Böcker utgivna av University of Washington Press

From hip-hop artists in the Marshall Islands to innovative multimedia producers in Vanuatu to racial justice writers in Utah, Pacific Islander youth are using radical expression to transform their communities. Exploring multiple perspectives about Pacific Islander youth cultures in such locations as Aotearoa New Zealand, Australia, Hawai`i, and Tonga, this cross-disciplinary volume foregrounds social justice methodologies and programs that confront the ongoing legacies of colonization, incarceration, and militarization. The ten essays in this collection also highlight the ways in which youth throughout Oceania and the diaspora have embraced digital technologies to communicate across national boundaries, mobilize sites of political resistance, and remix popular media. By centering Indigenous peoples¿ creativity and self-determination, Reppin¿ vividly illuminates the dynamic power of Pacific Islander youth to reshape the present and future of settler cities and other urban spaces in Oceania and beyond.

¿Chickens are a lot more mainstream than veganism and a little bit like kombucha: super weird twenty years ago, now somewhat popular and made even more so by logos, brands, and hashtags.¿ So begins Gina Warren¿s deep dive into the backyard chicken movement. Digging into its history and food politics, she provides a highly personal account of the movement¿s social and cultural motivations, the regulations it faces, and the ways that chicken owners build community. Weaving together interviews with urban agriculture advocates, entrepreneurs such as a $225 per hour ¿chicken consultant,¿ animal rights campaigners, and a fabulous cross-section of chicken enthusiasts, Warren sheds light on Americans¿ complex relationship with animals¿as guardians, companions, and eaters¿and what it means to be a conscious eater.As Warren chronicles her own misadventures raising chickens, her pursuit of what¿s best for her own flock leads past chicken tutus and gourmet chicken treats and into serious attempts at sustainable eating, such as cooking insects and dumpster diving. The result is a fresh and charming story that speaks to backyard chicken owners, while also raising questions about sustainable farming, industrial agriculture, and our connections with the animals we love.

The Lady of Linshui¿the goddess of women, childbirth, and childhood¿is still venerated in south China, Taiwan, and Southeast Asia. Her story evolved from the life of Chen Jinggu in the eighth century and blossomed in the Ming dynasty (1368¿1644) into vernacular short fiction, legends, plays, sutras, and stele inscriptions at temples where she is worshipped. The full-length novel The Lady of Linshui Pacifies Demons narrates Chen Jinggüs lifelong struggle with and eventual triumph over her spirit double and rival, the White Snake demon. Among accounts of goddesses in late imperial China, this work is unique in its focus on the physical aspects of womanhood, especially the dangers of childbirth, and in its dramatization of the contradictory nature of Chinese divinities. This unabridged, annotated translation provides insights into late imperial Chinese religion, the lives of women, and the structure of families and local society.

From 1966 through 1981 the Peace Corps sent more than two thousand volunteers to South Korea, to teach English and provide healthcare. A small yet significant number of them returned to the United States and entered academia, forming the core of a second wave of Korean studies scholars. How did their experiences in an impoverished nation still recovering from war influence their intellectual orientation and choice of study¿and Korean studies itself?In this volume, former volunteers who became scholars of the anthropology, history, and literature of Korea reflect on their experiences during the period of military dictatorship, on gender issues, and on how random assignments led to lifelong passion for the country. Two scholars who were not volunteers assess how Peace Corps service affected the development of Korean studies in the United States. Kathleen Stephens, the former US ambassador to the Republic of Korea and herself a former volunteer, contributes an afterword.

Iconoclastic scholar Li Zhi (1527¿1602) was a central figure in the cultural world of the late Ming dynasty. His provocative and controversial words and actions shaped print culture, literary practice, attitudes toward gender, and perspectives on Buddhism and the afterlife. Although banned, his writings were never fully suppressed, because they tapped into issues of vital significance to generations of readers. His incisive remarks, along with the emotional intensity and rhetorical power with which he delivered them, made him an icon of his cultural moment and an emblem of early modern Chinese intellectual dissent.In this volume, leading China scholars demonstrate the interrelatedness of seemingly discrete aspects of Li Zhi¿s thought and emphasize his far-reaching impact on his contemporaries and successors. In doing so, they challenge the myth that there was no tradition of dissidence in premodern China.The open access publication of this book was made possible by a grant from the James P. Geiss and Margaret Y. Hsu Foundation.

Central to the Yakama oral tradition, storytelling enables Tribal Elders to share lessons, values, and customs with younger generations across the Columbia River plateau and the Pacific Northwest. Drawn from a time before the coming of human beings when animals were like people, the stories present characters and motifs that paint a bigger picture of the world as Yakama ancestors knew it. The original edition of Anakú Iwachá featured stories that Yakama Tribal Elders recorded in several dialects of the Ichishkíin language that were collected and translated into English by renowned linguist and scholar Virginia Beavert. This new edition adds a preface from the Yakama Nation and essays on the history of the project and on Ichishkíin-language education. It includes four additional legends in Ichishkíin and English, annotations, an updated glossary, and more artwork by Tribal artists, helping readers, teachers, and students engage with the legends as teaching and learning tools and as a precious gift to current and future Yakama generations.

Kathleen Alcal¿b> is the author of a collection of essays, The Desert Remembers My Name: On Family and Writing; three novels, including Treasures in Heaven; and a collection of short stories. She lives on Bainbridge Island, Washington.

Explores the forms of vision Parks employed across various artistic media

Examines the lives of two slain cannery union reformers during the tumultuous Civil Rights Era of the 1970s

A memoir by a Filipino founder and vice-president of the United Farm Workers Union.

Tam T. T. Ngo is a research fellow in the Department of Religious Diversity at the Max Planck Institute for the Study of Religious and Ethnic Diversity in Germany.

Winner of the 2013 Washington State Book Award and finalist for the 2013 William Carlos Williams Award, Poetry Society of America, this title features poems that are nuclear-age songs of innocence and experience set in the "empty" desert West.

The art of Paul Havas (1940ΓÇô2012) is one of natural beauty, formal control, and unusual colors. Havas settled in the Puget Sound region in 1965 and went on to create a body of work dominated by oil paintings and drawings of landscapes and cityscapes, attracting admiring critical attention and considerable acquisitions by important museums. This book draws on HavasΓÇÖs archive of writings, letters, and documentary photographs, as well as accounts and interviews with critics, curators, fellow artists, and friends to set the artist in a perspective of Pacific Northwest and American art history. The result is a lively tale of flyfishing, rural cabins, sophisticated city life, and doggedly consistent work habits in studios in Seattle and the Skagit Valley. Quiet yet friendly, like his appealing paintings, Paul Havas is revealed as thoughtful and witty, with serious ideas about art, culture, and his own position in contemporary art. Readers are sure to enjoy this lavishly illustrated volume with extensive color plates, useful contextual images, and historical documentary photographs.

The face has inspired artists around the world for millennia, and Japan's Noh theater has provided a complex domain for exploring human emotion. This book examines fourteen contemporary works by Noh mask-maker and artist Bidou Yamaguchi.