{"title":"Global Asias","description":"\u003cp\u003eDive into the Global Asias book series, exploring the interconnected histories and cultures of Asia. Perfect for readers seeking insightful perspectives on globalisation, migration, and identity in our modern world.\u003c\/p\u003e","products":[{"product_id":"taste-for-china-book-eugenia-zuroski-jenkins-9780199950980","title":"A Taste for China","description":"Through an examination of England's obsession with Chinese things throughout the long eighteenth century, this book argues that chinoiserie in literature and material culture played a central role in shaping emergent conceptions of taste and subjectivity. In the wake of recent scholarship in the field of eighteenth-century writing that examines English identity and nationalism in the context of trade, commodity culture, and the social role of literature, this study demonstrates how the figure of the Chinese object was variously deployed throughout the period to authorize new epistemologies and subject-object relations, ultimately redefining what it meant to be English. The book opens with a reading of Mary Wortley Montagu's Turkish Embassy Letters that contextualizes the accumulation of imported material goods from China as part of the process by which early modern English nationalism gave way to a more commercial notion of English identity. Jenkins then considers the appearance of chinoiserie in English writing that ranges from Pepys' diaries to Restoration drama. Subsequent chapters consider international commerce and the Far East in Daniel Defoe's under-studied novel, Captain Singleton, and the relationship between subjects and objects in Pope's The Rape of Lock. Broadly considered, A Taste for China shows that prior to the nineteenth century, English culture did not necessarily organize the world in terms of the orientalist binary, defined by Edward Said. 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The book's many stories—of glossaries and official Ming translation bureaus, of bilingual Ming Chinese-Mongolian language primers, of the first Latin grammar of Manchu, of a Qing Manchu conversation manual, of a collection of Manchu poems by a Qing translator—serve as case studies that open out into questions of language and translation in China's past, of the use of fiction as a historian's tool, and of the ways that translation creates language.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49751433543953,"sku":"NGR9780198888154","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0198888155.jpg?v=1750909010"},{"product_id":"nation-and-aesthetics-book-kojin-karatani-9780190622978","title":"Nation and Aesthetics","description":"Nation and Aesthetics is a unique attempt to examine the ambiguous nature of nationalism and nation by examining them through aesthetics. 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The key to go beyond nation, Karatani argues, lies also in the thoughts of Kant, a cosmopolitan and an advocate of a world republic. It is well-known that the League of Nations was formed after First World War under the influence of his \"Perpetual Peace\". Karatani draws attention to the overlooked fact that around the same time Freud made a radical revision of his notion of the \"superego\". Karatani introduces article nine of Japan's postwar constitution, which renounces the right to wage war, as a crystallization of Kant's ideal of peace and Freud's superego. 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The second half of the eighteenth century sees a marked shift as English subjects anxiously seek to separate themselves from Chinese objects. A reading of texts including Aphra Behn's Oroonoko  and Jonas Hanway's Essay on Tea shows that the enthrallment with chinoiserie does not disappear, but is rewritten as an aristocratic perversion in midcentury literature that prefigures modern sexuality. Ultimately, at the century's end, it is nearly disavowed altogether, which is evinced in works like Charlotte Lennox's The Female Quixote and Jane Austen's Northanger Abbey.  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Locating the director in the cultural tradition of Russian-inflected Japanese anarchism, the book challenges prevalent views of Akira Kurosawa as an apolitical art house director or a conformist studio filmmaker of muddled ideological alliances by offering a philosophically consistent picture of the director's participation in postwar debates on cultural and political reconstruction.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50999742923025,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":50999746101521,"sku":"NIN9780192866004","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0192866001.jpg?v=1750876954"},{"product_id":"diasporic-poetics-book-timothy-yu-9780198867654","title":"Diasporic Poetics","description":"This book advances a new concept of the \"Asian diaspora\" that creates links between Asian American, Asian Canadian, and Asian Australian identities. 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Fin-de-siècle Russia and Chinese Aesthetics casts new light on the intricate relationships between geopolitics and transnational aesthetics. It moves beyond the idea that Russian literary and artistic representations of China were simply manifestations of Russia's imperial ideology and Eurasian cultural identity. 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Comparing Chinese fiction about poverty to Russian intertexts by Gogol, Andreev, Chekhov, Turgenev, and others, the book shows how Chinese writers drew and innovated upon themes (such as madness or human animality) and formal elements (such as metonymy). 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Characters worked out--or failed to work out--questions related to the personal and larger cultural shaping of an ongoing optimism. At the same time, writers questioned these models and, purposefully or otherwise, displayed the downsides of excessive, mandated, or coerced optimism. They also challenged the way in which optimism encompassed a belief in progress that itself could be camouflaged, and the demands for a happiness that imposed everyone else's wellbeing before one's own. The book compares Yang Mo's famous Song of Youth (1958) with Horatio Alger Jr.'s Ragged Dick (1868), Eleanor Hodgman Porter's Pollyanna (1913), and Frederick Kohner's Gidget (1957); Wang Meng's Long Live Youth (written 1953) and A Young Man Arrives at the Organization Department (1956) are evaluated against Jack Kerouac's On the Road (1958). 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Haun Saussy argues that translation doesn't amount to the composition, in one language, of statements equivalent to statements previously made in another language. Rather, translation works with elements of the language and culture in which it arrives, often reconfiguring them irreversibly: it creates, with a fine disregard for precedent, loan-words, calques, forced metaphors, forged pasts, imaginary relationships, and dialogues of the dead. Creativity, in this form of writing, usually considered merely reproductive, is the subject of this book.  The volume takes the history of translation in China, from around 150 CE to the modern period, as its source of case studies. When the first proponents of Buddhism arrived in China, creativity was forced upon them: a vocabulary adequate to their purpose had yet to be invented. A Chinese Buddhist textual corpus took shape over centuries despite the near-absence of bilingual speakers. 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