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Series:
East and West, Volume: 16
Contests over heritage in Asia are intensifying and reflect the growing prominence of political and social disputes over historical narratives shaping heritage sites and practices, and the meanings attached to them. These contests emphasize that heritage is a means of narrating the past that demarcates, constitutes, produces, and polices political and social borders in the present. In its spaces, varied intersections of actors, networks, and scales of governance interact, negotiate and compete, resulting in heritage sites that are cut through by borders of memory.
This volume, edited by Edward Boyle and Steven Ivings, and with contributions from scholars across the humanities, history, social sciences, and Asian studies, interrogates how particular actors and narratives make heritage and how borders of memory shape the sites they produce.
This volume, edited by Edward Boyle and Steven Ivings, and with contributions from scholars across the humanities, history, social sciences, and Asian studies, interrogates how particular actors and narratives make heritage and how borders of memory shape the sites they produce.
Series:
East and West, Volume: 16
Contests over heritage in Asia are intensifying and reflect the growing prominence of political and social disputes over historical narratives shaping heritage sites and practices, and the meanings attached to them. These contests emphasize that heritage is a means of narrating the past that demarcates, constitutes, produces, and polices political and social borders in the present. In its spaces, varied intersections of actors, networks, and scales of governance interact, negotiate and compete, resulting in heritage sites that are cut through by borders of memory.
This volume, edited by Edward Boyle and Steven Ivings, and with contributions from scholars across the humanities, history, social sciences, and Asian studies, interrogates how particular actors and narratives make heritage and how borders of memory shape the sites they produce.
This volume, edited by Edward Boyle and Steven Ivings, and with contributions from scholars across the humanities, history, social sciences, and Asian studies, interrogates how particular actors and narratives make heritage and how borders of memory shape the sites they produce.
New Explorations in Javanese Literature
Volume Editor:
Javanese literature is one of the world’s richest and most unusual literary traditions yet it is little known today outside of Java, Indonesia, and a handful of western universities. With its more than a millennium of documented history, its complex interactions over the centuries with literature written in Sanskrit, Arabic, Persian, Malay and Dutch, its often symbiotic relationship with the performing arts of puppetry and dance, and its own immense creativity and insight, this vastly understudied literature offers a lens to understanding Java’s fascinating world as well as human ingenuity more broadly. The essays in this volume, Storied Island: New Explorations in Javanese Literature, take a fresh look at questions and themes pertaining to Java’s literature, employing new theoretical and methodological lenses.
New Explorations in Javanese Literature
Volume Editor:
Javanese literature is one of the world’s richest and most unusual literary traditions yet it is little known today outside of Java, Indonesia, and a handful of western universities. With its more than a millennium of documented history, its complex interactions over the centuries with literature written in Sanskrit, Arabic, Persian, Malay and Dutch, its often symbiotic relationship with the performing arts of puppetry and dance, and its own immense creativity and insight, this vastly understudied literature offers a lens to understanding Java’s fascinating world as well as human ingenuity more broadly. The essays in this volume, Storied Island: New Explorations in Javanese Literature, take a fresh look at questions and themes pertaining to Java’s literature, employing new theoretical and methodological lenses.
The Construction of the Feminine Voice in Early Medieval Chinese Literature
This book studies the formation of the male-constructed conventional voice of women in Chinese literature from the 3rd to 6th century.
It highlights specific moments during which the feminine voice became recognized, accepted, and stabilized, including the shift of focus from the performative to the textual in female representations; the formation of a male literary community; the popularity of romanticized historical narratives; and the emerging sense of literary history.
This study emphasizes the historicity of the feminine voice and strives to question and challenge established notions about textual stability, authorship, the literary canon, and literary history.
It highlights specific moments during which the feminine voice became recognized, accepted, and stabilized, including the shift of focus from the performative to the textual in female representations; the formation of a male literary community; the popularity of romanticized historical narratives; and the emerging sense of literary history.
