This Volume Will Interest All Students Of English And American Studies; Colonialism And Nationalism; Culture And Gender Issues; The Complex Relation Between Literture And Society; And The Even More Complex Relationship Between Western Texts And Indian Leaders.

The very idea that the teachings can be mastered will arouse controversy within Buddhist circles. Even so, Ingram insists that enlightenment is an attainable goal, once our fanciful notions of it are stripped away, and we have learned to use meditation as a method for examining reality rather than an opportunity to wallow in self-absorbed mind-noise. Ingram sets out concisely the difference between concentration-based and insight (vipassana) meditation; he provides example practices; and most importantly he presents detailed maps of the states of mind we are likely to encounter, and the stages we must negotiate as we move through clearly-defined cycles of insight. Its easy to feel overawed, at first, by Ingram's assurance and ease in the higher levels of consciousness, but consistently he writes as a down-to-earth and compassionate guide, and to the practitioner willing to commit themselves this is a glittering gift of a book.In this new edition of the bestselling book, the author rearranges, revises and expands upon the original material, as well as adding new sections that bring further clarity to his ideas.

Japanese and Western Literature delves deeply into Japanese culture to discover the concepts that similarize and differentiate Japanese and Western literary creations. Paralleling Japanese literary creations and fundamental thought with those of the West, the author draws many illuminating comparisons: for example, between the novels of Murasaki Shikibu and Marcel Proust, between the Portuguese poet Torga and the haiku master Issa, and between the picaresque novel in Japan and in the West. Contrastive studies are also made into such concepts as time, nature, love, and tragedy. This broad yet incisive survey of Japanese literarily genres and themes is more than a comparative study of literature, however; it is an attempt to grasp the core of Japanese culture by setting it against world culture. From this born a complex of new ideas and problems, and author is able to probe the extent of Western influence on Japanese fiction, poetry, and essays in the past hundred years.

This is the first book to discuss the full sweep of the work of J. Hillis Miller, from his earliest writing in the 1950s to those near the time of his death in February 2021 across the genres of his criticism and theory—poetry, fiction, drama, fiction, non-fiction. The book examines Miller’s preference for close and careful reading of individual literary and critical works over abstract theory. The study will discuss the member of the so-called Yale School of deconstruction to die but will see him as a reader and lover of literature, someone interested in Georges Poulet and phenomenology and in Jacques Derrida and deconstruction. Miller was concerned about many aspects of literature and life, including the pleasure of reading and writing as in climate change, which he saw as the crisis of our time. Miller was well known in humanities and literature worldwide, one of the greatest of modern critics and theorists.

Gandhi's Tiger and Sita's Smile presents a collection of compelling essays which interrogate a variety of Indian texts and contexts along intersecting axes of gender, nation, and desire. The primary theme that weaves these varied essays together, written at different points of time with varying focal points of interest, is intertextuality. Vanita examines the way in which medieval texts speak to each other and draw on earlier canonical works, rewriting and transforming narrative in a spirit of respectful conversation. She also looks at modern texts, such as nineteenth-century poetry and twentieth-century fiction and cinema, as they converse with each other and with older texts. In doing so, she tries to explore how such pre-modern and modern texts are received in later periods or by other cultures in the same period. These captivating and intensely thought-provoking writings demonstrate the author's superb ability to turn the norm, whether Right-wing or Left-Wing, on its head, and find a fresh way to appreciate diversity and change, and the valuable dialogue they give rise to.

This book reconfigures the history of modern America, showing how multiple and, at times, vulnerable social, economic, literary, and political movements, levels, divisions, and conditions such as the emergent middle class, the labor movement, the Progressive Movement, the socialist and communist parties, the Women’s movements, the NAACP, the Garvey movement, