Bøger udgivet af Cornell East Asia Series

Poet-Monks focuses on the literary and religious practices of Buddhist poet-monks in Tang-dynasty China to propose an alternative historical arc of medieval Chinese poetry. Combining large-scale quantitative analysis with close readings of important literary texts, Thomas J. Mazanec describes how Buddhist poet-monks, who first appeared in the latter half of Tang-dynasty China, asserted a bold new vision of poetry that proclaimed the union of classical verse with Buddhist practices of repetition, incantation, and meditation.Mazanec traces the historical development of the poet-monk as a distinct actor in the Chinese literary world, arguing for the importance of religious practice in medieval literature. As they witnessed the collapse of the world around them, these monks wove together the frayed threads of their traditions to establish an elite-style Chinese Buddhist poetry. Poet-Monks shows that during the transformative period of the Tang-Song transition, Buddhist monks were at the forefront of poetic innovation.

This volume deals with fiendish women, mad persons, mask-less samurai, street artists, and outcasts. The book showcases six masterpieces from the remaining five subgroups of the Fourth Group Noh.

A powerful depiction of the tensions generated by conflicts of sexuality and ethnicity in contemporary China. These tensions evolved partly from the sense of estrangement from Chinese culture felt by many in the post-Mao era. As a means to understanding this crisis, some of the best writers in the 1980s sought the "roots" of Chinese civilization, often in "strange lands" inhabited by minority tribes.

This first and only study of North Korean literary history by a Western scholar deals with the crucial role played by Han Sōrya, chairman of the D.P.R.K.'s Federation of Literature and Art from 1948 to his purge in 1962, both in devising the iconography of Kim Il Sung's personality cult and in defining the early course of North Korean letters. Through brief studies of Han's own canonical works the author also sets out to dispel the widely-held assumption that North Korean literature is compatible with Soviet and Chinese socialist realism. The appendix includes a complete translation of Han's 1951 novella Jackals (Sungnyangi).

A generous selection of poems by one of Korea's most honored and highly regarded poets. Kim Namjo published her first book of poems, Life (Moksum), in 1953. In the years since then, in another ten collections of poems, she has explored in her books, an intensely experienced religious faith, and a passionate affirmation of life. This is the first collection of poems by a Korean woman writer to be published in English language translation.

By studying law implementation in different areas and at different levels, contributors from various disciplines give a nuanced picture of law implementation in China, showing that it is rare to find examples of complete success or failure. Instead, making law work in actual practice, and in any society, is a matter of degree. The study is multidisciplinary in character and builds on insights from both sociology of law and political science.

Traces in the Way is simultaneously a critical interpretation of the writings of noh playwright and thinker Komparu Zenchiku (1407-1470); a refutation of received views of Japanese traditional arts (michi); and an analysis of medieval Japanese uses of texts. The disciplinary approach is broadly that of cultural studies, combining close reading, social contextualization, and drawing on multiple fields. The study is organized through the five elements that Konishi Jin'ichi's identified as essential to michi: specialization, transmission, conformity, universality and authority. Each of these is examined critically and revised, providing a basis from which Zenchiku's works can be elucidated. This new approach makes it possible to solve much that in conventional studies has remained puzzling about Zenchiku's works including the principles behind the works of classification, the purposes that resulted in the rokurin ichiro works, and the ideology present in the fragmentary work: Meishukushu. It becomes clear that Zenchiku, far from being a docile recipient of his teacher Zeami's legacy, combined Zeami's texts with those of other michi to radically reposition his own practice in the cultural fields of his day. Zenchiku drew on a range of legitimating styles to fashion a new rationale for performance, one adequate to changing patronage requirements, and appropriate to the circumstances of his troupe. In this position-taking, Zenchiku was strikingly successful, as is witnessed by the survival of the Komparu line through the chaotic century after his death. With this book we come to know a good deal about sarugaku's transmission in the fifteenth century; enough to remedy a facile idealization of Japanese michi.

A generous selection of poems by one of Korea's most honored and highly regarded poets. Kim Namjo published her first book of poems, Life (Moksum), in 1953. In the years since then, in another ten collections of poems, she has explored in her books, an intensely experienced religious faith, and a passionate affirmation of life. This is the first collection of poems by a Korean woman writer to be published in English language translation.

