Tony Day – författare

Fluid Iron is the first extended treatment of state formation in Southeast Asia from early to contemporary times and the first book-length analysis of Western historical and ethnographic writing on the region. It includes critical assessments of the work of Clifford Geertz, O. W. Wolters, Benedict Anderson, and other major scholars who have written on early, colonial, and modern Southeast Asian history and culture. Making use of the ideas of Weber, Marx, Foucault, and postmodern and postcolonial theory, Tony Day argues that culture must be restored to the study of Southeast Asian history so that the state and historical developments in the region can be returned to their own ""alternative"" historical contexts and trajectories. He employs a wide range of contemporary scholarship, as well as Southeast Asian literary and historical texts, inscriptions, and temples to explore the kinds of concepts and practices - kinship networks, cosmologies, gender identities, bureaucracies, rituals, violence and aesthetics - that have been used for centuries to build states. Highly readable and accessibly written, Fluid Iron demonstrates that Southeast Asian state building has taken place in a part of the world that has always been a crossroads of cultural and transcultural change. Day urges Southeast Asians to learn more about the history of their own state formations so they can safeguard not only human freedom, but also the ""incongruity"" of their unique region in the years ahead.

The Cold War in Southeast Asia was a many-faceted conflict, driven by regional historical imperatives as much as by the contest between global superpowers. The essays in this book offer the most detailed and probing examination to date of the cultural dimension of the Cold War in Southeast Asia. Southeast Asian culture from the late 1940s to the late 1970s was primarily shaped by a long-standing search for national identity and independence, which took place in the context of intense rivalry between the United States and the Soviet Union, with the Peoples' Republic of China emerging in 1949 as another major international competitor for influence in Southeast Asia. Based on fieldwork in Burma, Indonesia, Laos, Malaysia, the Philippines, Singapore, Thailand, and Vietnam, the essays in this collection analyze the ways in which art, literature, film, theater, spectacle, physical culture, and the popular press represented Southeast Asian responses to the Cold War and commemorated that era's violent conflicts long after tensions had subsided. Southeast Asian cultural reactions to the Cold War involved various solutions to the dilemmas of the newly independent nation-states of the region. What is common to all of the perspectives and works examined in this book is that they expressed social and aesthetic concerns that both antedated and outlasted the Cold War, ones that never became simply aligned with the ideologies of either bloc.Contributors:Francisco B. Benitez, University of Washington; Bo Bo, Burmese writer (SOAS, University of London); Michael Bodden, University of Victoria; Simon Creak, Australian National University; Gaik Cheng Khoo, Australian National University; Rachel Harrison, SOAS, University of London; Barbara Hatley, University of Tasmania; Boitran Huynh-Beattie, Asiarta Foundation; Jennifer Lindsay, Australian National University

The Cold War in Southeast Asia was a many-faceted conflict, driven by regional historical imperatives as much as by the contest between global superpowers. The essays in this book offer the most detailed and probing examination to date of the cultural dimension of the Cold War in Southeast Asia. Southeast Asian culture from the late 1940s to the late 1970s was primarily shaped by a long-standing search for national identity and independence, which took place in the context of intense rivalry between the United States and the Soviet Union, with the Peoples' Republic of China emerging in 1949 as another major international competitor for influence in Southeast Asia. Based on fieldwork in Burma, Indonesia, Laos, Malaysia, the Philippines, Singapore, Thailand, and Vietnam, the essays in this collection analyze the ways in which art, literature, film, theater, spectacle, physical culture, and the popular press represented Southeast Asian responses to the Cold War and commemorated that era's violent conflicts long after tensions had subsided. Southeast Asian cultural reactions to the Cold War involved various solutions to the dilemmas of the newly independent nation-states of the region. What is common to all of the perspectives and works examined in this book is that they expressed social and aesthetic concerns that both antedated and outlasted the Cold War, ones that never became simply aligned with the ideologies of either bloc.Contributors:Francisco B. Benitez, University of Washington; Bo Bo, Burmese writer (SOAS, University of London); Michael Bodden, University of Victoria; Simon Creak, Australian National University; Gaik Cheng Khoo, Australian National University; Rachel Harrison, SOAS, University of London; Barbara Hatley, University of Tasmania; Boitran Huynh-Beattie, Asiarta Foundation; Jennifer Lindsay, Australian National University

Indonesia, a huge secular, archipelagic nation-state in Southeast Asia, is one of the world's newest democracies. Yet little is known to outsiders about this complex and fascinating country, the home of the world's largest Muslim community and the scene of recent natural disasters and violent communal struggles. Eleven scholars provide incisive critical appraisals of the leading issues and controversies facing Indonesians as they seek to build a democratic nation that is tolerant of multicultural diversity and free from imperial domination.