Xue Mo's novel Curses of the Kingdom of Xixia presents a rich tapestry of the history, religion, lore, and customs of a region in present-day northwestern China. During its heyday, the Sino-Tibetan kingdom of Xixia (pronounced see-sia; 1038–1227), also known as the Tanguts, rivaled the Song dynasty (960–1279) of China and boasted a cavalry so formidable that the Chinese paid tribute to it to maintain peace. Using the discovery of "lost" manuscripts as a frame, the novel presents historical events and tales of semifictional characters, including the avatar of a local Tantric Buddhist goddess, a Dakini/Vajrayogini named Snow Feather. Taking the readers through different historical times and the various geographical and cultural spaces of the region, Xue Mo reveals truths by blurring the distinction between good and evil, beauty and hideousness, reality and fiction, permanence and impermanence. Magical realism and mimesis coexist. Reality merges with illusion, the mundane with the supernatural.
First English translation of both a novel and two play excerpts based on tales of the goddess Chen Jinggu, an eighth-century shaman and present-day cult deity. This book offers the first translation into English of the Chinese novel Haiyouji, as well as excerpts of a marionette play based on the cult lore of the goddess Chen Jinggu (766790), a historical shaman priestess who became one of Fujians most important goddesses and the Lüshan Sects chief deity. The novel, a 1753 reprint of what is possibly a Ming dynasty novel, was both a popular fiction and a religious tract. It offers a lively mythological tale depicting combat between the shaman goddess and a snake demon goddess. Replete with the beliefs and practices of the cult of this warrior goddess, the novel asserts the importance of Shamanism (i.e., local religious beliefs) as one of the four religions of China, along with Confucianism, Buddhism, and Daoism. To further develop the links between literature and local religion, Fan Pen Li Chen includes translations of two acts from a Fujian marionette play, Biography of the Lady, featuring the goddess.
Gold Medalist, 2018 Independent Publisher Book Awards in the US Northeast -Best Regional Non-Fiction Category Finalist for the 2017 Foreword INDIES Book of the Year Award in the Regional category Silver Winner, 2017 Foreword INDIES Book of the Year Awards in the History category At the beginning of the twentieth century the Ashcan School of Art blazed onto the art scene, introducing a revolutionary vision of New York City. In contrast to the elite artists who painted the upper class bedecked in finery, in front of magnificent structures, or the progressive reformers who photographed the city as a slum, hopeless and full of despair, the Ashcan School held the unique belief that the industrial working-class city was a fit subject for great art. In Beauty in the City, Robert A. Slayton illustrates how these artists portrayed the working classes with respect and gloried in the drama of the subways and excavation sites, the office towers, and immigrant housing. Their art captured the emerging metropolis in all its facets, with its potent machinery and its class, ethnic, and gender issues. By exposing the realities of this new, modern America through their art—expressed in what they chose to draw, not in how they drew it—they created one of the great American art forms.
Thai Buddhist monks wrap orange clerical robes around trees to protect forests. "Ordaining" a tree is a provocative ritual that has become the symbol of a small but influential monastic movement aimed at reversing environmental degradation and the unsustainable economic development and consumerism that fuel it. This book examines the evolution of this movement from the late 1980s to the present, exploring the tree ordination and other rituals used to resist destructive national projects. Susan M. Darlington explores monks' motivations, showing how they interpret their lived religion as the basis of their actions, and provides an in-depth portrait of activist monk Phrakhru Pitak Nanthakhun. The obstacles monks face, including damage to their reputations, arrest, and even assassination, reveal the difficulty of enacting social justice. Even the tree ordination itself must now withstand its appropriation for state projects. Despite this, monks have gone from individual action to a loosely allied movement that now works with nongovernmental organizations. This is a fascinating, firsthand account of engaged Buddhism.
This book is the first comprehensive introduction to the Tangut language and culture. Five of the fisteen chapters survey the history of Western Xia and the evolution of Tangut Studies, including new advancements in the field, such as research on the recently decoded Tangut cursive writings found in Khara-Khoto documents. The other ten chapters provide an introduction to the Tangut language: its origins, script, characters, grammars, translations, textual and contextual readings. In this synthesis of historical narratives and linguistic analysis, the renowned Tangutologist Shi Jinbo offers a guided access to the mysterious civilisation of the ‘Great State White and High’ to both a specialized and a general audience.
