The conception of modernity as a radical rupture from the past runs parallel to the conception of Europe as the primary locus of global history. The essays in this volume contest the temporal and spatial divisions—between past and present, modernity and tradition, and Europe’s progress and Asia’s stasis—which the conventional narrative of modernity creates. Drawing on early modern Chinese and Indian history and culture instead, the authors of the book explore the provenance of modernity beyond the west to see it in a transcultural and pluralistic light. The central argument of this volume is that modernity does not have a singular core or essence—a causal centre. Its key features need to be disaggregated and new configurations and combinations imagined. By studying the Bhakti movement, Confucian democracy, and the maritime and agrarian economies of China and India, this book enlarges the terms of debate and revisits devalued terms and concepts like tradition, religion, authority, and rural as resources for modernity. This book will be of great interest to researchers and academicians working in the areas of history, Sociology, Cultural Studies, literature, geopolitics, South Asian and East Asian Studies.
In Lost Modernities Alexander Woodside offers a probing revisionist overview of the bureaucratic politics of preindustrial China, Vietnam, and Korea. He focuses on the political and administrative theory of the three mandarinates and their long experimentation with governments recruited in part through meritocratic civil service examinations remarkable for their transparent procedures. The quest for merit-based bureaucracy stemmed from the idea that good politics could be established through the "development of people"--the training of people to be politically useful. Centuries before civil service examinations emerged in the Western world, these three Asian countries were basing bureaucratic advancement on examinations in addition to patronage. But the evolution of the mandarinates cannot be accommodated by our usual timetables of what is "modern." The history of China, Vietnam, and Korea suggests that the rationalization processes we think of as modern may occur independently of one another and separate from such landmarks as the growth of capitalism or the industrial revolution. A sophisticated examination of Asian political traditions, both their achievements and the associated risks, this book removes modernity from a standard Eurocentric understanding and offers a unique new perspective on the transnational nature of Asian history and on global historical time.
The social science discourse on the power of modernity and its everyday negotiation with tradition and locality in India has been a matter of continuous debate and discussion among academicians since the colonial era. By taking agriculture as a special field of investigation, this book describes the condition of ‘modernity’ in the agrarian social system of contemporary India. Farming is not only an economic activity, but also a personality formation where ‘status’ plays a significant role in Indian society. Taking ‘culture’, and ‘social status’ as the two important variables in the local ‘agriculture as performance’, this book develops a sociology of knowledge approach towards agrarian modernity and development in postcolonial India.
A special issue of PUBLIC CULTURE, this volume of essays examines modernity from transnational and transcultural perspectives, holding that within different cultures, there are different starting points of the transition to modernity that lead to differen
Did modernity arrive in South Asia with British colonialism? Or was South Asia already modern by then? What might have that modernity looked like? The Early Modern in South Asia engages with these questions. It brings together ten chapters, which collectively trace the contours of South Asia's early modernity between the sixteenth and eighteenth centuries. They do this by examining the nature of historical change in various domains, including philosophy, warfare, law, environment, politics, violence, religion, and society. The chapters argue that in all these fields, there were noticeable developments during this period, marking a shift from the medieval to the early modern. The introductory chapter contextualizes this by analysing the politics of periodization in history-writing across the world. It discusses the meanings of the relatively new concept of early modernity and the implications of its use for how we understand historical change and continuity in South Asia.
The emergence of modernity has typically focused on Western male actors and privileged politics and economy over culture. The contributors to this volume successfully unsettle such perspectives by emphasizing the social history, artistic practices, and symbolic meanings of female performers in popular music of Asia. Women surfaced as popular icons in different guises in different Asian countries through different routes of circulation. Often, these women established prominent careers within colonial conditions, which saw Asian societies in rapid transition and the vernacular and familiar articulated with the novel and the foreign. These female performers were not merely symbols of times that were rapidly changing. Nor were they simply the personification of global historical changes. Female entertainers, positioned at the margins of intersecting fields of activities, created something hitherto unknown: they were artistic pioneers of new music, new cinema, new forms of dance and theater, and new behavior, lifestyles, and morals. They were active agents in the creation of local performance cultures, of a newly emerging mass culture, and the rise of a region-wide and globally oriented entertainment industry. Vamping the Stage is the first book-length study of women, modernity, and popular music in Asia, showcasing cutting-edge research conducted by scholars whose methods and perspectives draw from such diverse fields as anthropology, Asian studies, cultural studies, ethnomusicology, and film studies. Led by an impressive introduction written by Weintraub and Barendregt, fourteen contributors analyze the many ways that women performers supported, challenged, and transgressed representations of existing gendered norms in the entertainment industries of China, Japan, India, Indonesia, Iran, Korea, Malaysia, and the Philippines. Placing women’s voices in social and historical contexts, the essays explore salient discourses, representations, meanings, and politics of “voice” in Asian popular music. Historicizing the artistic sounds, lyrical texts, and visual images of female performers, the essays reveal how women used popular music to shape the ideas, practices, and meanings of modernity in various Asian contexts and time frames. The ascendency of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, women as business entrepreneurs and independent income earners, and particularly as models for new life styles. Women’s voices, mediated through new technologies of film and the phonograph, changed the soundscape of global popular music and resonate today in all spheres of modern life.
