Weatherhead Books on Asia - Böcker

One of the world's most ruthless warriors, Chinggis Khan conquered nearly all of Asia in the twelfth and thirteenth centuries, transforming the scattered and impoverished Mongols into an exceptionally proud and powerful nation. In this riveting and thoroughly researched portrait, Japan's celebrated epic novelist drives at the root of the khan's great desires and insatiable appetite for supremacy. Beginning with his birth in 1162, The Blue Wolf follows the crucial alliances that led to Chinggis Khan's great campaigns in North China, Bukhara, and Samarkand, as well as the state of Khorazm. The khan was obsessed with his ancestry, not knowing whether he was the descendent of the blue wolf (mythical progenitor of the Mongols and the noble Borjigin line) or merely the bastard son of a Merkid tribesman. For Inoue Yasushi, Chinggis's ancestral anxiety lies at the center of his relentless push for empire. He struggled with his paternity as intensely as he fought his battles, and his victories stood as proof that the brave warrior was a true Mongol.The question of paternity also formed the largest wedge between Chinggis and his eldest son, Jochi, a boy born in captivity and of similarly questionable heritage. Hailed for its sophistication and rich imagining of a remote world, The Blue Wolf puts a human cast on a legendary force that changed Asia and the world.

Desire, virtue, courtesans (also known as sing-song girls), and the denizens of Shanghai's pleasure quarters are just some of the elements that constitute Han Bangqing's extraordinary novel of late imperial China. Han's richly textured, panoramic view of late-nineteenth-century Shanghai follows a range of characters from beautiful sing-song girls to lower-class prostitutes and from men in positions of social authority to criminals and ambitious young men recently arrived from the country. Considered one of the greatest works of Chinese fiction, The Sing-song Girls of Shanghai is now available for the first time in English. Neither sentimental nor sensationalistic in its portrayal of courtesans and their male patrons, Han's work inquires into the moral and psychological consequences of desire. Han, himself a frequent habitue of Shanghai brothels, reveals a world populated by lonely souls who seek consolation amid the pleasures and decadence of Shanghai's demimonde. He describes the romantic games played by sing-song girls to lure men, as well as the tragic consequences faced by those who unexpectedly fall in love with their customers.Han also tells the stories of male patrons who find themselves emotionally trapped between desire and their sense of propriety. First published in 1892, and made into a film by Hou Hsiao-hsien in 1998, The Sing-song Girls of Shanghai is recognized as a pioneering work of Chinese fiction in its use of psychological realism and its infusion of modernist sensibilities into the traditional genre of courtesan fiction. The novel's stature has grown with the recent discovery of Eileen Chang's previously unknown translation, which was unearthed among her papers at the University of Southern California. Chang, who lived in Shanghai until 1956 when she moved to California and began to write in English, is one of the most acclaimed Chinese writers of the twentieth century.

Desire, virtue, courtesans (also known as sing-song girls), and the denizens of Shanghai's pleasure quarters are just some of the elements that constitute Han Bangqing's extraordinary novel of late imperial China. Han's richly textured, panoramic view of late-nineteenth-century Shanghai follows a range of characters from beautiful sing-song girls to lower-class prostitutes and from men in positions of social authority to criminals and ambitious young men recently arrived from the country. Considered one of the greatest works of Chinese fiction, The Sing-song Girls of Shanghai is now available for the first time in English. Neither sentimental nor sensationalistic in its portrayal of courtesans and their male patrons, Han's work inquires into the moral and psychological consequences of desire. Han, himself a frequent habitue of Shanghai brothels, reveals a world populated by lonely souls who seek consolation amid the pleasures and decadence of Shanghai's demimonde. He describes the romantic games played by sing-song girls to lure men, as well as the tragic consequences faced by those who unexpectedly fall in love with their customers.Han also tells the stories of male patrons who find themselves emotionally trapped between desire and their sense of propriety. First published in 1892, and made into a film by Hou Hsiao-hsien in 1998, The Sing-song Girls of Shanghai is recognized as a pioneering work of Chinese fiction in its use of psychological realism and its infusion of modernist sensibilities into the traditional genre of courtesan fiction. The novel's stature has grown with the recent discovery of Eileen Chang's previously unknown translation, which was unearthed among her papers at the University of Southern California. Chang, who lived in Shanghai until 1956 when she moved to California and began to write in English, is one of the most acclaimed Chinese writers of the twentieth century.