This study emphasizes the historicity of the feminine voice and strives to question and challenge established notions about textual stability, authorship, the literary canon, and literary history.
The Construction of the Feminine Voice in Early Medieval Chinese Literature
This book studies the formation of the male-constructed conventional voice of women in Chinese literature from the 3rd to 6th century.
It highlights specific moments during which the feminine voice became recognized, accepted, and stabilized, including the shift of focus from the performative to the textual in female representations; the formation of a male literary community; the popularity of romanticized historical narratives; and the emerging sense of literary history.
This study emphasizes the historicity of the feminine voice and strives to question and challenge established notions about textual stability, authorship, the literary canon, and literary history.
It highlights specific moments during which the feminine voice became recognized, accepted, and stabilized, including the shift of focus from the performative to the textual in female representations; the formation of a male literary community; the popularity of romanticized historical narratives; and the emerging sense of literary history.
This study emphasizes the historicity of the feminine voice and strives to question and challenge established notions about textual stability, authorship, the literary canon, and literary history.
The Song Dynasty Making of China’s Greatest Poet
Irreducible to conventional labels usually applied to him, the Tang poet Du Fu (712–770) both defined and was defined by the literary, intellectual, and socio-political cultures of the Song dynasty (960–1279).
Jue Chen not only argues in his work that Du Fu was constructed according to particular literary and intellectual agendas of Song literati but also that conventional labels applied to Du Fu do not accurately represent this construction campaign. He also discusses how Du Fu’s image as the greatest poet sheds unique light on issues that can deepen our understanding of the subtleties in the poetic culture of Song China.
Jue Chen not only argues in his work that Du Fu was constructed according to particular literary and intellectual agendas of Song literati but also that conventional labels applied to Du Fu do not accurately represent this construction campaign. He also discusses how Du Fu’s image as the greatest poet sheds unique light on issues that can deepen our understanding of the subtleties in the poetic culture of Song China.
The Song Dynasty Making of China’s Greatest Poet
Irreducible to conventional labels usually applied to him, the Tang poet Du Fu (712–770) both defined and was defined by the literary, intellectual, and socio-political cultures of the Song dynasty (960–1279).
Jue Chen not only argues in his work that Du Fu was constructed according to particular literary and intellectual agendas of Song literati but also that conventional labels applied to Du Fu do not accurately represent this construction campaign. He also discusses how Du Fu’s image as the greatest poet sheds unique light on issues that can deepen our understanding of the subtleties in the poetic culture of Song China.
Jue Chen not only argues in his work that Du Fu was constructed according to particular literary and intellectual agendas of Song literati but also that conventional labels applied to Du Fu do not accurately represent this construction campaign. He also discusses how Du Fu’s image as the greatest poet sheds unique light on issues that can deepen our understanding of the subtleties in the poetic culture of Song China.
Abstract
This article centers on an Urdu-language manual on lithography, published in 1924 by the Nizami Press in Budaun (United Provinces), to explore how a Muslim printer-publisher in a North Indian qaṣbah tried to reform educational methods in his trade. It introduces the Nizami Press (est. 1905) and compares the manual with similar European and Indian instructional handbooks. How did Indian printers and publishers learn their craft? What were the tools and materials used for lithographic printing in colonial India? And given the popularity of lithography, why were such manuals rarely published in Indian languages? By examining the material and technical aspects of the lithographic printing process explained in the Urdu manual, this article engages with larger scholarly debates revolving around knowledge production, pedagogy, and technological developments in South Asia. Furthermore, it analyzes the manual’s language to demonstrate how printers and publishers were engaged in discourses about nationalism, modernization, and social reform.
East Asian Comparative Literature and Culture responds to the urgent need for a more complex understanding and appreciation of this region by publishing substantial comparative research on the literary and cultural traditions of East Asia and their relation to the world. We showcase original research on the methodology and practice of comparison, including intra- and trans-regional comparisons of China, Korea, Japan, and Vietnam; explorations of entanglements and mutual representations of Western and East Asian traditions; examinations of the relationship between the East Asian Sinographic Sphere and non-Sinographic textual cultures such as Manchu, Uyghur, and Tibetan; and multipolar comparisons that examine East Asian literatures and cultures in the light of their relations with South and Southeast Asia, the Middle East, Africa, or Latin America.
