national politics and a shift toward the right of the political spectrum. The Politics of India under Modi provides a detailed overview of India’s political trends, economic prospects, and international relations in the twenty-first century.

This book is designed as a supplement and update for existing syllabi that trace India’s political economy from the birth of the republic to the quest for economic liberalization and great power status. Undergraduates and scholars interested in India’s foreign policy and political reform will find value in this timely book.

“The subject of this book is extremely compelling and important, as well as timely. BJP rule and the Modi regime, it is now clear, represent some critical turning points in Indian politics, which have yet to be analyzed in depth academically by experts. I see this book as a key first step in this process.”
-Rina Verma Williams, School of Public and International Affairs at the University of Cincinnati

The large member states of the European Union have clear priorities when it comes to EU-level decisions, while the small member states hold veto power when decisions need to be taken unanimously. This book focuses on the potential of middle powers in EU decision-making using the example of Romania's relations with Central Asia. The author examines how Romania's diplomatic activities as a medium-sized member state - and as a newer member - can affect EU foreign policy. Ana-Maria-Andreea Anghelescu conducted a quantitative study of three hard power indices, as well as the soft presence dimension of the Elcano Index of Global Presence. The latter includes tourism, sport, culture, science, education, information, and migration. The statistical results were complemented by qualitative field research in Kyrgyzstan involving all five Central Asian countries.

The volume’s analysis concludes that Romania underperforms in using its robust hard faculties to benefit the country's soft capabilities. Central Asia is a region where the EU must work hard to maintain its influence. By strengthening their presence in the region beyond bilateral partnerships, the EU's middle powers can play a key role in asserting Europe's pragmatic and normative interests.T

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.

In July 1999, a mere seven years after the founding of the religious movement known as the Falun Gong, the Chinese government banned it. Falun Gong is still active in other countries, and its suppression has become a primary concern of human rights activists and is regularly discussed in dealings between the Chinese government and its Western counterparts. But while much has been written on Falun Gong’s relation to political issues, no one has analyzed in depth what its practitioners actually believe and do.

The Selfie Machine offers novel insight into personalized communication practices in the digital age through the medium of the selfie. While the selfie has achieved notoriety due to pop-psychology accounts of Narcissism-related selfie "disorders," this book examines the selfie as a mode of meaning making and self-presentation that includes not just still images, but also short videos, hashtag practices and economies of liking and following. In taking India as the starting point of its investigation, The Selfie Machine inverts the "West-then-the-rest" model of understanding global digital media practices. The book considers selfie culture’s impact on personal and public digital practices and trends—ranging from cellphone markets, to influencer entrepreneurship and microcelebrity, to the conduct of politics and protest. In doing so, it not only offers an expanded definition of selfies in digital media culture, but also demonstrates how “global” digital media (including selfies) cannot be understood as a monolith.

When the young Princess Sonshi became a Buddhist nun in the year 984, a scholar-official of the royal court was commissioned to create a guide to the Buddhist religion that would be accessible for her. He did so in the form of the illustrated works of fiction (monogatari) that appealed to women readers of her time and class. The text has survived in later manuscripts; the illustrations, if they ever existed, have not. This revised translation recreates Sonshi’s experience of receiving this multimedia presentation, with illustrations selected to help contemporary readers visualize its content and essays that provide context on the religious and cultural experience of the author. The Three Jewels is a unique document that opens a window onto the world of Buddhist religious experience—especially for women—in high classical Japan, the time of Sei Shōnagon’s Pillow Book and Murasaki Shikibu’s Tale of Genji.

This landmark collection represents the first English translation of poetry by Nguyen Quang Thieu, a significant Vietnamese writer of the post-1975 generation. Translated collaboratively by acclaimed poet Martha Collins and the author himself, this bilingual volume presents verses rooted deeply in Vietnamese cultural traditions that honor the dignity of daily labor, the resilience of ordinary people, and the spiritual dimensions of human experience in contemporary Vietnam.

Thieu's work draws upon a rich Vietnamese poetic tradition while addressing themes of displacement, reconstruction, memory, and the search for meaning in the aftermath of conflict. The poems capture the essence of Vietnamese life—its rhythms, relationships, and philosophical underpinnings—through images drawn from nature, labor, family, and community. The bilingual format stands as a bridge between Vietnamese and American literary traditions, and honors the linguistic and cultural dimensions of Thieu groundbreaking collection.

An exploration of what it means when we say something is beautiful.

Bringing together ideas of beauty from both Eastern and Western philosophy, François Jullien challenges the assumptions underlying our commonly agreed-upon definition of what is beautiful and offers a new way of beholding art. Jullien argues that the Western concept of beauty was established by Greek philosophy and became consequently embedded within the very structure of European languages. And due to its relationship to language, this concept has determined ways of thinking about beauty that often go unnoticed or unchecked in discussions of Western aesthetics. Moreover, through globalization, Western ideals of beauty have even spread to cultures whose ancient traditions are based upon radically different aesthetic foundations; yet, these cultures have adopted such views without question and without recognizing the cultural assumptions they contain.

Finalist: 2025 British Comparative Literature Association First Book Prize | July 22, 2025

Fusako Innami offers the first comprehensive study of touch and skinship—relationality with the other through the skin—in modern Japanese writing. The concept of the unreachable—that is, the lack of characters’ complete ability to touch what they try to reach for—provides a critical intervention on the issue of intimacy. Touch has been philosophically addressed in France, but literature is an effective—or possibly the most productive—venue for exploring touch in Japan, as literary texts depict what the characters may be concerned with but may not necessarily say out loud. Such a moment of capturing the gap between the felt and the said—the interaction between the body and language—can be effectively analyzed by paying attention to layers of verbalization, or indeed translation, by characters’ utterances, authors’ depictions, and readers’ interpretations. Each of the writers discussed in this book—starting with Nobel prize winner Kawabata Yasunari, Tanizaki Jun’ichirō, Yoshiyuki Junnosuke, and Matsuura Rieko—presents a particular obsession with objects or relationality to the other constructed via the desire for touch.

In Touching the Unreachable, phenomenological and psychoanalytical approaches are cross-culturally interrogated in engaging with literary touch to constantly challenge what may seem like the limit of transferability regarding concepts, words, and practices. The book thereby not only bridges cultural gaps beyond geographic and linguistic constraints, but also aims to decentralize a Eurocentric hegemony in its production and use of theories and brings Japanese cultural and literary analyses into further productive and stimulating intellectual dialogues. Through close readings of the authors’ treatment of touch, Innami develops a theoretical framework with which to examine intersensorial bodies interacting with objects and the environment through touch.