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Your Eureka Not Mined
Poetry. Chris Keaveney's debut poetry collection is a litany of the almost, "What the leaves in the bottom of the cup / should have said, / had we but waited for them to settle." But if he often writes of arriving late, of stopping just short, of ideals nearly believed in, of songs learned save for a single chord, there is nothing left wanting in his language, which is exquisitely precise, full of catch-your-breath moments. Through these deceptively gently poems we learn to pay attention to the details that unmask the mysteries, like a grandfather who knows "the difference between lacquer and varnish," or "the way / rain clung to pine that morning / like a drunken lover's / apology," and to arrive at what is for each of us -- as in the closing word in the book -- "precious." There is much wisdom on offer here, but none better than the reminder that "The only promises that matter. / are the ones we make to ourselves."
The Reading of Russian Literature in China
This book traces the profound influence that Russian literature, which was tied inseparably to the political victory of the Russian revolution, had on China during a period that saw the collapse of imperial rule and the rise of the Communist Party.
Performing "Nation"
Uniquely covering literary, visual and performative expressions of culture, this volume aims to correlate the conjunctions of nation building, gender and representation in late 19th and early 20th century China and Japan. Focusing on gender formation, the chapters explore the changing constructs of masculinities and femininities in China and Japan from the early modern up to the 1930s. Chapters focus on the dynamism that links the remodeling of traditional arts and media to the political and cultural power relations between China, Japan, and the Western world. A true tribute to multidisciplinary studies.
Modern Japanese Writers and Kanshi
This book explores the practice among Japanese writers in the modern era of composing kanshi, traditional Sinitic poetry. For the Japanese, writing poetry in Literary Sinitic (also known as Classical Chinese) is an "exophonic" practice, referring to the act of writing in a language other than one's native tongue. Meiji period (1868-1912) writers who, like generations of Japanese before them, received a traditional Confucian education, including studies in Literary Sinitic, were by and large capable of composing kanshi. As a result of changes in the Japanese education system following the Imperial Rescript on Education of 1890, and of shifting attitudes toward China after the Sino-Japanese Wa...
Empire of Texts in Motion
The constant movement of peoples, ideas, and texts in the Japanese empire at the turn of the twentieth century created numerous literary contact nebulae. This book analyzes three of them: semicolonial Chinese, occupied Manchurian, and colonial Korean and Taiwanese transculturations of Japanese literature.
Beyond Brushtalk
Beyond Brushtalk explores interactions between Japanese and Chinese writers during the golden age of such exchange, 1919 to 1937. During this period, there were unprecedented opportunities for exchange between writers, which was made possible by the ease of travel between Japan and China during these years and the educational background of Chinese writers as students in Japan. Although the salubrious interaction that developed during that period was destined not to last, it nevertheless was significant as a courageous essay at cultural interaction. This book will appeal not only to those interested in Sino-Japanese studies, an increasingly important field of study in its own right, but will ...
Western Rock Artists, Madame Butterfly, and the Allure of Japan
Using the framework of Edward Said’s Orientalism, this work examines how Western rock and pop artists—particularly during the age of album rock from the 1970s through the 1990s—perpetuated long-held stereotypes of Japan in their direct encounters with the country and in songs and music videos with Japanese content.
Maximum Embodiment
Maximum Embodiment presents a compelling thesis articulating the historical character of Yoga, literally the “Western painting” of Japan. The term designates what was arguably the most important movement in modern Japanese art from the late nineteenth to the mid-twentieth centuries. Perhaps the most critical marker of Yoga was its association with the medium of oil-on-canvas, which differed greatly from the water-based pigments and inks of earlier Japanese painting. Yoga encompassed both establishment fine art and avant-gardist insurgencies, but in both cases, as the term suggests, it was typically focused on techniques, motifs, canons, or iconographies that were obtained in Europe and d...