Set on an island in the South Pacific during the final days of World War II, when the tide has turned against Japan and the war has unmistakably become one of attrition, The Breaking Jewel offers a rare depiction of the Pacific War from the Japanese side and captures the essence of Japan's doomed imperial aims. The novel opens as a small force of Japanese soldiers prepares to defend a tiny and ultimately insignificant island from a full-scale assault by American forces. Its story centers on squad leader Nakamura, who resists the Americans to the end, as he and his comrades grapple with the idea of gyokusai (translated as "the breaking jewel" or the "pulverization of the gem"), the patriotic act of mass suicide in defense of the homeland. Well known for his antiestablishment and antiwar sentiments, Makuto Oda gradually and subtly develops a powerful critique of the war and the racialist imperial aims that proved Japan's undoing.

Set on an island in the South Pacific during the final days of World War II, when the tide has turned against Japan and the war has unmistakably become one of attrition, The Breaking Jewel offers a rare depiction of the Pacific War from the Japanese side and captures the essence of Japan's doomed imperial aims. The novel opens as a small force of Japanese soldiers prepares to defend a tiny and ultimately insignificant island from a full-scale assault by American forces. Its story centers on squad leader Nakamura, who resists the Americans to the end, as he and his comrades grapple with the idea of gyokusai (translated as "the breaking jewel" or the "pulverization of the gem"), the patriotic act of mass suicide in defense of the homeland. Well known for his antiestablishment and antiwar sentiments, Makuto Oda gradually and subtly develops a powerful critique of the war and the racialist imperial aims that proved Japan's undoing.

One of the most-talked about works of fiction to emerge from China in recent years, this novel about an urban youth "displaced" to a small village in rural China during the Cultural Revolution is a fictionalized portrait of the author's own experience as a young man. Han Shaogong was one of millions of students relocated from cities and towns to live and work alongside peasant farmers in an effort to create a classless society. Translated into English for the first time, Han's novel is an exciting experiment in form-structured as a dictionary of the Maqiao dialect-through which he seeks to understand and translate the local life and customs of his strange new home. Han encounters an upside-down world among the people of Maqiao: a con man dupes his neighbors into thinking that he has found the fountain of youth by convincing them that his father is in fact his son; to be scientific" is to be lazy; time and relationships are understood using the language of food and its preparation; and to die young is considered "sweet," while the aged reckon their lives to be "cheap."As entries build one upon another, Han meditates on the ability of a waidi ren (outsider) to represent the ways of life of another community. In this light, the Communist effort to control the language and history of a people whose words and past are bound together in ineluctably local ways emerges as an often comical, sometimes tragic exercise in miscommunication.

Replete with madwomen, murderers, musicians, and mystics, Lonely Woman dramatically interweaves the lives of five women. It remains Takako Takahashi's most sustained and multifaceted fictional realization of her concept of "loneliness." Her fiction typically features a woman for whom dreams and fantasies, crime, madness, sexual deviance, or occult pursuits serve as a temporary release from her society's definitions of female identity. The combination of surrealist, feminist, and religious themes in Takahashi's work makes it unique among that of modern Japanese women writers. The five individually titled short stories that constitute Lonely Woman are linked by certain characters, themes, and plot elements. In the first story, "Lonely Woman," a series of arson incidents in her neighborhood causes a nihilistic young woman to become fascinated with the psychology of the person who perpetrated the crimes. Her fantasies of the euphoric pleasure of setting a fire heighten her awareness of her own violent tendencies. "The Oracle" portrays a young widow who becomes convinced, through several disturbing dreams, that her late husband was unfaithful to her.She devises a cruel, ritualistic act as a strategy for defusing her sense of helpless rage. In "Foxfire," a store clerk has a series of encounters with sly, seductive youngsters and is revitalized by her discovery of the criminal and sexual impulses that lurk beneath their innocent facades. In "The Suspended Bridge," a bored housewife's passion is rekindled when a man with whom she once had a sadomasochistic relationship reenters her life. "Strange Affinities" recasts crime, madness, and amour fou as catalysts of a process of spiritual enlightenment: an old woman searches for an elusive man who seems to embody the bliss of self-renunciation.

