Bøger udgivet af Steele Roberts Aotearoa

With the 1989 Beijing massacre fading from popular memory in the West, China from the mid-1990s to a few years ago felt more open than ever to global trade, communication, travel, and cultural and educational exchanges. There was even talk in the mainstream press that China was heading toward a more democratic future. It was during this second Sino-Western honeymoon that authors in the US, Canada, France, the UK, and elsewhere began writing mystery fiction set in contemporary China in their regional languages. These "China mysteries"--crime, detective, and mystery thriller novels that take place in China but were not written or published there--formed a new genre of popular fiction that highlighted the world's hopes and fears after Tiananmen. The multinational and multicultural writers of China mysteries, among them ex-PRC nationals like Qiu Xiaolong, Zhang Xinxin, and Diane Wei Liang, converged on the China Mainland to negotiate political and cultural complexities through crime fiction plotlines. Their books emerged from Western lineages of the modern novel and popular genre fiction--with Chinese contributions--and depended on Western commercial publishing models shaped by cultural, national, political, and economic factors. This work examines more than a hundred China mysteries--many describing and analyzing social and economic changes at the center of modern life in China--to provide a brief history of the genre and analyze the formulaic and original elements of the mysteries, including their attention to matters of location, social content, characterization, history, and biography. It also highlights the role of "information" acquisition as a motivation for readers and authors of popular fiction, which has become a topic of discussion in Chinese literature studies. With its timely commentary on Sino-Western relations as presented through crime fiction, China Mysteries will appeal to students and scholars of contemporary Chinese literature and culture, as well as fans of crime novels and others who are curious about the global dimensions of the genre and how it complicates our understanding of "world literature."

Princess Liễu Hạnh, often called the Mother of the Vietnamese people by her followers, is one of the most prominent goddesses in Vietnamese popular religion. First emerging some four centuries ago as a local sect appealing to women, the princess's cult has since transcended its geographical and gender boundaries and remains vibrant today. Who was this revered deity? Was she a virtuous woman or a prostitute? Why did people begin worshiping her and why have they continued? Cult, Culture, and Authority traces Liễu Hạnh's cult from its ostensible appearance in the sixteenth century to its present-day prominence in North Vietnam and considers it from a broad range of perspectives, as religion and literature and in the context of politics and society. Over time, Liễu Hạnh's personality and cult became the subject of numerous literary accounts, and these historical texts are a major source for this book. Author Olga Dror explores the authorship and historical context of each text considered, treating her subject in an interdisciplinary way. Her interest lies in how these accounts reflect the various political agendas of successive generations of intellectuals and officials. The same cult was called into service for a variety of ideological ends: feminism, nationalism, Buddhism, or Daoism.

Winner of the 2021 Toshihide Numata Book Award in Buddhism The assertion that there is nothing in the constitution of any person that deserves to be considered the self (ātman)--a permanent, unchanging kernel of personal identity in this life and those to come--has been a cornerstone of Buddhist teaching from its inception. Whereas other Indian religious systems celebrated the search for and potential discovery of one's "true self," Buddhism taught about the futility of searching for anything in our experience that is not transient and ephemeral. But a small yet influential set of Mahāyāna Buddhist texts, composed in India in the early centuries CE, taught that all sentient beings possess at all times, and across their successive lives, the enduring and superlatively precious nature of a Buddha. This was taught with reference to the enigmatic expression tathāgatagarbha--the "womb" or "chamber" for a Buddha--which some texts refer to as a person's true self. The Buddhist Self is a methodical examination of Indian teaching about the tathāgatagarbha (otherwise the presence of one's "Buddha-nature") and the extent to which different Buddhist texts and authors articulated this in terms of the self. C. V. Jones attends to each of the Indian Buddhist works responsible for explaining what is meant by the expression tathāgatagarbha, and how far this should be understood or promoted using the language of selfhood. With close attention to these sources, Jones argues that the trajectory of Buddha-nature thought in India is also the history and legacy of a Buddhist account of what deserves to be called the self: an innovative attempt to equip Mahāyāna Buddhism with an affirmative response to wider Indian interest in the discovery of something precious or even divine in one's own constitution. This argument is supplemented by critical consideration of other themes that run through this distinctive body of Mahāyānist literature: the relationship between Buddhist and non-Buddhist teachings about the self, the overlap between the tathāgatagarbha and the nature of the mind, and the originally radical position that the only means of becoming liberated from rebirth is to achieve the same exalted status as the Buddha.

"For millennia, tattoos have documented the history of humanity one painful mark at a time. They form a visual language on the skin, expressing an individual's desires and fears as well as cultural values, family ties, and spiritual beliefs on the surfaces of the body. The Indigenous peoples of Asia have created some of the world's oldest and most distinctive tattoos, but their many contributions to body art and practice have been largely overlooked. Tattoo Traditions of Asia is the first single volume dedicated to the anthropological study of an ancient cultural practice and artform that spans many countries and societies, ancestral lands, and contemporary communities across the continent and its islands. This richly illustrated survey combines the author's twenty years of fieldwork, interviewing hundreds of Indigenous tattoo bearers and contemporary tattoo practitioners, with painstaking research conducted in obscure archives throughout the region and elsewhere to break new ground on one of the least-understood mediums of Indigenous Asian expressive culture-a vital tradition to be celebrated, an inspirational story told in skin and ink"--

"The second generation of Pacific historians, who began their careers in the 1970s and 1980s, is slowly fading from the academic scene. They have made fundamental contributions to the field of Pacific history, enduring in their impact. The identity of the discipline is now firmly established. This volume is not about their individual research, but about their improbable journeys into Pacific history, why and how they came to it in the first place. Almost without exception, they all argue that they did not choose Pacific history but rather stumbled into the field through serendipity. They came from forays into African Indian, East Asian, French, British imperial, and other fields, enticed into Pacific history through chance or the efforts of kindly mentors. All this is evident in the values and understandings they bring to the subject. The one commonality that binds them is a love of the islands that have been the center of their lifetime work. Many distinguished Pacific historians of the last three decades are represented in this collection. Serendipity follows fourteen autobiographical chapters in which the contributors trace their paths as Pacific historians. They offer their sources of inspiration, supporters, and publications that shaped them as historians. With a significant focus on the importance of teaching and mentoring that they both received and provided, their writing not only illuminates their lives, but the state of the Pacific History as an academic field. The experiences the contributors record here are moving, full of sorrows and regrets as well as achievements and satisfactions: a large part of many careers were spent working in areas other than scholarship, such as high school teaching, consultancies, volunteering, teaching English as a second language, or doing menial jobs just to keep going. A path-breaking form of historiography, this work is essential to the Pacific History field"--