Bøger udgivet af Cornell University Press

"Brings together scholars at the forefront of the emerging field of Korean environmental humanities to offer a multidisciplinary and transhistorical account of the Korean peninsula that centers the dynamic entanglements of human and nonhuman forces--flora, fauna, mineral deposits, and climatic conditions"--

Richard Drake presents a new interpretation of Charles Austin Beard's life and work. The foremost American historian and a leading public intellectual in the first half of the twentieth century, Beard participated actively in the debates about American politics and foreign policy surrounding the two world wars. Drake takes this famous man's...

This volume is a translation of Choi Seung-ja's 1991 anthology titled Portrait of a Suburbanite. Published in the series of "e;100 Prominent Korean Poets"e; by Mirae Press, the poems in this volume were selected from four of Choi's previous works titled, Love of This Age (1981), Merry Diary (1984), House of Memory (1989), and the subsequently published My Tomb, Green (1993). Speaking with a fierce sense of equality and independence, Choi Seung-ja's poetry battled ossified forms of language not only on the political but also the personal front. Like her male colleagues, Choi parodied and critiqued the idol of the father, but even further, she insightfully explored irreverent content to reveal the gendered constraints of the lyric form. In particular, Choi exposed the idolatrous power of the lover, the basis of exploitation and injustice at the most intimate level. On top of their political disempowerment as citizens, the private and domestic alienation of women as daughters, lovers, and wives form a deep stratum of repression. When Choi's women personae broke this long silence of compliance nurtured by the traditional lyric and voiced themselves as exploited and traumatized, yet fearless and tenacious human beings, the shock of this transgression shook the nation. In turn it demonstrate how long and how powerfully the gender constrictions had been imposed on Korean women.

This anthology focuses on autobiographical works by Wang Anyi, the most prolific and critically acclaimed woman writer in contemporary China, highlighting a personal and emotional dimension of her writing that is essential to a deeper understanding of her creativity and productivity. The three pieces selected for this volume-"e;A Woman Writer's Sense of Self,"e; "e;Utopian Verses,"e; and "e;Years of Sadness"e;-explore some of the most fundamental and complex issues concerning Wang's identity as a woman and as a writer in early post-socialist China, the creative and emotional challenges she faced during her sojourn in the United States in the early 1980s, and her memories of adolescent years, a period of obsession, uncertainty, and loneliness during the Cultural Revolution.

Traces in the Way is simultaneously a critical interpretation of the writings of noh playwright and thinker Komparu Zenchiku (1407-1470); a refutation of received views of Japanese traditional arts (michi); and an analysis of medieval Japanese uses of texts. The disciplinary approach is broadly that of cultural studies, combining close reading, social contextualization, and drawing on multiple fields. The study is organized through the five elements that Konishi Jin'ichi's identified as essential to michi: specialization, transmission, conformity, universality and authority. Each of these is examined critically and revised, providing a basis from which Zenchiku's works can be elucidated. This new approach makes it possible to solve much that in conventional studies has remained puzzling about Zenchiku's works including the principles behind the works of classification, the purposes that resulted in the rokurin ichiro works, and the ideology present in the fragmentary work: Meishukushu. It becomes clear that Zenchiku, far from being a docile recipient of his teacher Zeami's legacy, combined Zeami's texts with those of other michi to radically reposition his own practice in the cultural fields of his day. Zenchiku drew on a range of legitimating styles to fashion a new rationale for performance, one adequate to changing patronage requirements, and appropriate to the circumstances of his troupe. In this position-taking, Zenchiku was strikingly successful, as is witnessed by the survival of the Komparu line through the chaotic century after his death. With this book we come to know a good deal about sarugaku's transmission in the fifteenth century; enough to remedy a facile idealization of Japanese michi.

In Seward's Law, Peter Charles Hoffer argues that William H. Seward's legal practice in Auburn, New York, informed his theory of relational rights-a theory that demonstrated how the country could end slavery and establish a practical form of justice. This theory, Hoffer demonstrates, had ties to Seward's career as a country lawyer. Despite his rise to prominence, and indeed preeminence, as a US secretary of state, Seward's country-lawyer mentality endured throughout his life, as evinced in his personal attitudes and professional conduct. Relational rights, identified and termed here for the first time by Hoffer, are communal and reciprocal, what everyone owed to every other member of their community. Such rights are at the center of a jurisprudential outlook that arises directly from living in a village. Though Seward was limited by the Victorian mores and the racialist presumptions of his day, the concept of relational rights that animated him was the natural antithesis to the theories and practices of slavery. In the legal regime underpinning the institution, masters owed nothing to their bondmen and women, while those enslaved unconditionally owed life and labor to their masters. The irrepressible conflict was, for Seward, jurisprudential as well as moral and political. Hoffer's leading assumption in Seward's Law is that a lifetime spent as a lawyer influences how a person responds to everyday challenges. Seward remained a country lawyer at heart, and that fact defined the course of his political career.

