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Journeys of Desire

A Study of the Balinese Text Malat

Series:

A. Vickers

From the late seventeenth century until the Dutch conquest of the early twentieth Century Bali was ruled by a set of competing kingdoms. This study of the Balinese text Kidung Malat is the first work in Indonesian historical studies to analyse the main ideology of these Balinese kingdoms. It does so by demonstrating how the performance and presentation of the text presented an image of the ideal prince to both rulers and subjects.
The Kidung Malat exemplifies courtly ideology through its descriptions of the adventures of kings and princes from the era of the medieval kingdoms of East Java. It is one of the longest and most complex of a set of narratives called Pañji stories, which originated in East Java and spread throughout Southeast Asia. This book is also the first extensive historical analysis of a Pañji story, combining textual analysis with the study of the gambuh dance-drama in which the Malat is performed, and comparing these forms with paintings and other manifestations of the text.

Perspectives on the Bird's Head of Irian Jaya, Indonesia

Proceedings of the Conference, Leiden, 13-17 October 1997

Edited by Jelle Miedema, Cecilia Odé and Rien A.C. Dam

The Bird's Head Peninsula of Irian Jaya has long been an area neglected by New Guinea Studies. Only in the late seventies, interest began to focus more intensively on this scientifically important border area between Austronesian and Papuan languages and cultures. In the early nineties, this led to the creation in The Netherlands of the Irian Jaya Studies programme ISIR, which organizes and coordinates multi-disciplinary research on the Bird's Head Peninsula. Within this framework, study of the peninsula has reached a peak, with research being conducted in the area by scientists from different disciplines: anthropology, archaeology, (ethno)botany, demography, development administration, geology and linguistics. The diverse perspectives of these disciplines are subject to constant internal debate. Through ISIR and other research initiatives, there is a growing body of data on and insights into the various disciplines concerned with this fascinating area, with each discipline developing its own specific perspectives on the Bird's Head. These perspectives were presented during the First International Conference Perspectives on the Bird's Head of Irian Jaya, Indonesia, organized by ISIR in cooperation with the Indonesian Institute of Sciences LIPI (Jakarta) and the International Institute for Asian Studies ILAS (Leiden) and held at Leiden University, 13-17 October 1997. Researchers were informed on current perspectives in many disciplines to facilitate integration of findings into wider, interdisciplinary frameworks and to stimulate international debate within and between disciplines. As a result of the Conference, the forty-two contributions in these Proceedings present a wealth of recent developments from various disciplines in New Guinea Studies.

The Other Kang Youwei

Calligrapher, Art Activist, and Aesthetic Reformer in Modern China

Series:

Aida Yuen Wong

The Other Kang Youwei is the first in-depth study of the art historical importance of Kang Youwei (1858-1927). The most prominent constitutional monarchist who served as Emperor Guangxu’s advisor during the Hundred Days Reform of 1898, he has been discussed in previous scholarship largely as a political figure. Less well known are his achievements in calligraphy and calligraphy theory (he wrote the most comprehensive and widely-read guide to the Stele School in his day), as well as his efforts in making art a powerful instrument for national transformation. He advocated East-West synthesis, especially the adoption of Renaissance plasticity and Song Dynasty-style verisimilitude. This book evaluates his extensive and controversial impact on pictorial realism in a variety of genres: human figures, horses, landscapes, and bird-and-flower subjects (the last developing in close step with Japanese trends). Besides providing an objective assessment of his legacy in the art world, The Other Kang Youwei offers a rare integrated treatment of Chinese calligraphy, painting, and art theory of the twentieth century.

Series:

Pei-Yin Lin

Employing the term “translation” as problematics of aboriginal representations in colonial Taiwan, this paper examines how primitivity or exotica of the colonized (the Atayal people) is rendered in Shimizu Hiroshi’s film ‘Sayon’s Bell’ (1943) and other retellings of Sayon Hayun’s story. To highlight the asymmetrical power relations embedded in colonial exchange through translation, this paper first examines Japanese colonizers ’ construction of savagery and civility, analyzing the transfiguring process in which Taiwan’s aborigines are transformed from the savage other to martyred imperial subjects. It then draws on Venuti’s notions of “domestication” and “foreignization”, regarding the dissemination of Japanese colonial discourse as the former whereas the capture of Taiwanese aborigines’ ethnic/racial particularity the latter. Rather than reading the film as an exemplary national-policy film, this paper argues Shimizu’s meditative role as a cultural translator actually creates a space of slippage within colonial discourse as the film contains both domesticating and foreignizing translation tactics. Accordingly, Shimizu’s cinematic techniques and Li Xianglan’s transnational identity suggest more contradictions and ambiguities within imperialization discourse than a clear-cut reinforcement of it.

