Böcker utgivna av University of Washington Press

"This book-a completely overhauled and updated version of Michelle Yeh's Modern Chinese Poetry, (Yale University Press, 1992)-aims to be the most comprehensive anthology of modern Chinese poetry in English translation. It spans the entire history of modern Chinese poetry from 1917 to the present, and contains the work of 83 poets from mainland China, Taiwan, Hong Kong, and Southeast Asia (Malaysia and Singapore), who are represented by nearly 270 poems"--

Personal accounts help us understand notions of self, interpersonal relations, and historical events. Chinese Autobiographical Writing contains full translations of works by fifty individuals that illuminate the history and conventions of writing about oneself in the Chinese tradition. From poetry, letters, and diaries to statements in legal proceedings, these engaging and readable works draw us into the past and provide vivid details of life as it was lived from the pre-imperial period to the nineteenth century. Some focus on a person's entire life, others on a specific moment. Some have an element of humor, others are entirely serious. Taken together, these selections offer an intimate view of how Chinese men and women, both famous and obscure, reflected on their experiences as well as their personal struggles and innermost thoughts.With an introduction and list of additional readings for each selection, this volume is ideal for undergraduate courses on Chinese history, literature, religion, and women and family. Read individually, each piece illuminates a person, place, and moment. Read in chronological order, they highlight cultural change over time by showing how people explored new ways to represent themselves in writing.The open access publication of this book was made possible by a grant from the James P. Geiss and Margaret Y. Hsu Foundation.

"The world is well aware of the dramatic rise of markets and consumerism in China's post-Mao era of political and economic reform. By contrast, the Mao period (1949-1976)-rightly framed as a time of scarcity-initially appears to have had little material culture to speak of. But availability of fewer commodities does not mean a lack of material culture. A wide range of materials, objects, and practices comprised the fabric of everyday life in Maoist China, as industries were invented and reinvented at the level of material and products, from bamboo to bricks, and from pickles to wristwatches. People attributed great meaning to material and objects often precisely because they were rare and difficult to obtain. This first volume devoted to material culture of the period explores the paradox of consumption under Chinese Communist Party rule and illustrates how central materiality was to individual and collective desire, social and economic construction of the country, and projections of an imminent socialist utopia in reach of every man and woman, if only they worked hard enough. Chapters focus on materials, how things were produced, how they circulated, and how they were used. Together, they suggest that new understandings of material culture helped to shape the socialist subject, while also calling into question our standard definitions of what Maoist socialism was and how it was experienced"--

This volume features the work of six Indigenous artists whose craft speaks to the responsibility of honoring cultural traditions while shaping the future. Joe Feddersen (Arrow Lakes/Okanagan) is a printmaker, glass artist, and basket maker who creates geometric patterns sourced from everyday life. Multimedia artist Erica Lord (Athabascan/Iñupiat) crafts beaded burden straps and sled dog blankets with abstracted representations of diseases that disproportionately affect Native and other marginalized communities. Geo Neptune (Passamaquoddy) is a master basket maker, activist, and educator who uses colorful narrative to emphasize the honor and burden of keeping tradition alive. Sisters Lily Hope and Ursala Hudson (Tlingit) weave labor-intensive textiles that convey Tlingit values of reciprocity and balance, maintaining cultural integrity while experimenting with new forms and materials. Textile artist Maggie Thompson (Fond du Luc Ojibwe) creates large-scale works that explore the intersections of grief and trauma with honor, beauty, and healing.Exhibition dates: Renwick Gallery, May 26, 2023 ¿ March 31, 2024

Cultural creativity in China between 1796 and 1912 demonstrated extraordinary resilience in a time of warfare, land shortages, famine, and uprisings. Innovation can be seen in material culture (including print, painting, calligraphy, textiles, jewelry, ceramics, lacquer, arms and armor, and photography) during a century in which China's art, literature, crafts, and technology faced unprecedented exposure to global influences.Until recently the nineteenth century in China has been defined as an era of cultural stagnation. Built on new research, this book sets out a fresh understanding of this important period and creates a detailed visual account of responses to war, technology, urbanization, political transformations, and external influences. The narratives are brought to life and individualized through illustrated biographical accounts that highlight the diversity of voices and experiences contributing to this fascinating, turbulent period in Chinese history.Exhibition dates: British Museum, May-October 2023

"A multispecies history of the globalized United States, Bellwether Histories reveals how animals have been ensnared in colonialism, capitalism, and environmental destruction as human decisions created and perpetuated untenable and unequal interspecies relationships. The collection's authors explore how people misunderstood or ignored animal crises precipitated by habitat destruction and population declines, sudden dependence on human aid, shifts from freedom to captivity, or subjection to overextended management systems"--