From one of China's most celebrated contemporary novelists comes this riveting tale of a young woman's emotional and sexual awakening. Set in the turbulent decades of the Cultural Revolution and the Tian'anmen Square incident, A Private Life exposes the complex and fantastical inner life of a young woman growing up during a time of intense social and political upheaval. At the age of twenty-six, Ni Niuniu has come to accept pain and loss. She has suffered the death of her mother and a close friend and neighbor, Mrs. Ho. She has long been estranged from her tyrannical father, while her boyfriend-a brilliant and handsome poet named Yin Nan-was forced to flee the country. She has survived a disturbing affair with a former teacher, a mental breakdown that left her in a mental institution for two years, and a stray bullet that tore through the flesh of her left leg. Now living in complete seclusion, Niuniu shuns a world that seems incapable of accepting her and instead spends her days wandering in vivid, dreamlike reveries where her fractured recollections and wild fantasies merge with her inescapable feelings of melancholy and loneliness.Yet this eccentric young woman-caught between the disappearing traditions of the past and a modernizing Beijing, a flood of memories and an unknowable future, her chosen solitude and her irrepressible longing-discovers strength and independence through writing, which transforms her flight from the hypocrisy of urban life into a journey of self-realization and rebirth. First published in 1996 to widespread critical acclaim, Chen Ran's controversial debut novel is a lyrical meditation on memory, sexuality, femininity, and the often arbitrary distinctions between madness and sanity, alienation and belonging, nature and society. As Chen leads the reader deep into the psyche of Ni Niuniu-into her innermost secrets and sexual desires-the borders separating narrator and protagonist, writer and subject dissolve, exposing the shared aspects of human existence that transcend geographical and cultural differences.

Revolution, foreign occupation, and political, cultural, and economic upheavals defined mid-twentieth-century Chinese society. This new anthology, a sequel to the acclaimed first volume, compiled by Dooling and Kristina Torgeson and covering the early twentieth century, includes an impressive range of literary, personal, and journalistic responses to these tumultuous events. From succinct reportage of contemporary historical circumstances to comic accounts of twentieth-century urban living to carefully stylized modernist works of fiction, the selections in this anthology reflect the diversity, liveliness, humor, and surprising cosmopolitanism of women's writing from the period. This collection also reveals the ways in which women writers imagined and inscribed new meanings to Chinese feminism. Biographical information on the writers-including Yang Gang, Bai Wei, Hu Lanxi, Yang Jiang, Zong Pu, Chen Ruoxi, and others-introduces the selections from their works. Dooling's critical introduction and bibliographical materials further enrich readers'understanding of the role of women's writing in Chinese literary modernity.

Revolution, foreign occupation, and political, cultural, and economic upheavals defined mid-twentieth-century Chinese society. This new anthology, a sequel to the acclaimed first volume, compiled by Dooling and Kristina Torgeson and covering the early twentieth century, includes an impressive range of literary, personal, and journalistic responses to these tumultuous events. From succinct reportage of contemporary historical circumstances to comic accounts of twentieth-century urban living to carefully stylized modernist works of fiction, the selections in this anthology reflect the diversity, liveliness, humor, and surprising cosmopolitanism of women's writing from the period. This collection also reveals the ways in which women writers imagined and inscribed new meanings to Chinese feminism. Biographical information on the writers-including Yang Gang, Bai Wei, Hu Lanxi, Yang Jiang, Zong Pu, Chen Ruoxi, and others-introduces the selections from their works. Dooling's critical introduction and bibliographical materials further enrich readers'understanding of the role of women's writing in Chinese literary modernity.

Regarded as one of the foremost thinkers in postwar Japan, Takeuchi Yoshimi (1910-1977) questioned traditional Japanese thought and radically reconfigured an understanding of the subject's relationship to the world. His works were also central in drawing Japanese attention to the problems inherent in western colonialism and to the cultural importance of Asia, especially China. Takeuchi's writings synthesized philosophy, literature, and history, focusing not simply on Japan and the West but rather on the triangular relationship between Japan, the West, and China. This book, which represents the first appearance of Takeuchi's essays in English translation, explores Japanese modernity, literature, and nationalism as well as Chinese intellectual history. Takeuchi's research demonstrates how Asians attempted to make sense of European modernity without sacrificing their own cultural histories. An authentic method of modernity for Asia, Takeuchi concludes, needs to stress difference and plurality as opposed to the homogenizing force of westernization.

