At sixty-two meters the Leshan Buddha in southwest China is the world¿s tallest premodern statue. Carved out of a riverside cliff in the eighth century, it has evolved from a religious center to a UNESCO World Heritage Site and popular tourist destination. But this Buddha does not stand alone: Sichuan is home to many cave temples with such monumental sculptures, part of a centuries-long tradition of art-making intricately tied to how local inhabitants made use of their natural resources with purpose and creativity. These examples of art embedded in nature have altered landscapes and have influenced the behaviors, values, and worldviews of users through multiple cycles of revival, restoration, and recreation. As hybrid spaces that are at once natural and artificial, they embody the interaction of art and the environment over a long period of time.This far-ranging study of cave temples in Sichuan shows that they are part of the world¿s sustainable future, as their continued presence is a reminder of the urgency to preserve culture as part of today¿s response to climate change. Temples in the Cliffside brings art history into close dialogue with current discourse on environmental issues and contributes to a new understanding of the ecological impact of artistic monuments.
"Louisiana Creole Peoplehood is a multivocal and collectively structured volume that intervenes against the erasure of Creole Indigeneity while foregrounding Black/Indian cultural sustainability. Divided into sections focused on sacred history, land, language, and cultural practices, contributors engage themes as varied as foodways, queer identity, health, historical trauma, gender, language revitalization, and diaspora. Offering up an understanding of Creole community identity formation and practice at the intersections of both African and Indigenous diasporas, the book combines scholarly analysis with interviews, essays, and autobiographic contributions-including integrating the perspectives of community members in response essays. Louisiana Creole Peoplehood explores the vital ways Afro-Indigenous peoples are asserting their right to exist amidst the backdrops of settler colonialism, anti-Black racism while promoting communal dialogue and community reciprocity"--
"Louisiana Creole Peoplehood is a multivocal and collectively structured volume that intervenes against the erasure of Creole Indigeneity while foregrounding Black/Indian cultural sustainability. Divided into sections focused on sacred history, land, language, and cultural practices, contributors engage themes as varied as foodways, queer identity, health, historical trauma, gender, language revitalization, and diaspora. Offering up an understanding of Creole community identity formation and practice at the intersections of both African and Indigenous diasporas, the book combines scholarly analysis with interviews, essays, and autobiographic contributions-including integrating the perspectives of community members in response essays. Louisiana Creole Peoplehood explores the vital ways Afro-Indigenous peoples are asserting their right to exist amidst the backdrops of settler colonialism, anti-Black racism while promoting communal dialogue and community reciprocity"--
Dynamic and diverse, Coast Salish culture is bound together by shared values and relations that generate a resilient worldview. Jesintel¿"to learn and grow together"¿characterizes the spirit of this book, which brings the cultural teachings of nineteen elders to new generations.Featuring interviews that share powerful experiences and stories, Jesintel illuminates the importance of ethical reciprocal relationships and the interconnectedness of places, land, water, and the spirit within all things. Elders offer their perspectives on language revitalization, Coast Salish family values and naming practices, salmon, sovereignty, canoe racing, and storytelling. They also share traumatic memories, including of their boarding school experiences and the epidemics that ravished their communities. Jesintel highlights the importance of maintaining relations and traditions in the face of ongoing struggles. Collaboration is at the heart of this work and informs how the editors and community came together to honor the boundless relations of Coast Salish people and their territories.Elders Interviewed: Tom Sampson (Tsartlip First Nation)Virginia Cross (Muckleshoot Tribe)Ernestine Gensaw (Lummi Nation)Steve and Gwen Point (Stó:l¿ Nation)Gene and Wendy Harry (Malahat Nation)Claude Wilbur (Swinomish Tribe)Richard Solomon (Lummi Nation)Elaine Grinell (Jamestown S¿Klallam Tribe)Arvid Charlie (Cowichan Nation)Amy George (Tsleil-Waututh Nation)Nancy Shippentower (Nisqually Tribe)Nolan Charles (Musqueam Indian Band)Andy de los Angeles (Snoqualmie Tribe)Jewell James (Lummi Nation)Kenny Moses Sr. Family (Tulalip Tribal Nation)Ramona Morris (Lummi Nation)
