When will American poetry and poetics stop viewing poetry by racialized persons as a secondary subject within the field? Dorothy J. Wang makes an impassioned case that now is the time. Thinking Its Presence calls for a radical rethinking of how American poetry is being read today, offering its own reading as a roadmap. While focusing on the work of five contemporary Asian American poets—Li-Young Lee, Marilyn Chin, John Yau, Mei-mei Berssenbrugge, and Pamela Lu—the book contends that aesthetic forms are inseparable from social, political, and historical contexts in the writing and reception of all poetry. Wang questions the tendency of critics and academics alike to occlude the role of race in their discussions of the American poetic tradition and casts a harsh light on the double standard they apply in reading poems by poets who are racial minorities. This is the first sustained study of the formal properties in Asian American poetry across a range of aesthetic styles, from traditional lyric to avant-garde. Wang argues with conviction that critics should read minority poetry with the same attention to language and form that they bring to their analyses of writing by white poets.
When will American poetry and poetics stop viewing poetry by racialized persons as a secondary subject within the field? Dorothy J. Wang makes an impassioned case that now is the time. Thinking Its Presence calls for a radical rethinking of how American poetry is being read today, offering its own reading as a roadmap. While focusing on the work of five contemporary Asian American poets—Li-Young Lee, Marilyn Chin, John Yau, Mei-mei Berssenbrugge, and Pamela Lu—the book contends that aesthetic forms are inseparable from social, political, and historical contexts in the writing and reception of all poetry. Wang questions the tendency of critics and academics alike to occlude the role of race in their discussions of the American poetic tradition and casts a harsh light on the double standard they apply in reading poems by poets who are racial minorities. This is the first sustained study of the formal properties in Asian American poetry across a range of aesthetic styles, from traditional lyric to avant-garde. Wang argues with conviction that critics should read minority poetry with the same attention to language and form that they bring to their analyses of writing by white poets.
This Chinese art history book is a study of a single poet-artist--Wang Wei--perhaps the most influential of antiquity. This eighth-century genius, whose versatility is comparable to that of the great Italian Leonardo da Vinci, lived during the Tang Dynasty when the most brilliant cultural period in Chinese history was at its height. Whatever he attempted--as artist, poet, musician, doctor and official--he performed with a master's touch. As a poet he earned the title of "Great." He is acknowledged as the father of pure Chinese landscape painting., destined to become classic throughout the world. Wang's initiative in monochromes and his advanced skills in techniques were harbingers of different types of paintings. Greatest of all his innovations is the long horizontal Chinese scroll, reaching a length, in some instances, of over twenty feet.
Dorothy Day (1897-1980) was a well-known American journalist, activist, and Catholic convert whose cause for sainthood has been endorsed by the US bishops. She wrote numerous articles over a period of several decades for the prominent lay Catholic magazine Commonweal. Hold Nothing Back is gleaned from those writings. It includes reflections on her life as a single mother, her time in jail for civil disobedience, her struggles to keep the Catholic Worker movement she cofounded afloat, and her travels on crowded buses to report from the front lines about labor disputes, racial inequality, and poverty. At the heart of whatever Day wrote lies a profound and prophetic faith. Hold Nothing Back--a new, abridged edition of the previously published Dorothy Day: Writings from Commonweal--gives a glimpse of her remarkable humanity and endurance, and of the vibrant spirituality that underlay them.
“Absorbing and worthwhile . . . You won't want to put the book down.”—Portland Telegram The cheerful Mrs. Virgil (Emily) Pollifax of New Brunswick, New Jersey, is once again plunged headfirst into a hair-raising CIA mission. Posing as a tourist in China, Mrs. Pollifax meets the sinister challenges of the Orient to safeguard a treasure for the CIA . . . and all but loses her life in the bargain. “Filled with adventures—and misadventures—but through it all Mrs. Pollifax is triumphant.”—Booklist
Follows the path of an everyday object, from quarry to desk An inkstone, a piece of polished stone no bigger than an outstretched hand, is an instrument for grinding ink, an object of art, a token of exchange between friends or sovereign states, and a surface on which texts and images are carved. As such, the inkstone has been entangled with elite masculinity and the values of wen (culture, literature, civility) in China, Korea, and Japan for more than a millennium. However, for such a ubiquitous object in East Asia, it is virtually unknown in the Western world. Examining imperial workshops in the Forbidden City, the Duan quarries in Guangdong, the commercial workshops in Suzhou, and collectors’ homes in Fujian, The Social Life of Inkstones traces inkstones between court and society and shows how collaboration between craftsmen and scholars created a new social order in which the traditional hierarchy of “head over hand” no longer predominated. Dorothy Ko also highlights the craftswoman Gu Erniang, through whose work the artistry of inkstone-making achieved unprecedented refinement between the 1680s and 1730s The Social Life of Inkstones explores the hidden history and cultural significance of the inkstone and puts the stonecutters and artisans on center stage.