Regarded as one of the foremost thinkers in postwar Japan, Takeuchi Yoshimi (1910-1977) questioned traditional Japanese thought and radically reconfigured an understanding of the subject's relationship to the world. His works were also central in drawing Japanese attention to the problems inherent in western colonialism and to the cultural importance of Asia, especially China. Takeuchi's writings synthesized philosophy, literature, and history, focusing not simply on Japan and the West but rather on the triangular relationship between Japan, the West, and China. This book, which represents the first appearance of Takeuchi's essays in English translation, explores Japanese modernity, literature, and nationalism as well as Chinese intellectual history. Takeuchi's research demonstrates how Asians attempted to make sense of European modernity without sacrificing their own cultural histories. An authentic method of modernity for Asia, Takeuchi concludes, needs to stress difference and plurality as opposed to the homogenizing force of westernization.

Appearing for the first time in English, the writings in this collection reflect some of the most innovative and influential work by Japanese intellectuals in recent years. The volume offers a rare and much-needed window into the crucial ideas and positions currently shaping Japanese thought (shiso). In addressing the political, historical, and cultural issues that have dominated Japanese society, these essays cross a range of disciplines, including literary theory, philosophy, history, gender studies, and cultural studies. Contributors examine Japan's imperialist and nationalist past as well as representations and remembrances of this history. They also critique recent efforts in Japanese right-wing circles to erase or obscure the more troubling aspects of Japan's colonial enterprise in East Asia. Other essays explore how Japan has viewed itself in regard to the West and the complex influence of Western thought on Japanese intellectual and political life.The volume's groundbreaking essays on issues of gender and the contested place of feminist thought in Japan discuss the similarities between the emotional bullying of women who do not accept traditional gender roles and teasing in schools; how the Japanese have adopted elements of Western orientalism to discredit feminism; and historical constructions of Japanese motherhood.

Appearing for the first time in English, the writings in this collection reflect some of the most innovative and influential work by Japanese intellectuals in recent years. The volume offers a rare and much-needed window into the crucial ideas and positions currently shaping Japanese thought (shiso). In addressing the political, historical, and cultural issues that have dominated Japanese society, these essays cross a range of disciplines, including literary theory, philosophy, history, gender studies, and cultural studies. Contributors examine Japan's imperialist and nationalist past as well as representations and remembrances of this history. They also critique recent efforts in Japanese right-wing circles to erase or obscure the more troubling aspects of Japan's colonial enterprise in East Asia. Other essays explore how Japan has viewed itself in regard to the West and the complex influence of Western thought on Japanese intellectual and political life.The volume's groundbreaking essays on issues of gender and the contested place of feminist thought in Japan discuss the similarities between the emotional bullying of women who do not accept traditional gender roles and teasing in schools; how the Japanese have adopted elements of Western orientalism to discredit feminism; and historical constructions of Japanese motherhood.

In five richly imaginative novellas and a short story, Zhu Wen depicts the violence, chaos, and dark comedy of China in the post-Mao era. A frank reflection of the seamier side of his nation's increasingly capitalist society, Zhu Wen's fiction offers an audaciously plainspoken account of the often hedonistic individualism that is feverishly taking root. Set against the mundane landscapes of contemporary China-a worn Yangtze River vessel, cheap diners, a failing factory, a for-profit hospital operating by dated socialist norms-Zhu Wen's stories zoom in on the often tragicomic minutiae of everyday life in this fast-changing country. With subjects ranging from provincial mafiosi to nightmarish families and oppressed factory workers, his claustrophobic narratives depict a spiritually bankrupt society, periodically rocked by spasms of uncontrolled violence. For example, I Love Dollars, a story about casual sex in a provincial city whose caustic portrayal of numb disillusionment and cynicism, caused an immediate sensation in the Chinese literary establishment when it was first published.The novella's loose, colloquial voice and sharp focus on the indignity and iniquity of a society trapped between communism and capitalism showcase Zhu Wen's exceptional ability to make literary sense of the bizarre, ideologically confused amalgam that is contemporary China. Julia Lovell's fluent translation deftly reproduces Zhu Wen's wry sense of humor and powerful command of detail and atmosphere. The first book-length publication of Zhu Wen's fiction in English, I Love Dollars and Other Stories of China offers readers access to a trailblazing author and marks a major contribution to Chinese literature in English.