North Koreäs K¿mgangsan is one of Asiäs most celebrated sacred mountain ranges, comparable in fame to Mount Tai in China and Mount Fuji in Japan. Carving Status at K¿mgangsan marks a paradigm shift in the research about East Asian mountains by introducing an entirely new field: autographic rock graffiti. The book details how late Chos¿n (ca. 1600¿1900 CE) Korean elite travelers used K¿mgangsan to demonstrate their high social status by carving inscriptions, naming sites, and joining the literary pedigree of visitors to renowned locales. Such travel practices show how social competition emerged in the spatial context of a landscape. Hence, Carving Status at K¿mgangsan argues for an expansion of accepted historical narratives on travel and mountain space in premodern East Asia. Rather than interpreting pilgrimage routes as exclusively religious or tourist, in K¿mgangsan¿s case they were also an important site of collective memory.A journey to K¿mgangsan to view and contribute to its sites of memory was an endeavor that late Chos¿n Koreans hoped to achieve in their lives. Based on multidisciplinary research drawing on literary writings, court records, gazetteers, maps, songs, calligraphy, and paintings, Carving Status at K¿mgangsan is the first historical study of this practice. It will appeal to scholars in fields ranging from East Asian history, literature, and geography, to pilgrimage studies and art history.*Winner of the 2022 Patricia Buckley Ebrey Prize for a distinguished book on the history of China proper, Vietnam, Chinese Central Asia, Mongolia, Manchuria, Korea, or Japan, prior to 1800, sponsored by the American Historical Association
In Portland¿s harbor, environmental justice groups challenge the EPA for a more thorough cleanup of the Willamette River. Near Olympia, the Puyallup assert their tribal sovereignty and treaty rights to fish. Seattle housing activists demand that Amazon pay to address the affordability crisis it helped create. Urban Cascadia, the infrastructure, social networks, built environments, and non-human animals and plants that are interconnected in the increasingly urbanized bioregion that surrounds Portland, Seattle, and Vancouver, enjoys a reputation for progressive ambitions and forward-thinking green urbanism. Yet legacies of settler colonialism and environmental inequalities contradict these ambitions, even as people strive to achieve those progressive ideals.In this edited volume, historians, geographers, urbanists, and other scholars critically examine these contradictions to better understand the capitalist urbanization of nature, the creation of social and environmental inequalities, and the movements to fight for social and environmental justice. Neither a story of green disillusion nor one of green boosterism, Urban Cascadia and the Pursuit of Environmental Justice reveals how the region can address broader issues of environmental justice, Indigenous sovereignty, and the politics of environmental change.
In The City in Time, Pamela N. Corey provides new ways of understanding contemporary artistic practices in a region that continues to linger in international perceptions as perpetually ¿postwar.¿ Focusing on art from the last two decades, Corey connects artistic developments with social transformations as reflected through the urban landscapes of Ho Chi Minh City and Phnom Penh. As she argues, artists¿ engagements with urban space and form reveal ways of grasping multiple and layered senses and concepts of time, whether aligned with colonialism, postcolonial modernity, communism, or postsocialism.The City in Time traces the process through which collective memory and aspiration are mapped onto landscape and built space to shed light on how these vibrant Southeast Asian cities shape artistic practices as the art simultaneously consolidates the city as image and imaginary. Featuring a dynamic array of creative productions that include staged and documentary photography, the moving image, and public performance and installation, The City in Time illustrates how artists from Vietnam and Cambodia have envisioned their rapidly changing worlds.