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Yang Xiaobin

Almost all major Chinese poets in the post-Mao era have been enthusiastic in writing about their western (post-)modernist forerunners. In a way, this can be understood as translation of the great Western minds into the Chinese context. But if translation is etymologically synonymous to transference, we can discover that the process of translation can also be seen as that of transference in the psychoanalytic sense that links the Western masters (as texts) and their Chinese followers (as readers): the latter, nevertheless, transfer back feelings onto the former. This paper examines, with the help of the Lacanian theory of transference, how the Chinese poets address their sentiments, in different ways, to the presumably authoritative other. The major trends of transcultural transference in recent Chinese poetry correspond to the three Lacanian registers of the imaginary, the symbolic and the real: (1) imaginary identification with the other as the ideal-ego to create an intact, narcissistic, albeit illusionary, mirror image; (2) symbolic identification with the big Other as the ego-ideal that is expected to construct a modern(ized) cultural subject; and (3) transformation of the Other into an objet petit a as the way to invoke the ever-eluding desire and approach the traumatic core of the impossibility of identification or self-identity.

Shan'ge, the 'Mountain Songs'

Love Songs in Ming China

Series:

Yasushi OKI and Paolo Santangelo

Mountain Songs is a collection of folk songs edited by the famous writer Feng Menglong (1574-1646). By this innovative work - mainly written in the Suzhou dialect - he aimed to revitalize poetry through the power of popular songs. This collection is very significant to the understanding of the characters of the mobile society of Jiangnan and the vitality of its intellectual world. The songs deal with the lives of common people: women, often prostitutes, boatmen, peasants, hunters, fishers and paddlers. Their spirit is far from the orthodox moral intents that Zhu Xi advocated for interpreting the Shijing, and their language is often vulgar and full of crude expressions or salacious double meanings and contains allusions to sexual and erotic behaviour.

Series:

David Holm and Meng Yuanyao

Chewing Over the West

Occidental Narratives in Non-Western Readings

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Edited by Doris Jedamski

The orientation of academic institutions has in recent years been moving away from highly specialized area studies in the classical sense towards broader regional and comparative studies. Cultural studies points to the limitation of Western approaches to non-Western cultures – a development not yet reflected in actual research and data collections. Bringing together scholars from all over the world with specialized knowledge in both Western and non-Western languages, literatures, and cultures, this collection of essays provides new insights into the agency of non-Western literatures in relation to the West – a term used with critical caution and, like other common binary dualisms, challenged here. Inter-cultural expertise, seldom applied in the combination of Asian, African, and ‘oriental’ perspectives, makes this compilation of essays an important contribution to the study of colonialism and postcoloniality.
Topics covered include postcolonial Arabic writing; T.S. Eliot in contemporary Arabic poetry; Algerian (and Berber) literature; the English language and narratives in Kenyan art; characterization, dialogism, gender and Western infuence in modern Hindi fiction; Naya drama in India; modern Burmese theatre and literature under Western influence; Remarque’s All Quiet on the Western Front and the Vietnamese Novel Without a Name; Western Marxism and vernacular literature in colonial Indonesia; hybridity in Komedi Stambul; and Sherlock Holmes in/and the crime fiction of Siam and Indonesia
Contributors: Amina Azza Bekkat; Thomas de Bruijn; Matthew Isaac Cohen; Rasheed El-Enany; Keith Foulcher; Saddik M. Gohar; Rachel Harrison; Doris Jedamski; Ursula Lies; Daniela Merolla; Evan Mwangi; Guzel Vladimirovna Strelkova; Anna Suvorova; U Win Pe

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Edited by Sarah Queen and Michael Puett

The Han dynasty Huainanzi is a compendium of knowledge covering every subject from self-cultivation, astronomy, and calendrics, to the arts of government. This edited volume follows a multi-disciplinary approach to explore how and why the Huainanzi was produced and how we should interpret the work. The volume should be of interest to scholars of early China, as well as scholars of textual production in other periods of Chinese history and in other cultures.
With contributions by Anne Behnke Kinney, Martin Kern, John S. Major, Andrew Meyer, Judson B. Murray, Michael Nylan, David W. Pankenier, Michael Puett, Sarah A. Queen, Harold D. Roth, and Griet Vankeerberghen.

The Rhetoric of Photography in Modern Japanese Literature

Materiality in the Visual Register as Narrated by Tanizaki Jun’ichirō, Abe Kōbō, Horie Toshiyuki and Kanai Mieko

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Atsuko Sakaki

In The Rhetoric of Photography in Modern Japanese Literature, Atsuko Sakaki closely examines photography-inspired texts by four Japanese novelists: Tanizaki Jun’ichirō (1886-1965), Abe Kōbō (1924-93), Horie Toshiyuki (b. 1964) and Kanai Mieko (b. 1947). As connoisseurs, practitioners or critics of this visual medium, these authors look beyond photographs’ status as images that document and verify empirical incidents and existences, articulating instead the physical process of photographic production and photographs’ material presence in human lives. This book offers insight into the engagement with photography in Japanese literary texts as a means of bringing forgotten subject-object dynamics to light. It calls for a fundamental reconfiguration of the parameters of modern print culture and its presumption of the transparency of agents of representation.