The Minor Arts of Daily Life is an account of the many ways in which contemporary Taiwanese approach their ordinary existence and activities. It presents a wide range of aspects of day-to-day living to convey something of the world as experienced by the Taiwanese themselves. Contributors: Alice Chu, Chien-Juh Gu, David K. Jordan, Paul R. Katz, Chin-Ju Lin, Andrew D. Morris, Marc L. Moskowitz, Scott Simon, Shuenn-Der Yu.
The contributors explore how traditional Chinese influences modern localized lives in Taiwan, localized identity, culture, and politics as a contested domain with Chinese and traditional Taiwanese identities and Taiwan’s localization process as contesting Taiwan’s gravitation towards globalized Western culture.
Ancient Greece comes alive in this recreation of the daily lives of ordinary people—men and women, children and the elderly, slaves and foreigners, rich and poor. Taking account of the most up-to-date discoveries, the author provides a wealth of information on such varied facets of Greek life as food and drink, dress, housing, literacy, juvenile delinquency, the plight of the elderly, the treatment of slaves, and much more. Readers can gain an in-depth understanding of what it was like to live in one of the greatest eras of human history. Garland provides answers to such questions as: What were the Ancient Greeks' attitudes toward foreigners? What was their life expectancy? How were women treated? Passages from ancient authors enhance the text of this indispensable reference work.
Since the mid-1990s, Taiwan’s unique brand of Mandopop (Mandarin Chinese–language pop music) has dictated the musical tastes of the mainland and the rest of Chinese-speaking Asia. Cries of Joy, Songs of Sorrow explores Mandopop’s surprisingly complex cultural implications in Taiwan and the PRC, where it has established new gender roles, created a vocabulary to express individualism, and introduced transnational culture to a country that had closed its doors to the world for twenty years. In his early chapters, Marc L. Moskowitz provides the historical background necessary to understand the contemporary Mandopop scene, beginning with the birth of Chinese popular music in the East Asian jazz Mecca of 1920s Shanghai. A brief overview of alternative musical genres in the PRC such as Beijing rock and revolutionary opera is included. The section concludes with a look at the manner in which Taiwan’s musical ethos has influenced the mainland’s music industry and how Mandopop has brought Western music and cultural values to the PRC. This leads to a discussion of Taiwan pop’s exceptional hybridity, beginning with foreign influences during the colonial period under the Dutch and Japanese and continuing with the country’s political, cultural, and economic alliance with the U.S. Moskowitz addresses the resulting wealth of transnational musical influences from the rest of East Asia and the U.S. and Taiwan pop’s appeal to audiences in both the PRC and Taiwan. In doing so, he explores how Mandopop’s "songs of sorrow," with their ubiquitous themes of loneliness and isolation, engage a range of emotional expression that resonates strongly in the PRC. Later chapters examine the construction of male and female identities in Mandopop and look at the widespread condemnation of the genre by critics. Drawing on analyses and data from earlier chapters (including interviews with dozens of performers, song writers, and lay people in Taipei and Shanghai), Moskowitz attempts to answer the question: Why, if the music is as bad as some assert, is it so central to the lives of the largest population in the world? To answer, he highlights Mandopop’s important contribution as a poetic lament that simultaneously embraces and protests modern life. Cries of Joy, Songs of Sorrow is a highly readable introduction to an important but understudied East Asian phenomenon. It will find a ready audience among scholars and students of Chinese and Taiwanese popular culture as well as musicologists studying transnational music flows and non-Western popular music.
Winner of the EDRA book prize for 2012. In cities around the world, individuals and groups are reclaiming and creating urban sites, temporary spaces and informal gathering places. These ‘insurgent public spaces’ challenge conventional views of how urban areas are defined and used, and how they can transform the city environment. No longer confined to traditional public areas like neighbourhood parks and public plazas, these guerrilla spaces express the alternative social and spatial relationships in our changing cities. With nearly twenty illustrated case studies, this volume shows how instances of insurgent public space occur across the world. Examples range from community gardening in Seattle and Los Angeles, street dancing in Beijing, to the transformation of parking spaces into temporary parks in San Francisco. Drawing on the experiences and knowledge of individuals extensively engaged in the actual implementation of these spaces, Insurgent Public Space is a unique cross-disciplinary approach to the study of public space use, and how it is utilized in the contemporary, urban world. Appealing to professionals and students in both urban studies and more social courses, Hou has brought together valuable commentaries on an area of urbanism which has, up until now, been largely ignored.
Boym provides a view of Russia that is historically informed, replete with unexpected detail, and stamped with authority. Alternating analysis with personal accounts of Russian life, she conveys the foreignness of Russia and examines its peculiar conceptions of private life and common good, of Culture and Trash, of sincerity and banality.
The dramatic transformation of our planet by human actions has been heralded as the coming of the new epoch of the Anthropocene. Human relations with water raise some of the most urgent questions in this regard. The starting point of this book is that these changes should not be seen as the result of monolithic actions of an undifferentiated humanity, but as emerging from diverse ways of relating to water in a variety of settings and knowledge systems. With its large population and rapid demographic and socioeconomic change, Asia provides an ideal context for examining how varied forms of knowledge pertaining to water encounter and intermingle with one another. While it is difficult to carry out comprehensive research on water knowledge in Asia due to its linguistic, political and cultural fragmentation, the topic nevertheless has relevance across boundaries. By using a carefully chosen selection of case studies in a variety of locations and across diverse disciplines, the book demonstrates commonalities and differences in everyday water practices around Asia while challenging both romantic presumptions and Eurocentrism. Examples presented include class differences in water use in the megacity of Delhi, India; the impact of radiation on water practices in Fukushima, Japan; the role of the King in hydraulic practices in Thailand, and ritual irrigation in Bali, Indonesia.
The Last Utopians delves into the biographies of four key figures--Edward Bellamy, William Morris, Edward Carpenter, and Charlotte Perkins Gilman--who lived during an extraordinary period of literary and social experimentation. The publication of Bellamy's Looking Backward in 1888 opened the floodgates of an unprecedented wave of utopian writing. Morris, the Arts and Crafts pioneer, was a committed socialist whose News from Nowhere envisions a workers' Arcadia. Carpenter boldly argued that homosexuals constitute a utopian vanguard. Gilman, a women's rights activist and the author of "The Yellow Wallpaper," wrote numerous utopian fictions, including Herland, a visionary tale of an all-female society. These writers, Robertson shows, shared a belief in radical equality, imagining an end to class and gender hierarchies and envisioning new forms of familial and romantic relationships. They held liberal religious beliefs about a universal spirit uniting humanity. They believed in social transformation through nonviolent means and were committed to living a simple life rooted in a restored natural world. And their legacy remains with us today, as Robertson describes in entertaining firsthand accounts of contemporary utopianism, ranging from Occupy Wall Street to a Radical Faerie retreat.
This volume analyzes what is arguably the single most important aspect of cultural and political change in Taiwan over the past quarter-century: the trend toward 'indigenization' (bentuhua). Focusing on the indigenization of politics and culture and its close connection with the identity politics of ethnicity and nationalism, this volume is an attempt to map prominent contours of the indigenization paradigm as it has unfolded in Taiwan. The opening chapters concern the origin and nature of the trend toward indigenization with its roots in the unique historical trajectory of politics and culture in Taiwan. Subsequent chapters deal with responses and reactions to indigenization in a variety of social, cultural and intellectual domains.