This anthology offers translations of seven stories and one novella from the 17th and 18th centuries, with a critical introduction and bibliography. To date there are no translations from the premodern period which focus exclusively on women, let alone the image of the shrew. These stories are among the most representative and memorable of those featuring the prototypical Chinese shrew, a prominent figure in premodern Chinese fiction and drama. Unique in being thematically organized, The Lioness Roars provides manageable (and fun) literary source readings for courses on Chinese women, Chinese history or Chinese literature.

Park Je-chun is a major poet in Korea today. His works are marked by a poetic imagination and a sensibility which draw largely on Korean Buddhist and Taoist traditions, as well as Korean classical literature. Though he is widely read in the Oriental classics and Western poetry, Park's emotions, imagery, and metaphors are uniquely Korean. This volume contains a wide selection of the poems which translate effectively into the English language. Park has published several other books of poems, and has won prestigious literary distinctions, including the Modern Literature Prize.

Kyu-bo Yi (1168-1241), the greatest of the classical Korean poets, was born into a very turbulent period of history, when the Koryo kingdom was threatened from the north by barbarians and from within by the ongoing struggle for supremacy among the various factions. His poems, confessional and transcendent, describe moments of personal illumination in the course of everyday life.

This volume brings together fifteen new papers on Korean linguistics originally presented at the Ninth International Conference on Korean Linguistics, 1994. Contributions range from phonetics and phonology, to syntax and grammaticalization, and address important theoretical issues from a wide variety of formal frameworks. The volume contains new research by established scholars like Gregory Iverson, Young-key Kim-Renaud, Susumu Kuno, and Joan Maling, as well as papers by relative newcomers to the field: Sung-ock Sohn, Jae-Hoon Yeon, Mark Vincent, Chang-Bong Lee and Yoon-suk Chung. The papers in this volume will be of interest to students and researchers in both general linguistics and Korean language and linguistics.

These poems by "the happiest man in the world" are full of light though written in dark times. Ch'ōn had the art of seeing the beauty of life beyond all the pain, and of putting it into the music of words. Recently, many young Koreans have discovered in these poems and in the poet's life the innocence and honesty they look for in vain in modern society. His poverty and his body broken by torture never made Ch'ōn bitter or angry; his poems are hymns of joy at the marvels of nature and the simple pleasures of life. His greatest poem sees death, not as the end but as a journey "back to heaven" where he plans to tell the angels how beautiful life in this world can be.

This work comprises the first complete English translation of Shi no Genri, one of the most important attempts at a theory of literature written in the modern period. Hagiwara Sakutaro (1886-1942) was not only an original poet but also a perceptive and lonely literary critic. This book, in his own words, "is not a collection of fragmentary writings, but a thoroughly systematic and organized discourse" on poetry and other related arts. He sees the future of Japanese poetry as being tied to the characteristics of Japanese language, and even to the destiny of Japan.

Kim Ch'un-Su is one of the most original poets in modern Korean poetry. He was influenced by Rilke for a while, but embarked on a series of his own poetic experiments culminating in what he calls "the poetry of meaning." An avowed purist, he would not believe in ideas, ideologies, or even history. His poems, in consequence, tend to present only moments of vivid sensations and fantasies refracted through his consciousness. The translator, Kim Jong-Gil, has won the Modern Korean Literature Translation Award and the Poetry Prize in Korea.

This work anayzes events surrounding the Yokohama incident (1942-1945), which led to the arrest of dozens of journalists and researchers in Japan during the Pacific War period. Utilizing government documents, legal records, postwar memoirs, and information obtained during personal interviews, the discussion concentrates on changes in the treatment of the suspected dissidents in Japan from the 1930s to 1945, and the problems within the system of internal security and thought control during the Pacific War. Attention is also focused on the legal campaigns of some of the Japanese victims of the wartime state from 1945 to the present.