"Environmental anthropology is at its best when firmly grounded in respectful and systematic ethnographic research and writing that spotlights uncommon perspectives on widely recognized issues confronting the world. Intentionally crafted for undergraduate course use in anthropology, geography, and environmental studies, Sustaining Natures showcases the best contemporary writing on nature and sustainability. With concise introductions and sample discussion questions, the editors guide readers through some of the field's most pressing themes and debates, including farming, alternative energy, extractive industries, environmental justice, multispecies relationships, and urban ecology. This timely reader foregrounds diverse voices, views, and experiences of nature, from US corporate boardrooms to urban waste disposal sites in China, and moves environmental anthropology in new theoretical, methodological, and applied terrains"--

"In the early eighth century, frustrated with the authorities but still hoping to gain immortality through his future oeuvre, the Tang court historian Liu Zhiji set out to write Shitong, in which he would rigorously explore the tradition of historical writing in China. Liu scrutinized hundreds of texts from antiquity to the early Tang dynasty (618-907) and evaluated their authors according to what he deemed the three essential qualities for historians: talent, knowledge, and insight. Shitong is now generally considered the greatest work of traditional Chinese historiography. It preserves precious information on a host of lost ancient and medieval titles while advancing a critical view on history writing. This first translation of the work into a Western language provides textual criticism and annotation for the historical figures, events, and allusions that are crucial to appreciating the work, making it a must-read for students of historiography East and West"--

A beautiful presentation of exquisite ancient bronzes from the Wadsworth Atheneum, accompanying a special exhibition at Bowdoin College. With a discerning eye and discriminating taste, J. Pierpont Morgan spent years acquiring superb works of art. Specifically, Morgan's Greek and Roman bronze collection captures his shrewdness, including pieces of males and females, gods and mortals, humans and animals, and even furniture embellishments. This gorgeously illustrated work presents highlights of Morgan's bronze collection, which is currently held in the Wadsworth Atheneum. Ancient Bronzes and its twin exhibition are the first to consider these pieces as a group. With high-resolution photography allowing readers to appreciate their intricate details, Ancient Bronzes also discusses research on these exceptional objects to help readers better understand how they were made and what they represented in an ancient context.

The richness and diversity of Dutch contributions to the built environment of South Africa remain little-known in the study of twentieth-century architectural history. Between 1902 and 1961 more than seventy Dutch-born émigré architects were active from the Cape to the Highveld, both in major towns and remote areas, and they designed hundreds of buildings and neighborhoods.A sequel to the acclaimed Eclectic ZA Wilhelmiens: A Shared Dutch Built Heritage in South Africa, Common Ground reveals the great variety of styles and building types from this period, ranging from buildings for communities, religious practice, banking, industry, and civil infrastructure to the evolution of the Pretoria dwelling and low-cost housing. These contributions are also contentious as they relate to the time of the entrenchment of apartheid. Yet these architects? extant work is an undeniable part of South Africa today and often still in daily service.

In Architecture from the Indonesian Past, Obbe H. Norbruis tells the story of a celebrated Dutch architecture firm, its unique buildings, and their designers. Fermont-Cuypers designed many buildings significant in Indonesia's history beginning in 1927 when an uprising broke out against the Dutch in the colony. In the early 1930s, the firm drew up plans for many schools, churches, villas, and offices. At the end of the 1930s the firm began to design hospitals, head offices, hotels, and even a passenger terminal in Tanjung Priok. The expected tourism boom never materialized due to the German invasion of the Netherlands, and World War II soon had an impact on the region. After Indonesian independence, Fermont-Cuypers experienced a resurgence through 1958, designing many buildings that still exist today in cities such as Jakarta, Surabaya, Medan, Bandung, Makassar, and Palembang.

"Smart Water Harvesting" describes a number of creative solutions in situations where there seems to be no water. It shows practical efforts to create water, especially in drought prone areas. It does not limit itself to the act of harvesting, but includes capturing water during periods of rain, so that it is available for periods of drought. Many of the technologies highlighted in this booklet are traditional, but neglected in the modern world, as people try to become less dependent on the wiles of nature. There is an increasing awareness that rather than fighting against nature, people should co-operate with it. That is what water harvesting tries to do.

Curaçao's historic plantation houses showcase unique architecture that resulted from the use of European, especially Dutch, building styles adapted to local tropical construction methods and available building materials. With the arrival of the oil industry at the start of the last century, the socioeconomic structure of Curaçao changed drastically in just a few decades, and only 78 of the more than 150 original plantation houses remain. Fortunately, a number of them have been preserved. Some have become magnificent residences while others have been given adaptive reuse as restaurants, boutique hotels, office spaces, museums, and art galleries. Plantation Houses of Curaçao is published in collaboration with the Curaçao Style Foundation, whose objective is to expand the cultural heritage of the island as widely as possible. The collaborative expertise of the writers and photographers of this volume offers a comprehensive overview, in words and images, of all the plantation houses that have been preserved as jewels of the past.