"In the beginning, woman was truly the sun. An authentic person. Now she is the moon, a wan and sickly moon, dependent on another, reflecting another's brilliance."-Hiratsuku Raicho Raicho Hiratsuka (1886-1971) was the most influential figure in the early women's movement in Japan. In 1911, she founded Bluestocking (Seito), Japan's first literary journal run by women. In 1920, she founded the New Women's Association, Japan's first nationwide women's organization to campaign for female suffrage, and soon after World War II, the Japan Federation of Women's Organizations. Available for the first time in English, In the Beginning, Woman Was the Sun is Raicho Hiratsuka's autobiography of her childhood, early youth, and subsequent rebellion against the strict social codes of the time. Hiratsuka came from an upper-middle class Tokyo family, and her restless quest for truth led her to read widely in philosophy and undertake Zen training at Japan Woman's College. After graduation, she gained brief notoriety for her affair with a married writer, but quickly established herself as a brilliant and articulate leader of feminist causes with the launch of the journal Seito.Her richly detailed account presents a woman who was at once idealistic and elitist, fearless and vain, and a perceptive observer of society. Teruko Craig's translation captures Hiratsuka's strong personality and distinct voice. At a time when interest in Japanese feminism is growing in the West, there is no finer introduction to Japanese women's history than this intimate, candid, and compelling memoir.

"In the beginning, woman was truly the sun. An authentic person. Now she is the moon, a wan and sickly moon, dependent on another, reflecting another's brilliance."-Hiratsuku Raicho Raicho Hiratsuka (1886-1971) was the most influential figure in the early women's movement in Japan. In 1911, she founded Bluestocking (Seito), Japan's first literary journal run by women. In 1920, she founded the New Women's Association, Japan's first nationwide women's organization to campaign for female suffrage, and soon after World War II, the Japan Federation of Women's Organizations. Available for the first time in English, In the Beginning, Woman Was the Sun is Raicho Hiratsuka's autobiography of her childhood, early youth, and subsequent rebellion against the strict social codes of the time. Hiratsuka came from an upper-middle class Tokyo family, and her restless quest for truth led her to read widely in philosophy and undertake Zen training at Japan Woman's College. After graduation, she gained brief notoriety for her affair with a married writer, but quickly established herself as a brilliant and articulate leader of feminist causes with the launch of the journal Seito.Her richly detailed account presents a woman who was at once idealistic and elitist, fearless and vain, and a perceptive observer of society. Teruko Craig's translation captures Hiratsuka's strong personality and distinct voice. At a time when interest in Japanese feminism is growing in the West, there is no finer introduction to Japanese women's history than this intimate, candid, and compelling memoir.

Extremely short stories-known as short-shorts-have become a global phenomenon, but nowhere have they been embraced as enthusiastically as in mainland China, Hong Kong, and Taiwan. The form's artistic and aesthetic freedoms allow authors to capture the tone, texture, and chaos of their rapidly changing societies in infinitely inventive ways. Fragments and contingencies reveal unofficial histories, undocumented memories, and the trials of everyday individuals, and the genre's lean format is a welcome antidote to a culture characterized by rampant excess. Loud Sparrows is a spirited collection of ninety-one short-shorts written by Chinese authors over the past three decades. Presenting diverse voices and perspectives by writers both well known and new to the art, the stories are culled from newspapers, magazines, literary journals, and personal collections. Their subjects range from the mundane to the sublime and illuminate everything from humanist ideals to traditional virtues to the material benefits of a commercialized society.The anthology is organized into thematic categories such as Change, Creatures, (In)fidelities, Grooming, Governance, Nourishment, and Weirdness, and includes notes to better understand the genre. Each section is introduced by an original piece of flash fiction written by Howard Goldblatt. The short-short, to borrow a Chinese saying, is "small as a sparrow but has all the vital organs" of a good story. Loud Sparrows offers a comprehensive introduction to a unique literary genre that has revolutionized world literature.