The composition of Chinese poetry (kanshi) in the Japanese court dates to the mid-seventh century. During the Heian age (794-1185), kanshi emerged as one of two preeminent poetic genres employed by aristocrats, scholar-officials, and priests; over the centuries it developed into one of Japan's most enduring literary forms. This anthology, comprising some 300 kanshi by 80 poets, is the largest collection of translated kanshi ever produced. It includes an introduction to the kanshi genre, biographies of the poets, and extensive annotations. The poems sketch a graceful panorama of life in the Heian capital and in the provinces, offering rare glimpses into the private concerns, tastes, and aspirations of the well-born people of the times.Kanshi continued to flourish in Japan through early modern times, remaining vital down to the Taisho era (1912-1926). Its longevity was partly a function of its permeation to the townsmen class and to a larger range of female practitioners. Although the era of kanshicomposition has passed, some 5 million Japanese continue to participate in kanshirecitation circles. While Japanese vernacular literature has been studied extensively and is relatively well-known in the West, kanshi have received little scholarly attention in either Japan or abroad. It is hoped that the present anthology will bring this important genre more squarely into both the mainstream of Japanese studies and the consciousness of Western readers.

Ben no Naishi (1228-1270), a descendant of a literary branch of the Fujiwara family, created an innovative poetic account focusing on her public personae as a naishi serving at the court of Go-Fukakusa (r. 1246-1259). Traditional scholarship regards Ben no Naishi Nikki as a naive record of court minutiae written without any literary purpose, but Ben no Naishi's text is constructed consciously by her devotion to sacred and secular duties as naishi (female courtiers), who as guardians of the royal regalia--the Mirror, the Sword, and the Jewels--played vital roles in rites that legitimized and perpetuated the rule of the royal family. This translation-based study situates the text within the nikki tradition, traces the cultivation of patronage relationships that led to Ben no Naishi's job at court, delineates the sacred and secular duties of naishi, explores the unique literary aspects of the work, and reassesses Ben no Naishi's work as an innovative poetic record that subordinates the stance and contents to commemorating the reign of the royal family. The translation enhances the list of works available in English from the Kamakura literary canon.

Dragonflies is an anthology containing twelve selections ranging from short stories to novellas, and spans the century from the May Fourth Movement to the 1990s. The eleven authors represented are Ling Shuhua, Bing Xin, Zhang Ailing, Wei Junyi, Kang Yunwei, Ping Lu, Liao Huiying, Chi Li, Jiang Zidan, Wang Anyi, and Xi Xi. Rather than focusing on revolutionary or heroic role-models, the selected works portray women struggling to deal with the conflicting demands of tradition and modernity in a rapidly changing society. The most recent story in the collection, Wang Anyi's coolly analytical but heartbreaking "Sisters" (1996), illustrates the persistence of traditional social norms, while Jiang Zidan's "Waiting for Dusk" (1990) depicts a woman oppressed by nature itself. The introductory essay by Shu-ning Sciban traces the evolution of fiction by women writers in mainland China, Taiwan and Hong Kong during the twentieth century. Dragonflies will appeal to readers with an interest in modern China, Chinese literature and gender studies.

This volume introduces, for the first time in English, the work of one of the major schools of historiography in South Korea. Centered at Yonsei University, the school focuses on intellectual and socioeconomic history. A selection of studies illuminates the internal dynamics and historical roots of Korea's transition to modernity and the division of the country and is a powerful refutation of the so-called "stagnation theory." The volume is in three parts: the first covers the period before the Japanese occupation; the second focuses on the socioeconomic history during the occupation; and the last examines the work of three major intellectuals of the occupation period: Paek Nam'un, An Chaehong, and Yi Sunt'ak.

The Minjian Avant-Garde studies how experimental artists in China mixed with, brought changes to, and let themselves be transformed by minjian, the volatile and diverse public of the post-Mao era. Departing from the usual emphasis on art institutions, global markets, or artists' communities, Chang Tan proposes a new analytical framework in the theories of socially engaged art that stresses the critical agency of participants, the affective functions of objects, and the versatility of the artists in diverse sociopolitical spheres.Drawing from hitherto untapped archival materials and interviews with the artists, Tan challenges the views of Chinese artists as either dissidents or conformists to the regime and sees them as navigators and negotiators among diverse political discourses and interests. She questions the fetishization of marginalized communities among practitioners of progressive art and politics, arguing that the members of minjian are often more complex, defiant, and savvy than the elites would assume. The Minjian Avant-Garde critically assesses the rise of populism in both art and politics and show that minjian could constitute either a democratizing or a coercive force.This book was published with generous support from the George Dewey and Mary J. Krumrine Endowment.