Footbinding is widely condemned as perverse & as symbolic of male domination over women. This study offers a more complex explanation of a thousand year practice, contending that the binding of women's feet in China was sustained by the interests of both women and men.
This pathbreaking work argues that literate gentry women in 17th-century Jiangnan, far from being oppressed or silenced, created a rich culture and meaningful existence within the constraints of the Confucian system. Momentous socioeconomic and intellectual changes in 17th-century Jiangnan provided the stimulus for the flowering of women's culture. The most salient of these changes included a flourishing of commercial publishing, the rise of a reading public, a new emphasis on emotions, the promotion of women's education, and, more generally, the emergence of new definitions of womanhood. The author reconstructs the social, emotional and intellectual worlds of 17th-century women, and in doing so provides a new way to conceptualize China's past, one offering a more realistic and complete understanding of the values of Chinese culture and the functioning of Chinese society.
This year marks the twenty-fifth anniversary of the death of Dorothy Day (1897-1980)--co-founder of the Catholic Worker movement, and one of the most inspiring figures of recent history. By her lifelong option for the poor and her devotion to active nonviolence, Day fashioned a new face for the gospel in our time. In 2000 the Vatican recognized her cause for canonization, and she was officially termed "Servant of God." To mark the occasion, Orbis is pleased to issue an anniversary edition of Dorothy Day: Selected Writings, widely recognized as the essential and authoritative guide to her life and work.
Footbinding is widely condemned as perverse & as symbolic of male domination over women. This study offers a more complex explanation of a thousand year practice, contending that the binding of women's feet in China was sustained by the interests of both women and men.
Renewal Journals 1-5 is a bound volume of: Renewal Journal 1: Revival, Renewal Journal 2: Church Growth, Renewal Journal 3: Community, Renewal Journal 4: Healing, Renewal Journal 5: Signs & Wonders. This is Volume 1 of 4 bound volumes of the Renewal Journals (Issues 1-20). Each Renewal Journal is also available individually, 2nd edition, 2011.
Buddhist steles represent an important subset of early Chinese Buddhist art that flourished during the Northern and Southern Dynasties period (386–581). More than two hundred Chinese Buddhist steles are known to have survived. Their brilliant imagery has long captivated scholars, yet until now the Buddhist stele as a unique art form has received little scholarly attention. Dorothy Wong rectifies that insufficiency by providing in this well-illustrated volume the first comprehensive investigation of this group of Buddhist monuments. She traces the ancient roots of the Chinese stele tradition and investigates the process by which Chinese steles were adapted for Buddhist use. She arranges the known corpus of Buddhist steles into broad chronological and regional groupings and analyzes not only their form and content but also the nexus of complex issues surrounding this art form—from cultural symbolism to the interrelations between religious doctrine and artistic expression, economic production, patronage, and the synthesis of native and foreign art styles. In her analysis of Buddhism’s dialogue with native traditions, Wong demonstrates how the Chinese artistic idiom planted the seeds for major achievements in figural and landscape arts in the ensuing Sui and Tang periods.
The essays in this volume address the industrial, commercial, urban and regional reforms of China's planned economy during the 1980s. The emphasis is on the dominating institutional and bureaucratic presence of the state even as it sought to loosen the pre-1979 vertically structured centralised command system and to introduce some market principles to stimulate economic activity. The essays fall into four categories: theoretical and policy discussions and debates at the central leadership level; reform of the urban economy and of inter-regional relations; industrial and commercial reforms; and the rise and position of the new entrepreneurial class. Many of the essays draw on interviews with Chinese economic officials in the Central China city of Wuhan and therefore this is the only study that uses local data on actual operations of reforms from a Chinese city; the other sources are the Chinese press and Chinese official and scholarly journals. In each of the categories there are pieces from different points in the chronological process of reform. This study begins with the first theoretical discussions among China's economists and top political leaders in the late 1970s and concludes with experiments with bankruptcy and stock markets in the late 1980s. The countervailing heavy presence of the state at both the policy and the practical levels throughout the reform decade is its unifying theme.
This groundbreaking book powerfully humanizes the little-known urban workers who have been left behind in China’s single-minded drive to modernize. Dorothy Solinger traces the origins of their plight to the mid-1990s, when the Chinese government found that state-owned factories were failing in large numbers in the face of market reforms just as the country was about to enter the World Trade Organization. Under these circumstances, leaders urged firms to lay off tens of millions of previously lifetime-employed, welfare-secure, under-educated, middle-aged employees. As these dislocated people were left without any source of livelihood, the regime settled on a tiny welfare effort, the Minimum Livelihood Guarantee (dibao), to provide some support and, most important from the viewpoint of the leadership, to keep them quiet so that enterprise reform could proceed peacefully. Solinger explores the induced urban poverty that resulted and relates the painful struggle for survival of these discarded laborers. She also details the history and workings of the dibao and its missteps, as well as changes in policy over time. Drawing on dozens of interviews, this book brings to life the urban workers who have been relegated to obsolescence, isolation, and invisibility by China’s quest for modernity.