In Dangerous Intercourse, Tessa Winkelmann examines interracial social and sexual contact between Americans and Filipinos in the early twentieth century via a wide range of relationships-from the casual and economic to the formal and long term. Winkelmann argues that such intercourse was foundational not only to the colonization of the Philippines but also to the longer, uneven history between the two nations. Although some relationships between Filipinos and Americans served as demonstrations of US "e;benevolence,"e; too-close sexual relations also threatened social hierarchies and the so-called civilizing mission. For the Filipino, Indigenous, Moro, Chinese, and other local populations, intercourse offered opportunities to negotiate and challenge empire, though these opportunities often came at a high cost for those most vulnerable.Drawing on a multilingual array of primary sources, Dangerous Intercourse highlights that sexual relationships enabled US authorities to police white and nonwhite bodies alike, define racial and national boundaries, and solidify colonial rule throughout the archipelago. The dangerous ideas about sexuality and Filipina women created and shaped by US imperialists of the early twentieth century remain at the core of contemporary American notions of the island nation and indeed, of Asian and Asian American women more generally.

Communism's Public Sphere explores the political role of cultural spaces in the Eastern Bloc. Under communist regimes that banned free speech, political discussions shifted to spaces of art: theaters, galleries, concert halls, and youth clubs. Kyrill Kunakhovich shows how these venues turned into sites of dialogue and contestation. While officials used them to spread the communist message, artists and audiences often flouted state policy and championed alternative visions. Cultural spaces therefore came to function as a public sphere, or a rare outlet for discussing public affairs.Focusing on Krakow in Poland and Leipzig in East Germany, Communism's Public Sphere sheds new light on state-society interactions in the Eastern Bloc. In place of the familiar trope of domination and resistance, it highlights unexpected symbioses like state-sponsored rock and roll, socialist consumerism, and sanctioned dissent. By examining nearly five decades of communist rule, from the Red Army's arrival in Poland in 1944 to German reunification in 1990, Kunakhovich argues that cultural spaces played a pivotal mediating role. They helped reform and stabilize East European communism but also gave cover to the protest movements that ultimately brought it down.

Georgian and Soviet investigates the constitutive capacity of Soviet nationhood and empire. The Soviet republic of Georgia, located in the mountainous Caucasus region, received the same nation-building template as other national republics of the USSR. Yet Stalin's Georgian heritage, intimate knowledge of Caucasian affairs, and personal involvement in local matters as he ascended to prominence left his homeland to confront a distinct set of challenges after his death in 1953.Utilizing Georgian archives and Georgian-language sources, Claire P. Kaiser argues that the postwar and post-Stalin era was decisive in the creation of a "e;Georgian"e; Georgia. This was due not only to the peculiar role played by the Stalin cult in the construction of modern Georgian nationhood but also to the subsequent changes that de-Stalinization wrought among Georgia's populace and in the unusual imperial relationship between Moscow and Tbilisi. Kaiser describes how the Soviet empire could be repressive yet also encourage opportunities for advancement-for individual careers as well as for certain nationalities. The creation of national hierarchies of entitlement could be as much about local and republic-level imperial imaginations as those of a Moscow center.Georgian and Soviet reveals that the entitled, republic-level national hierarchies that the Soviet Union created laid a foundation for the claims of nationalizing states that would emerge from the empire's wake in 1991. Today, Georgia still grapples with the legacies of its Soviet century, and the Stalin factor likewise lingers as new generations of Georgians reevaluate the symbiotic relationship between Soso Jughashvili and his native land.

Nabokov Noir places Vladimir Nabokov's early literary career-from the 1920s to the 1940s-in the context of his fascination with silent and early sound cinema and the chiaroscuro darkness and artificial brightness of the Weimar era, with its movie palaces, cultural Americanism, and surface culture. Luke Parker argues that Nabokov's engagement with the cinema and the dynamics of mass culture more broadly is an art of exile, understood both as literary poetics and practical strategy.Obsessive and competitive, fascinated and disturbed, Nabokov's Russian-language fiction and essays, written in Berlin, present a compelling rethinking of modernist-era literature's relationship to an unabashedly mass cultural phenomenon. Parker examines how Nabokov's involvement with the cinema as actor, screenwriter, moviegoer, and, above all, chronicler of the cinematized culture of interwar Europe enabled him to flourish as a transnational writer. Nabokov, Parker shows, worked tirelessly to court publishers and film producers for maximum exposure for his fiction across languages, media, and markets. In revealing the story of Nabokov's cinema praxis-his strategic instrumentalization of the movie industry-Nabokov Noir reconstructs the deft response of a modern master to the artificial isolation and shrinking audiences of exile.