Extremely short stories-known as short-shorts-have become a global phenomenon, but nowhere have they been embraced as enthusiastically as in mainland China, Hong Kong, and Taiwan. The form's artistic and aesthetic freedoms allow authors to capture the tone, texture, and chaos of their rapidly changing societies in infinitely inventive ways. Fragments and contingencies reveal unofficial histories, undocumented memories, and the trials of everyday individuals, and the genre's lean format is a welcome antidote to a culture characterized by rampant excess. Loud Sparrows is a spirited collection of ninety-one short-shorts written by Chinese authors over the past three decades. Presenting diverse voices and perspectives by writers both well known and new to the art, the stories are culled from newspapers, magazines, literary journals, and personal collections. Their subjects range from the mundane to the sublime and illuminate everything from humanist ideals to traditional virtues to the material benefits of a commercialized society.The anthology is organized into thematic categories such as Change, Creatures, (In)fidelities, Grooming, Governance, Nourishment, and Weirdness, and includes notes to better understand the genre. Each section is introduced by an original piece of flash fiction written by Howard Goldblatt. The short-short, to borrow a Chinese saying, is "small as a sparrow but has all the vital organs" of a good story. Loud Sparrows offers a comprehensive introduction to a unique literary genre that has revolutionized world literature.

Available for the first time in English, Azaleas is a captivating collection of poems by a master of the early Korean modernist style. Published in 1925, Azaleas is the only collection Kim Sowol (1902-1934) produced during his brief life, yet he remains one of Korea's most beloved and well-known poets. His work is a delightful and sophisticated blend of the images, tonalities, and rhythms of traditional Korean folk songs with surprisingly modern forms and themes. Sowol is also known for his unique and sometimes unsettling perspective, expressed through loneliness, longing, and a creative use of dream imagery-a reflection of Sowol's engagement with French Symbolist poetry. Azaleas recounts the journey of a young Korean as he travels from the northern P'yongyang area near to the cosmopolitan capital of Seoul. Told through an array of voices, the poems describe the young man's actions as he leaves home, his experiences as a student and writer in Seoul, and his return north. Although considered a landmark of Korean literature, Azaleas speaks to readers from all cultures.An essay by Sowol's mentor, the poet Kim Ok, concludes the collection and provides vital insight into Sowol's work and life. This elegant translation by David R. McCann, an expert on modern Korean poetry, maintains the immediacy and richness of Sowol's work and shares with English-language readers the quiet beauty of a poet who continues to cast a powerful spell on generations of Korean readers.

Available for the first time in English, Azaleas is a captivating collection of poems by a master of the early Korean modernist style. Published in 1925, Azaleas is the only collection Kim Sowol (1902-1934) produced during his brief life, yet he remains one of Korea's most beloved and well-known poets. His work is a delightful and sophisticated blend of the images, tonalities, and rhythms of traditional Korean folk songs with surprisingly modern forms and themes. Sowol is also known for his unique and sometimes unsettling perspective, expressed through loneliness, longing, and a creative use of dream imagery-a reflection of Sowol's engagement with French Symbolist poetry. Azaleas recounts the journey of a young Korean as he travels from the northern P'yongyang area near to the cosmopolitan capital of Seoul. Told through an array of voices, the poems describe the young man's actions as he leaves home, his experiences as a student and writer in Seoul, and his return north. Although considered a landmark of Korean literature, Azaleas speaks to readers from all cultures.An essay by Sowol's mentor, the poet Kim Ok, concludes the collection and provides vital insight into Sowol's work and life. This elegant translation by David R. McCann, an expert on modern Korean poetry, maintains the immediacy and richness of Sowol's work and shares with English-language readers the quiet beauty of a poet who continues to cast a powerful spell on generations of Korean readers.

Ch'oe Yun is a Korean author known for her breathtaking versatility, subversion of authority, and bold exploration of the inner life. Readers celebrate her creative play with fantasy and admire her deep engagement with trauma, history, and the vagaries of remembrance. In this collection's title work, There a Petal Silently Falls, Ch'oe explores both the genesis and the aftershocks of historical outrages such as the Kwangju Massacre of 1980, in which a reported 2,000 civilians were killed for protesting government military rule. The novella follows the wanderings of a girl traumatized by her mother's murder and strikes home the injustice of state-sanctioned violence against men and especially women. "Whisper Yet" illuminates the harsh treatment of leftist intellectuals during the years of national division, at the same time offering the hope of reconciliation between ideological enemies. The third story, "The Thirteen-Scent Flower," satirizes consumerism and academic rivalries by focusing on a young man and woman who engender an exotic flower that is coveted far and wide for its various fragrances.Elegantly crafted and quietly moving, Ch'oe Yun's stories are among the most incisive portrayals of the psychological and spiritual reality of post-World War II Korea. Her fiction, which began to appear in the late 1980s, represents a turn toward a more experimental, deconstructionist, and postmodern Korean style of writing, and offers a new focus on the role of gender in the making of Korean history.

