Through an interdisciplinary conversation with contributors from social anthropology, religious studies, film studies, literary studies, cultural studies, and history, Crafting Chinese Memories is a novel book which addresses how works of art shape memories, and offers new ways of conceptualising storytelling, memory-making, art, and materiality. It explores the memories of artists, filmmakers, novelists, storytellers, and persons who come to terms with their own histories even as they reveal the social memories of watershed events in modern China.

This book revisits the encounter between Chinese and Western philosophy while unfolding questions about the way "comparative philosophy" is conducted today. In the vulgate of intellectual history, "Western thought" has constructed a substantialist view of reality that puts "relations" and "processes" into a subordinate position. The same view explains for the primacy given to the autonomy of individual beings. In contrast, according to the same vulgate, Chinese thought has been mainly stressing the fluidity of all phenomena and forms of life so as to best adapt to their overarching patterns. I label such vision the Disneyland of comparative philosophy. It deciphers texts, partly in function of concepts that it extracts from them, partly according to notions that are superimposed over these texts. The two first chapters are focused upon the Western version of the "Disneyland of comparative philosophy." The third chapter shifts to Chinese narratives about local, comparative and global philosophies. In contrast to these approaches, the fourth chapter offers a blueprint as to the way to engage different philosophical traditions into tasks they define and share together. A last chapter presents four cases of ongoing transcultural philosophical dialogues and the promises they bear. Once it develops outside pre-formatted narratives, the web shaped by our philosophies and wisdoms suggests the outlines of a world that we could inhabit together.

This book examines the involvement of the European Union (EU) and China in Central Asia and critically assesses the implications this has for the region as a whole. The volume adopts a comprehensive, interdisciplinary approach, combining insights from International Relations, EU Studies, International Economics, International Law, Sinology, and History. It concentrates on three thematic levels: (1) historical and contextual, (2) geopolitical and geo-economic, and (3) socio-cultural and institutional. Paying particular attention to the role of the EU and the factors driving the EU’s and China’s relations with Central Asia, it looks at how the Central Asian countries position themselves vis-à-vis China’s growing influence, and how the balance of power between China, Russia, and the EU plays out. Contributors also explore the important historical context of the ‘Silk Routes’, as well as of the erstwhile connection of the Central Asian states with the Soviet Union. Critically analysing the potential areas for collaboration and synergy between the EU and China, the book also discusses the extent to which they share a common ground in Central Asia that could serve as a basis for long-term cooperation. It will be of interest to all scholars and students of International Relations, Economics, Sinology, and History.

This edited volume applies the analytic notions of paradox and play to the ethnographic manifestation of spirits, angels, and demons in different locations around the world. The 10 case studies conceptualize the co-presence of humans and entities with terms that do not exclude spiritual reasoning on the one hand, and social explanations on the other. Through in-depth descriptions of localized possession cosmologies, the different chapters collectively propose path-breaking methodological directions in this field, which incorporate ethnographic theories of simultaneity into anthropological theories of religion, kinship, and ritual. Framed by an introduction written by the editors and an afterword by Michael Lambek, a leading authority in possessions studies, the volume contains cutting edge analyses that will provide readers with new tools to evaluate previously unstudied aspects of spirit possession; all of which stem from the fantastic forms of human movement that accompany the phenomenality of paradoxes in mundane reality.

This book presents a nuanced view of Northern Ireland, a place at once deeply mired in its past and seeking to forge a new future for itself as a ‘post-post-conflict’ place within the context of a changing United Kingdom, a disintegrating Europe, and a globalized world. This is a Northern Ireland that is conflicted, segregated, and marginalized within modern Europe, but also hopeful and forward looking, seeking to articulate for itself a new place in the contemporary world.

In the practice of constructing the idea of home and the emotions surrounding it, sensory experiences and materiality intertwine to form layers of memory and affective atmospheres. People in different life stages and situations create continuity and a sense of home by engaging with materiality and objects in their own unique way. Reconstructing Homes takes on a multidisciplinary approach of sensory ethnography, visual methods and autoethnography methodologies to explore affective engagements with materiality in the context of home and the idea of belonging.

Hoarding has largely been approached from a psychological and universal perspective, and decluttering from an aesthetic and ecological one, while little work has been done to think about the cultural and global economic aspects of these phenomena. Of Hoarding and Housekeeping provides an anthropological, global, and comparative angle to the understanding of hoarding and decluttering using cases from a variety of countries including US, Japan, India, Cameroon, and Argentina. Focusing on the house, with careful attention to material flows in and out, this book examines practices of accumulation, storage, decluttering, and waste as practices of kinship and the objects themselves as material kin.

In Peki, an Ewe town in the Ghanaian Volta Region, death is a matter of public concern. By means of funeral banners printed with synthetic ink on PVC, public lyings in state, cemented graves and wreaths made from plastic, death occupies a prominent place in the world of the living. Rest in Plastic gives an insight into local entanglements of death, synthetic materials and power in Ewe community. It shows how different materials and things that come to shape power relations, exist in a delicate balance between state and local governance, kin and outsiders, death and life, the invisible and the visible, movement and containment.

This book, first published in 1981, provides a comprehensive appraisal of China’s crafts. Its historical approach and numerous illustrations not only reveal the ancient origins of many of China’s arts, but also offer the means for evaluating modern crafts in light of past achievements.

Memory, Subjectivity and Independent Chinese Cinema provides a historically informed examination of independent moving image works made between 1990 and 2010 in China. Showcasing an evolving personal mode of narrating memory, documenting reality, and inscribing subjectivity in over sixteen selected works that range from narrative film and documentary to experimental video and digital media (even including a multimedia avant-garde play), this book presents a provocative portrait of the independent filmmakers as a peculiarly pained yet active group of historical subjects of the transitional, post-socialist era. Through a connected investigation of cultural and cinematic concepts including historical consciousness, personal memory, narrative, performance, subjectivity, spatiality, and the body, Wang weaves a critical narrative of the formation of a unique post-socialist cultural consciousness that enables independent cinema and media to become a highly significant and effective conduit for historical thinking in contemporary China. Covering directors such as Zhang Yimou, Chen Kaige, Jia Zhangke, Jiang Wen, Lou Ye, Meng Jinghui, Wang Bing, Wang Guangli, Duan Jinchuan, Cui Zi'en, Shi Tou, and Tang Danhong, this book is essential reading for all students and scholars in Chinese film.