"In Southeast Asia reversals of earlier agrarian reforms have rolled back "land-to-the-tiller" policies created in the wake of Cold War-era revolutions. This trend, marked by increased land concentration and the promotion of export-oriented agribusiness at the expense of smallholder farmers, exposes the convergence of capitalist relations and state agendas that expand territorial control within and across national borders. Through the lens of land capitalization, Turning Land into Capital examines the contradictions produced by superimposing twenty-first-century neoliberal projects onto diverse landscapes etched by decades of war and state socialism. Chapters in the book explore geopolitics, legacies of colonialism, ideologies of development, and strategies to achieve land justice in Cambodia, Laos, Myanmar, Thailand, and Vietnam. The resulting picture reveals the place-specific interactions of state and market ideologies, regional geopolitics, and local elites in concentrating control over land"--

Ng'ambo is the lesser known "other side" of Zanzibar Town. During the British Protectorate the area was designated as the Native Quarters; today it is set to become the new city center of Zanzibar's capital. Local and international perceptions of the cultural and historical importance of Ng'ambo have for a long time remained overshadowed by the social and cultural divisions created during colonial times. One thing is certain: despite its limited international fame and lack of recognition of its importance, Ng'ambo has played and continues to play a vital role in shaping the urban environment of Zanzibar Town. This atlas presents over hundred years of Ng'ambo's history and urban development through maps, plans, surveys and images, and provides insights into its present-day cultural landscape.

Step into Chinese history through the accounts of those who lived itPersonal accounts help us understand notions of self, interpersonal relations, and historical events. Chinese Autobiographical Writing contains full translations of works by fifty individuals that illuminate the history and conventions of writing about oneself in the Chinese tradition. From poetry, letters, and diaries to statements in legal proceedings, these engaging and readable works draw us into the past and provide vivid details of life as it was lived from the pre-imperial period to the nineteenth century. Some focus on a person's entire life, others on a specific moment. Some have an element of humor, others are entirely serious. Taken together, these selections offer an intimate view of how Chinese men and women, both famous and obscure, reflected on their experiences as well as their personal struggles and innermost thoughts. With an introduction and list of additional readings for each selection, this volume is ideal for undergraduate courses on Chinese history, literature, religion, and women and family. Read individually, each piece illuminates a person, place, and moment. Read in chronological order, they highlight cultural change over time by showing how people explored new ways to represent themselves in writing. The open access publication of this book was made possible by a grant from the James P. Geiss and Margaret Y. Hsu Foundation.

"This book-a completely overhauled and updated version of Michelle Yeh's Modern Chinese Poetry, (Yale University Press, 1992)-aims to be the most comprehensive anthology of modern Chinese poetry in English translation. It spans the entire history of modern Chinese poetry from 1917 to the present, and contains the work of 83 poets from mainland China, Taiwan, Hong Kong, and Southeast Asia (Malaysia and Singapore), who are represented by nearly 270 poems"--

"In the twenty-first century, debates on the history and future of the book and print culture have intensified with the rise of digital technologies, and the contemporary art world has witnessed an explosion of interest in the book form. Amid this burst of artistic and cultural activity, there has been little scrutiny of book arts in South Asia, and their peculiar ontologies, histories, and genealogies. Why has the book form been a crucial medium for the visual arts? How do we theorize this form in a region where orality is valued, literacy remains low, printing was adopted relatively late, and books are venerated in homes and places of worship? What is the relationship of books to calligraphy, manuscripts, and paintings? In devotional contexts and outside of them, the book-like painting-was and is a catalyst for history and memory, and subject to reading, recitation, reiteration, and revision. This volume addresses the role of art books and book arts by contrast to existing scholarship on book history in South Asia, which has focused on textuality, the printing press, nation-state, modern city, and print capitalism. It traces a history of illustrated books in South Asia from 1100 C.E. to the present, emphasizing their visual, material, aesthetic, and phenomenological dimensions, and showing how the book is a living form and practice, arguing against the death of books in a digital age. Contributors highlight aspects of the book from the medieval through modern periods in South Asia, considering its visual, material, aesthetic, and phenomenological dimensions and identifying particular uses of the book in relation to the muraqqa (album), pat chitra (scroll), bhandar (storehouse), and kalam (pen, style, school). Collectively, they bring together recent developments in art history, literary studies, anthropology, and history to present the book as practice and process rather than thing: a dynamic form, network, and method. Against narratives of the death of books in a digital age, this volume argues for the book as a vital form and dynamic practice. Written in a lucid and lively style, it will be of interest to scholars, curators, artists, critics, undergraduate students, museum visitors, and readers of contemporary graphic novels and comic books"--