Ch'oe Yun is a Korean author known for her breathtaking versatility, subversion of authority, and bold exploration of the inner life. Readers celebrate her creative play with fantasy and admire her deep engagement with trauma, history, and the vagaries of remembrance.In this collection's title work, There a Petal Silently Falls, Ch'oe explores both the genesis and the aftershocks of historical outrages such as the Kwangju Massacre of 1980, in which a reported 2,000 civilians were killed for protesting government military rule. The novella follows the wanderings of a girl traumatized by her mother's murder and strikes home the injustice of state-sanctioned violence against men and especially women. "Whisper Yet" illuminates the harsh treatment of leftist intellectuals during the years of national division, at the same time offering the hope of reconciliation between ideological enemies. The third story, "The Thirteen-Scent Flower," satirizes consumerism and academic rivalries by focusing on a young man and woman who engender an exotic flower that is coveted far and wide for its various fragrances. Elegantly crafted and quietly moving, Ch'oe Yun's stories are among the most incisive portrayals of the psychological and spiritual reality of post-World War II Korea. Her fiction, which began to appear in the late 1980s, represents a turn toward a more experimental, deconstructionist, and postmodern Korean style of writing, and offers a new focus on the role of gender in the making of Korean history.

Set in post-World War II Shanghai, The Song of Everlasting Sorrow follows the adventures of Wang Qiyao, a girl born of the longtong, the crowded, labyrinthine alleys of Shanghai's working-class neighborhoods. Infatuated with the glitz and glamour of 1940s Hollywood, Wang Qiyao seeks fame in the Miss Shanghai beauty pageant, and this fleeting moment of stardom becomes the pinnacle of her life. During the next four decades, Wang Qiyao indulges in the decadent pleasures of pre-liberation Shanghai, secretly playing mahjong during the antirightist Movement and exchanging lovers on the eve of the Cultural Revolution. Surviving the vicissitudes of modern Chinese history, Wang Qiyao emerges in the 1980s as a purveyor of "old Shanghai"--a living incarnation of a new, commodified nostalgia that prizes splendor and sophistication--only to become embroiled in a tragedy that echoes the pulpy Hollywood noirs of her youth. From the violent persecution of communism to the liberalism and openness of the age of reform, this sorrowful tale of old China versus new, of perseverance in the face of adversity, is a timeless rendering of our never-ending quest for transformation and beauty.

Set in post-World War II Shanghai, The Song of Everlasting Sorrow follows the adventures of Wang Qiyao, a girl born of the longtong, the crowded, labyrinthine alleys of Shanghai's working-class neighborhoods. Infatuated with the glitz and glamour of 1940s Hollywood, Wang Qiyao seeks fame in the Miss Shanghai beauty pageant, and this fleeting moment of stardom becomes the pinnacle of her life. During the next four decades, Wang Qiyao indulges in the decadent pleasures of pre-liberation Shanghai, secretly playing mahjong during the antirightist Movement and exchanging lovers on the eve of the Cultural Revolution. Surviving the vicissitudes of modern Chinese history, Wang Qiyao emerges in the 1980s as a purveyor of "old Shanghai"--a living incarnation of a new, commodified nostalgia that prizes splendor and sophistication--only to become embroiled in a tragedy that echoes the pulpy Hollywood noirs of her youth. From the violent persecution of communism to the liberalism and openness of the age of reform, this sorrowful tale of old China versus new, of perseverance in the face of adversity, is a timeless rendering of our never-ending quest for transformation and beauty.