The series focuses on the interpretive sciences, namely core humanities disciplines such as literature, history, religion, philosophy and thought, art history, musicology, performance or media studies. It also welcomes contributions adopting culturally-informed approaches in archeology, historical geography, anthropology, political science, sociology, or linguistics. Our historical moment demands that we as scholars combine comparative analysis with the depth of area-study-expertise and philology, theoretical acumen, and a courageous orientation towards the exploration of fundamental questions that matter to us today. This is the tall order that this book series and the authors we feature are taking on. We are confident, however, that East Asian Comparative Literature and Culture will enable a deeper mutual understanding, and successfully integrate knowledge about and approaches to different literary and cultural traditions through critical comparative examination. We see clearly the relevance of the humanities to the world we are living in now, and aim to make significant contributions to humanistic scholarship and, ultimately, to the creation of a less divisive, more equal, and better world for all.
Science and Society in the Sanskrit World contains seventeen essays that cover a kaleidoscopic array of classical Sanskrit scientific disciplines, such as the astral sciences, grammar, jurisprudence, theology, and hermeneutics. The volume foregrounds a unifying theme to Christopher Z. Minkowski’s intellectual oeuvre: that scholars’ scientific endeavors are inseparable from the social worlds that shaped those scholars’ lives.
Contributors are: Anne Blackburn, Johannes Bronkhorst, Jonathan Duquette, Robert Goldman, Setsuro Ikeyama, Stephanie Jamison, Takanori Kusuba, John Lowe, Clemency Montelle, Valters Negribs, Rosalind O'Hanlon, Patrick Olivelle, Deven Patel, Kim Plofker, Frederick Smith, Barbora Sojkova, Thomas Trautmann, Elizabeth Tucker, Anand Venkatkrishnan, and Dominik Wujastyk.
Contributors are: Anne Blackburn, Johannes Bronkhorst, Jonathan Duquette, Robert Goldman, Setsuro Ikeyama, Stephanie Jamison, Takanori Kusuba, John Lowe, Clemency Montelle, Valters Negribs, Rosalind O'Hanlon, Patrick Olivelle, Deven Patel, Kim Plofker, Frederick Smith, Barbora Sojkova, Thomas Trautmann, Elizabeth Tucker, Anand Venkatkrishnan, and Dominik Wujastyk.
Science and Society in the Sanskrit World contains seventeen essays that cover a kaleidoscopic array of classical Sanskrit scientific disciplines, such as the astral sciences, grammar, jurisprudence, theology, and hermeneutics. The volume foregrounds a unifying theme to Christopher Z. Minkowski’s intellectual oeuvre: that scholars’ scientific endeavors are inseparable from the social worlds that shaped those scholars’ lives.
Contributors are: Anne Blackburn, Johannes Bronkhorst, Jonathan Duquette, Robert Goldman, Setsuro Ikeyama, Stephanie Jamison, Takanori Kusuba, John Lowe, Clemency Montelle, Valters Negribs, Rosalind O'Hanlon, Patrick Olivelle, Deven Patel, Kim Plofker, Frederick Smith, Barbora Sojkova, Thomas Trautmann, Elizabeth Tucker, Anand Venkatkrishnan, and Dominik Wujastyk.
Contributors are: Anne Blackburn, Johannes Bronkhorst, Jonathan Duquette, Robert Goldman, Setsuro Ikeyama, Stephanie Jamison, Takanori Kusuba, John Lowe, Clemency Montelle, Valters Negribs, Rosalind O'Hanlon, Patrick Olivelle, Deven Patel, Kim Plofker, Frederick Smith, Barbora Sojkova, Thomas Trautmann, Elizabeth Tucker, Anand Venkatkrishnan, and Dominik Wujastyk.