Kyokutei Bakin's Nansō Satomi Hakkenden is one of the monuments of Japanese literature. This multigenerational samurai saga was one of the most popular and influential books of the nineteenth century and has been adapted many times into film, television, fiction, and comics.His Master's Blade, the second part of Hakkenden, begins the story of the eight Dog Warriors created from the mystic union between Princess Fuse and the dog Yatsufusa and born into eight different samurai families in fifteenth-century Japan. The first is Inuzuka Shino, orphaned descendent of proud warriors. Left with nothing save a magical sword and the bead that marks him as a Dog Warrior, young Shino escapes his evil aunt and uncle and sets out to restore his family name. Unaware of their karmic bond, Shino and the other Dog Warriors are drawn into a world of vendettas and quests, gallants, and rogues, as each strives to learn his true nature and find his place in the eight-man fraternity.

The emergence of the South China regional economy, comprised of the southeastern coastal provinces of China, Taiwan and Hong Kong, is analyzed in this timely and important collection of essays. Chin Chung, Graham E. Johnson, Echo Heng Liang, Thomas P. Lyons, Charng Kao, Victor Nee, William L. Parish, G. William Skinner, Sijin Su, Henry Wan, Jr. and Junyi Weng are contributors to this interdisciplinary volume.

As it set forth to achieve rapid modernizing economic growth under the leadership of Deng Xiaoping, the People's Republic simultaneously undertook to reform China's criminal justice system in order to make it more efficient, more accountable to central authority, and better suited to the task of maintaining public order in a changing economic and social environment. Taking a historical approach, this book draws on a wide variety of openly and internally published laws, legal interpretations, talks, speeches, Communist Party documents, collections of criminal cases and other sources ranging from the 1950s to the 1990s in order to portray the development of the Chinese criminal justice system between 1979 and 1985 and to place these changes in the context of the reform agenda of Deng's China. Particular attention is paid to the practice of criminal justice and the reform of prisoners, to the role of campaigns in the development of the Chinese criminal justice system, and to the relationship between crime trends, criminal justice, and modernization.

Dragons, Tigers, and Dogs is a tightly-focused collection of studies that explores how Qing governing institutions and strategies worked in actual practice to address the practical problems and needs of a regionally diverse and culturally complex empire from the seventeenth to the early twentieth centuries. It highlights the Qing regime's ability to accommodate an astonishing variety of local governing environments in the management of short-term contingent crises and long-term evolutionary problems caused by changes in the social-economic fabric of Greater China during the Qing period. It argues that the Qing state should be viewed as a system of indirect rule because of its accommodative strategies of governance and its reliance on sub- and extra-bureaucratic power groups at the local level. Dragons, Tigers, and Dogs makes an important contribution to our understanding of the practical operation of Qing government, and its readability, thematic coherence, and inclusion of professionally-drawn maps and enhanced Chinese woodblock illustrations make this work attractive and accessible to students of late imperial China as well as Qing specialists.

A product of international collaborative research, this collection of essays by scholars from Japan, North America and Europe illuminates the many important ways in which mobilization for total war in the 1930s and early-1940s laid the foundation for "postwar democracy." The essays, all but two of which focus primarily on the Japanese case, analyze intellectual, political, and socioeconomic processes that extend from the 1930s down as far as the 1970s, and suggest that in this era not only Japan but Germany, the U.S., and other advanced industrial nations formed "system societies" characterized by rationalization, mobilization and high levels of social integration and control.

The contributors to this collection of seven essays (plus an editor's introduction and a comparative afterword) have framed debates about the construction of commercial culture in China. They all have agreed that during the early twentieth century China's commercial culture was centered in the private sector of Shanghai's economy and especially in the "concession" areas under Western or Japanese rule, but they have differed over the issue of whether foreign influence was decisive in the creation of Shanghai's commercial culture. Between 1900 and 1937, was Shanghai's commercial culture imported from the West or invented locally? And between 1937 and 1945, was the history of this commercial culture cut short by Japanese military invasions and occupations of the city or was it sustained throughout the war? The contributors have proposed various and even conflicting answers to these questions, and their interpretations bear upon wider debates in historical, cultural, and comparative studies.