Since the late first millennium CE, Maritime Southeast Asia has been an inter-connected zone, with its societies and states maintaining economic and diplomatic relations with both China and Japan on the east, and the Indian Sub-Continent and Middle East on the west. This global connectedness was facilitated by merchant and shipping networks that originated from within and outside Southeast Asia, resulting in a trans-regional economy developing by the early second millennium CE. Sojourning populations began to appear in Maritime Southeast Asia, culminating in records of Chinese and Indian settlers in such places as Sumatra, Malay Peninsula and the Gulf of Siam by the mid-first millennium CE. At the same time, information of products that were harvested in Southeast Asia began to be appropriated by pockets of society in China, the India and the Middle East, resulting in the production of new knowledge and usages for these products in these markets.
A FASCINATING AND RIGOROUS EXAMINATION OF KABIR’S LIFE AND POETRY AND HIS RELEVANCE TODAY, FOR BOTH THE SCHOLAR AND GENERAL READER As the right wing tries to claim Kabir for itself, while other conservatives disown him and yet others portray him as a secular idol beyond religion, the poet has never been so misunderstood. Coming from the Nirgun bhakti tradition, the words of this fifteenth-century poet have the power to reach beyond time and speak to us today. Was he a Hindu or Muslim or was he beyond religion? Did he try to cultivate a new faith or did he eschew organised religion altogether? Was his modernity an exception or a reflection of the times he lived in? What does Kabir’s life and poetry tell us about this nation’s past and present? In this rare appraisal of Kabir’s writings and his life, Purushottam Agarwal approaches this timeless poet-revolutionary with little preconceptions, presenting him the way the poet wanted to be seen, rather than what his followers and fans want to see in him.
"The year 1949 witnessed China divided into multiple political and cultural entities. How did this momentous shift affect Chinese literary topography? Modernity with a Cold War Face examines the competing, converging, and conflicting modes of envisioning a modern nation in mid-twentieth century Chinese literature. Bridging the 1949 divide in both literary historical periodization and political demarcation, Xiaojue Wang proposes a new framework to consider Chinese literature beyond national boundaries, as something arising out of the larger global geopolitical and cultural conflict of the Cold War. Examining a body of heretofore understudied literary and cultural production in mainland China, Taiwan, Hong Kong, and overseas during a crucial period after World War II, Wang traces how Chinese writers collected artistic fragments, blended feminist and socialist agendas, constructed ambivalent stances toward colonial modernity and an imaginary homeland, translated foreign literature to shape a new Chinese subjectivity, and revisited the classics for a new time. Reflecting historical reality in fictional terms, their work forged a path toward multiple modernities as they created alternative ways of connection, communication, and articulation to uncover and undermine Cold War dichotomous antagonism. "
As far too many intellectual histories and theoretical contributions from the ‘global South’ remain under-explored, this volume works towards redressing such imbalance. Experienced authors, from the regions concerned, along different disciplinary lines, and with a focus on different historical timeframes, sketch out their perspectives of envisaged transformations. This includes specific case studies and reflexive accounts from African, South Asian, and Middle Eastern contexts. Taking a critical stance on the ongoing dominance of Eurocentrism in academia, the authors present their contributions in relation to current decolonial challenges. Hereby, they consider intellectual, practical and structural aspects and dimensions, to mark and build their respective positions. From their particular vantage points of (trans)disciplinary and transregional engagement, they sketch out potential pathways for addressing the unfinished business of conceptual decolonization. The specific individual positionalities of the contributors, which are shaped by location and regional perspective as much as in disciplinary, biographical, linguistic, religious, and other terms, are hereby kept in view. Drawing on their significant experiences and insights gained in both the global north and global south, the contributors offer original and innovative models of engagement and theorizing frames that seek to restore and critically engage with intellectual practices from particular regions and transregional contexts in Africa, South Asia, and the Middle East. This volume builds on a lecture series held at ZMO in the winter 2019-2020