Rutter’s Child and Adolescent Psychiatry has become an established and accepted textbook of child psychiatry. Now completely revised and updated, the fifth edition provides a coherent appraisal of the current state of the field to help trainee and practising clinicians in their daily work. It is distinctive in being both interdisciplinary and international, in its integration of science and clinical practice, and in its practical discussion of how researchers and practitioners need to think about conflicting or uncertain findings. This new edition now offers an entirely new section on conceptual approaches, and several new chapters, including: neurochemistry and basic pharmacology brain imaging health economics psychopathology in refugees and asylum seekers bipolar disorder attachment disorders statistical methods for clinicians This leading textbook provides an accurate and comprehensive account of current knowledge, through the integration of empirical findings with clinical experience and practice, and is essential reading for professionals working in the field of child and adolescent mental health, and clinicians working in general practice and community pediatric settings.
This is a love story, not quite a Barbara Cartland type, but not far off. There is much travel, much hardship for the heroine, but in the end all ends well.
Anxiety Aesthetics is the first book to consider a prehistory of contemporaneity in China through the emergent creative practices in the aftermath of the Mao era. Arguing that socialist residues underwrite contemporary Chinese art, complicating its theorization through Maoism, Jennifer Dorothy Lee traces a selection of historical events and controversies in late 1970s and early 1980s Beijing. Lee offers a fresh critical frame for doing symptomatic readings of protest ephemera and artistic interventions in the Beijing Spring social movement of 1978-80, while exploring the rhetoric of heated debates waged in institutional contexts prior to the '85 New Wave. Lee demonstrates how socialist aesthetic theories and structures continued to shape young artists' engagement with both space and selfhood and occupied the minds of figures looking to reform the nation. In magnifying this fleeting moment, Lee provides a new historical foundation for the unprecedented global exposure of contemporary Chinese art today.
This monograph offers a cutting edge perspective on the study of Chinese film stars by advancing a “linguaphonic” model, moving away from a conceptualization of transnational Chinese stardom reliant on the centrality of either action or body. It encompasses a selection of individual personalities from the most iconic Bruce Lee, Michelle Yeoh, and Maggie Cheung to the not-yet-full-fledged Takeshi Kaneshiro, Jay Chou, and Tang Wei to the newest Fan Binging, Liu Yifei, Wen Ming-Na, and Sammi Cheng who are exemplary to the star-making practices in the designated sites of articulations. This volume notably pivots on specific phonic modalities – spoken forms of tongues, manners of enunciation, styles of vocalization -- as means to mine ethnic and ideological underpinnings of Chinese stardom. By indicating a methodological shift from the visual-based to aural-based vectors, it asserts the phonic as a legitimate bearing that can generate novel vigor in the reimagination of Chineseness. By exhausting the critical affordability of the phonic, this book unravels the polemics of visuality and aurality, body and voice, as well as onscreen personae and offscreen existence, remapping the contours of the ethnic fame-making in the global mediascape.
Presents a representative cross-section of entries on all aspects of the history and culture of China. Alphabetically organized, the entries include* major cities and provinces* historical eras and figures* government and politics* economics* religion* language and the writing system* food and customs* sports and martial arts* crafts and architecture* important Chinese figures outside of mainland China* important Westerners in China.
This Chinese art history book is a study of a single poet-artist--Wang Wei--perhaps the most influential of antiquity. This eighth-century genius, whose versatility is comparable to that of the great Italian Leonardo da Vinci, lived during the Tang Dynasty when the most brilliant cultural period in Chinese history was at its height. Whatever he attempted--as artist, poet, musician, doctor and official--he performed with a master's touch. As a poet he earned the title of "Great." He is acknowledged as the father of pure Chinese landscape painting., destined to become classic throughout the world. Wang's initiative in monochromes and his advanced skills in techniques were harbingers of different types of paintings. Greatest of all his innovations is the long horizontal Chinese scroll, reaching a length, in some instances, of over twenty feet.
Examines Cufucianism in conjunction with its resurgence in China a nd the rest of the world. Presents its history, basic beliefs, and evolutionin response to historical events in China.
Serving the needs of pigment cell biologists, cellular physiologists, developmental geneticists, researchers interested in melanoma and more, this new book showcases a blend of new technologies and new insights in the field of pigmantary genetics of mice, with comparative information on other animals. Graduate students can learn here the terminology and scope of the field, and animal fanciers can discover the genetics behind common color variants of mammals. The book is hailed for being written by four of the premier scientists in the field. These authors aim to present the molecular /cellular work in the context of phenotype and the interacting functions of genes that direct the development and function of one biological system. For other researchers, the depth of genetic knowledge on the pigmantary system makes it a valuable model for the study of other systems.
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