In 1984 the University of Washington Huskies won every game but one, ranking second in national polls. For most coaches, such a season would be a career pinnacle. But for Don James second place motivated him to set aside what he knew about football and rethink the game. James made radical changes to his coaching philosophy, from recruitment to becoming one of the first college teams willing to blitz on any down and in any situation. His new approach initially failed, yet it finally culminated in one of the most explosive teams in college football history.In Fear No Man, Mike Gastineau recounts the riveting story of Don James and the national championship team he built. Undefeated, the 1991 Huskies outscored opponents by an average of 31 points per game on their way to winning the Rose Bowl and a national championship. The team included twenty-five future NFL players, and in Gastineaüs gripping account they come alive with all the swagger and joy they brought to the game. A brilliant examination of one of college football¿s greatest coaches and teams, Fear No Man is the inspirational story of an improbable journey that led to one classic and unforgettable season.
For over 150 years, Tlingit women artists have beaded colorful, intricately beautiful designs on moccasins, dolls, octopus bags, tunics, and other garments. Painful Beauty suggests that at a time when Indigenous cultural practices were actively being repressed, beading supported cultural continuity, demonstrating Tlingit women¿s resilience, strength, and power. Beadwork served many uses, from the ceremonial to the economic, as women created beaded pieces for community use and to sell to tourists. Like other Tlingit art, beadwork reflects rich artistic visions with deep connections to the environment, clan histories, and Tlingit worldviews. Contemporary Tlingit artists Alison Bremner, Chloe French, Shgen Doo Tan George, Lily Hudson Hope, Tanis S¿eiltin, and Larry McNeil foreground the significance of historical beading practices in their diverse, boundary-pushing artworks.Working with museum collection materials, photographs, archives, and interviews with artists and elders, Megan Smetzer reframes this often overlooked artform as a site of historical negotiations and contemporary inspirations. She shows how beading gave Tlingit women the freedom to innovate aesthetically, assert their clan crests and identities, support tribal sovereignty, and pass on cultural knowledge. Painful Beauty is the first dedicated study of Tlingit beadwork and contributes to the expanding literature addressing women¿s artistic expressions on the Northwest Coast.
Although they existed more than a millennium apart, the great civilizations of New Kingdom Egypt (ca. 1548¿1086 BCE) and Han dynasty China (206 BCE¿220 CE) shared intriguing similarities. Both were centered around major, flood-prone rivers¿the Nile and the Yellow River¿and established complex hydraulic systems to manage their power. Both spread their territories across vast empires that were controlled through warfare and diplomacy and underwent periods of radical reform led by charismatic rulers¿the ¿heretic king¿ Akhenaten and the vilified reformer Wang Mang. Universal justice was dispensed through courts, and each empire was administered by bureaucracies staffed by highly trained scribes who held special status. Egypt and China each developed elaborate conceptions of an afterlife world and created games of fate that facilitated access to these realms.This groundbreaking volume offers an innovative comparison of these two civilizations. Through a combination of textual, art historical, and archaeological analyses, Ancient Egypt and Early China reveals shared structural traits of each civilization as well as distinctive features.
Knowledge for Justice is a joint publication of UCLA's four ethnic studies research centers: American Indian Studies, Asian American Studies, Chicana/o Studies, and African American Studies. The book addresses the intersectional intellectual, social, and political struggles that confront the groups represented in the anthology. The selections articulate the specificity of each racial ethnic group's struggle while simultaneously interrogating the ways in which such labels or categories are inadequate.
Zuo Tradition, Chinäs first great work of history, was completed by about 300 BCE and recounts events during a period of disunity from 722 to 468 BCE. The text, which plays a foundational role in Chinese culture, has been newly translated into English by Stephen Durrant, Wai-yee Li, and David Schaberg in an unabridged, bilingual, three-volume set. This reader arranges key passages from that set according to topic, as a guide to the study of early Chinese culture and thought. Chapter subjects include succession struggles; women; warfare; ritual propriety; governance; law and punishment; famous statesmen; diplomacy; Confucius and his disciples; dreams and anomalies; and cultural others. An introduction explains the nature and significance of Zuozhuan and discusses how to read the text. Section introductions and judicious footnoting provide contextual information and explain the historical significance and meaning of particular events. The Zuo Tradition / Zuozhuan Reader will appeal to readers interested in Chinese and world history, claiming a place on library and personal bookshelves alongside other narratives from the ancient world.
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