In the summer of 1942 Japan's leading cultural authorities gathered in Tokyo to discuss the massive cultural, technological, and intellectual changes that had transformed Japan since the Meiji period. They feared that without a sufficient understanding of these developments, the Japanese people would lose their identity to the reckless and rapid process of modernization. The participants of this symposium hoped to settle the question of Japanese cultural identity at a time when their country was already at war with England and the United States. They presented papers and held roundtable discussions analyzing the effects of modernity from the diverse perspectives of literature, history, theology, film, music, philosophy, and science. Taken together, their work represents a complex portrait of intellectual discourse in wartime Japan, marked not only by a turn toward fascism but also by a profound sense of cultural crisis and anxiety. Overcoming Modernity is the first English translation of the symposium proceedings. Originally published in 1942, this material remains one of the most valuable documents of wartime Japanese intellectual history. Richard F.Calichman reproduces the entire proceedings and includes a critical introduction that provides thorough background of the symposium and its reception among postwar Japanese thinkers and critics. The aim of this conference was to go beyond facile and unreflective discussions concerning Japan's new spiritual order and examine more substantially the phenomenon of Japanese modernization and westernization. This does not mean, however, that a consensus was reached among the symposium's participants. Their tense debate reflects the problematic efforts within Japan, if not throughout the rest of the world at the time, to resolve the troubling issues of modernity.

The first of its kind in English, this anthology translates twenty-two popular Chinese plays published between 1919 and 2000, accompanied by a critical introduction to the historical, cultural, and aesthetic evolution of twentieth-century Chinese spoken drama. Primarily comprising works from the People's Republic of China, though including representative plays from Hong Kong and Taiwan, this collection not only showcases the revolutionary rethinking of Chinese theater and performance that began in the late Qing dynasty. It also highlights the formation of Chinese national and gender identities during a period of tremendous social and political change, along with the genesis of contemporary attitudes toward the West. Early twentieth-century Chinese drama embodies the uncertainty and anxiety brought on by modernism, socialism, political conflict, and war. After 1949, PRC theater painted a complex portrait of the rise of communism in China, with the ideals of Chinese socialism juxtaposed against the sacrifices made for a new society.The Cultural Revolution promoted a "model theater" cultivated from the achievements of earlier, leftist spoken drama, even though this theater arose from the destruction of old culture. Post-Mao drama addresses the socialist legacy and the attempts of a wounded nation to reexamine its cultural roots. Taiwan's spoken drama synthesizes regional and foreign traditions, and Hong Kong's spoken drama sparkles as a hybrid of Chinese and Western influences. Immensely valuable for cross-disciplinary, comparative, and performance study, this anthology provides essential perspective on China's theatricality and representation of political life.

Natsume Soseki (1867-1916) was the foremost Japanese novelist of the twentieth century, known for such highly acclaimed works as Kokoro, Sanshiro, and I Am a Cat. Yet he began his career as a literary theorist and scholar of English literature. In 1907, he published Theory of Literature, a remarkably forward-thinking attempt to understand how and why we read. The text anticipates by decades the ideas and concepts of formalism, structuralism, reader-response theory, and postcolonialism, as well as cognitive approaches to literature that are only now gaining traction. Employing the cutting-edge approaches of contemporary psychology and sociology, Soseki created a model for studying the conscious experience of reading literature as well as a theory for how the process changes over time and across cultures. Along with Theory of Literature, this volume reproduces a later series of lectures and essays in which Soseki continued to develop his theories. By insisting that literary taste is socially and historically determined, Soseki was able to challenge the superiority of the Western canon, and by grounding his theory in scientific knowledge, he was able to claim a universal validity.

Natsume Soseki (1867-1916) was the foremost Japanese novelist of the twentieth century, known for such highly acclaimed works as Kokoro, Sanshiro, and I Am a Cat. Yet he began his career as a literary theorist and scholar of English literature. In 1907, he published Theory of Literature, a remarkably forward-thinking attempt to understand how and why we read. The text anticipates by decades the ideas and concepts of formalism, structuralism, reader-response theory, and postcolonialism, as well as cognitive approaches to literature that are only now gaining traction. Employing the cutting-edge approaches of contemporary psychology and sociology, Soseki created a model for studying the conscious experience of reading literature as well as a theory for how the process changes over time and across cultures. Along with Theory of Literature, this volume reproduces a later series of lectures and essays in which Soseki continued to develop his theories. By insisting that literary taste is socially and historically determined, Soseki was able to challenge the superiority of the Western canon, and by grounding his theory in scientific knowledge, he was able to claim a universal validity.