The book is the volume of “The History of Religion in Song, Liao, Jin and Xixia Dynasty” among a series of books of “Deep into China Histories”. The earliest known written records of the history of China date from as early as 1250 BC, from the Shang dynasty (c. 1600–1046 BC) and the Bamboo Annals (296 BC) describe a Xia dynasty (c. 2070–1600 BC) before the Shang, but no writing is known from the period The Shang ruled in the Yellow River valley, which is commonly held to be the cradle of Chinese civilization. However, Neolithic civilizations originated at various cultural centers along both the Yellow River and Yangtze River. These Yellow River and Yangtze civilizations arose millennia before the Shang. With thousands of years of continuous history, China is one of the world's oldest civilizations, and is regarded as one of the cradles of civilization.The Zhou dynasty (1046–256 BC) supplanted the Shang and introduced the concept of the Mandate of Heaven to justify their rule. The central Zhou government began to weaken due to external and internal pressures in the 8th century BC, and the country eventually splintered into smaller states during the Spring and Autumn period. These states became independent and warred with one another in the following Warring States period. Much of traditional Chinese culture, literature and philosophy first developed during those troubled times.In 221 BC Qin Shi Huang conquered the various warring states and created for himself the title of Huangdi or "emperor" of the Qin, marking the beginning of imperial China. However, the oppressive government fell soon after his death, and was supplanted by the longer-lived Han dynasty (206 BC – 220 AD). Successive dynasties developed bureaucratic systems that enabled the emperor to control vast territories directly. In the 21 centuries from 206 BC until AD 1912, routine administrative tasks were handled by a special elite of scholar-officials. Young men, well-versed in calligraphy, history, literature, and philosophy, were carefully selected through difficult government examinations. China's last dynasty was the Qing (1644–1912), which was replaced by the Republic of China in 1912, and in the mainland by the People's Republic of China in 1949.Chinese history has alternated between periods of political unity and peace, and periods of war and failed statehood – the most recent being the Chinese Civil War (1927–1949). China was occasionally dominated by steppe peoples, most of whom were eventually assimilated into the Han Chinese culture and population. Between eras of multiple kingdoms and warlordism, Chinese dynasties have ruled parts or all of China; in some eras control stretched as far as Xinjiang and Tibet, as at present. Traditional culture, and influences from other parts of Asia and the Western world (carried by waves of immigration, cultural assimilation, expansion, and foreign contact), form the basis of the modern culture of China.
Reveals the development of Maurice Kennys growing artistic consciousness, while attesting to both the beauty and brutality of the world in which he lived. Maurice Kennys career as a writer, teacher, publisher, and storyteller spanned more than six decades, during which he published over thirty books and became one of the most prominent voices in American poetry. From the early 1970s onward, he was instrumental in the resurgence of Native American literature through both his celebrated volumes of poetry, such as I Am the Sun and the award-winning The Mama Poems, and his work as an editor and publisher. Angry Rain, his bittersweet memoir, reveals this rich literary life by recounting its tumultuous first half plus a bit, a time during which he moved through a series of worlds that all left their marks on him. Kenny begins with his early years spent among his family in the small northern New York city of Watertown and continues through an adolescence marked by both significant awakenings and grievous traumas. Determined, Kenny sets out to seek his fortunes and find his poetic voice, landing in the Jim Crowera South, in St. Louis, in Indiana, and finally in New York City, where he becomes part of a motley creative group of performers and poets that offers both fascinating inspiration and disheartening rejection. These recollections end with Kennys maturation into a poet whose reaffirmed indigenous heritage unified an artistic vision that remained in conversation with a wide range of other themes and traditions until his death in 2016. In the spirit of Nerudas Isla Negra, this intimate narrative of Maurice Kennys development braids a rich sensory current of courage and pain which would form the mind and heart of an artist. From the Mohawk Reservation to the bayou, from horseback to Broadway, from the apple orchard to New Orleans and Mexico, the young artist searches for Father among the faces and streets, searches for Home among the theaters and books, and ultimately finds his way back along a path of words. This book guides us to the sources of Maurice Kennys tenderness and rage. Chad Sweeney, author of Wolfs Milk: The Lost Notebooks of Juan Sweeney
This is the first book-length treatment in English of Three Kingdoms (Sanguo yanyi), often regarded as China's first great classical novel. Set in the historical period of the disunion (220–280 AD), Three Kingdoms fuses history and popular tradition to create a sweeping epic of heroism and political ambition. The essays in this volume explore the multifarious connections between Three Kingdoms and Chinese culture from a variety of disciplines, including history, literature, philosophy, art history, theater, cultural studies, and communications, demonstrating the diversity of backgrounds against which this novel can be studied. Some of the most memorable episodes and figures in Chinese literature appear within its pages, and Three Kingdoms has had a profound influence on personal, social, and political behavior, even language usage, in the daily life of people in China today. The novel has inspired countless works of theater and art, and, more recently, has been the source for movies and a television series. Long popular in other countries of East Asia, such as Japan, Korea, and Vietnam, Three Kingdoms has also been introduced to younger generations around the globe through a series of extremely popular computer games. This study helps create a better understanding of the work's unique place in Chinese culture.
Finalist for the 2020 Colorado Book Award in the Literary Fiction category presented by the Colorado Center for the Book Finalist for the 2019 Foreword INDIES Book of the Year Award in the Multicultural (Adult Fiction) category 2020 In the Margins Top Ten and Fiction Recommendation Matthew has grown up in hell. His father is gone, and his mother drinks and hooks up with men who abuse Matthew and his sister. He finally decides to hit the streets of Farmington to get away and to drink himself to death—in his mind, his destiny. He meets Chris, who saves him, takes him home, cleans him up, gets him sober, and initiates Matthew into one of Albuquerque's Native American gangs, the 505s. The 505s have been around for generations. They now sell heroin, and it's their subservience to the Mexican gangs that has allowed them to survive. However, Chris decides that his little Native American gang deserves to be as big as the Mexican gangs in Albuquerque, bringing in new business from deep inside Indigenous communities in Mexico. Then, Matthew falls in love with Chris's girlfriend. Matthew's story is one of terrible darkness, but also, unexpected beauty and tenderness.