Don't Count Me Out chronicles the life of Bruce White from the beginning of his drug use in elementary school through criminal acts fueled by his need for drugs, to his miraculous recovery three decades later and involvement in the treatment of addicts, where he is now a leader in the rehabilitation field.Rafael Alvarez's recounting of White's journey should inspire those dealing with the fallout of addiction. Alvarez, a journalist and screenwriter, allows the reader to get inside the head of an addict who was stealing alcohol from his parents at the age of nine, selling drugs and tripping on LSD and PCP by the time he hit seventh grade, and hooked on morphine before he turned fifteen. "e;Bruce White? I thought he was dead?"e; is a response encountered in many of the interviews Alvarez conducted. Don't Count Me Out shines a spotlight on an improbable and stunning miracle. Though this is just one person's story, the contributing factors of early sexual assault, the role of permissive preoccupied parents, and the need for peer approval, among others, will resonate with many as the opioid crisis continues to haunt us.

Recording Russia examines scenes of listening to "e;the people"e; across a variety of texts by Russian writers and European travelers to Russia. Gabriella Safran challenges readings of these works that essentialize Russia as a singular place where communication between the classes is consistently fraught, arguing instead that, as in the West, the sense of separation or connection between intellectuals and those they interviewed or observed is as much about technology and performance as politics and emotions. Nineteenth-century writers belonged to a distinctive media generation using new communication technologies-not bells, but mechanically produced paper, cataloguing systems, telegraphy, and stenography. Russian writers and European observers of Russia in this era described themselves and their characters as trying hard to listen to and record the laboring and emerging middle classes. They depicted scenes of listening as contests where one listener bests another; at times the contest is between two sides of the same person. They sometimes described Russia as an ideal testing ground for listening because of its extreme cold and silence. As the mid-century generation witnessed the social changes of the 1860s and 1870s, their listening scenes revealed increasing skepticism about the idea that anyone could accurately identify or record the unadulterated "e;voice of the people."e; Bringing together intellectual history and literary analysis and drawing on ideas from linguistic anthropology and sound and media studies, Recording Russia looks at how writers, folklorists, and linguists such as Turgenev, Dostoevsky, and Vladimir Dahl, as well as foreign visitors, thought about the possibilities and meanings of listening to and repeating other people's words.

Agents of Subversion reconstructs the remarkable story of a botched mission into Manchuria, showing how it fit into a wider CIA campaign against Communist China and highlighting the intensity-and futility-of clandestine operations to overthrow Mao. In the winter of 1952, at the height of the Korean War, the CIA flew a covert mission into China to pick up an agent. Trained on a remote Pacific island, the agent belonged to an obscure anti-communist group known as the Third Force based out of Hong Kong. The exfiltration would fail disastrously, and one of the Americans on the mission, a recent Yale graduate named John T. Downey, ended up a prisoner of Mao Zedong's government for the next twenty years. Unraveling the truth behind decades of Cold War intrigue, John Delury documents the damage that this hidden foreign policy did to American political life. The US government kept the public in the dark about decades of covert activity directed against China, while Downey languished in a Beijing prison and his mother lobbied desperately for his release. Mining little-known Chinese sources, Delury sheds new light on Mao's campaigns to eliminate counterrevolutionaries and how the chairman of the Chinese Communist Party used captive spies in diplomacy with the West. Agents of Subversion is an innovative work of transnational history, and it demonstrates both how the Chinese Communist regime used the fear of special agents to tighten its grip on society and why intellectuals in Cold War America presciently worried that subversion abroad could lead to repression at home.

This is the first English translation, by Thomas Allan Smith, of Philosophy of the Name (Filosofiia imeni). Sergii Bulgakov (1871-1944) wrote the book in response to a theological controversy that erupted in Russia just before the outbreak of World War I. Bulgakov develops a philosophy of language that aims to justify the truthfulness of the statement "e;the Name of God is God himself,"e; a claim provoking debate on the meaning of names, and the Name of God in particular. Philosophy of the Name investigates the nature of words and human language, considers grammar and parts of speech, and concludes with an exposition on the Name of God.Name-glorifying, a spiritual movement connected with the Orthodox practice of the Jesus Prayer, was initially censured by the Holy Synod of the Russian Orthodox Church, and the controversy raised profound questions that continue to vex ecclesiastical authorities and theologians today. The controversy exposed a vital question concerning the ability of human language to express experiences of the Divine truthfully and authentically. Bulgakov examines the idea that humans do not create words, rather, objects speak their word to human beings, and words are the incarnation of thought in a sonic body conveying meaning.Philosophy of the Name offers a philosophy of language for contemporary theologians of all confessions who wrestle with the issue of language and God. It is a persuasive apologia for the mysterious power of words and an appeal to make use of words responsibly not only when speaking about God but equally when communicating with others.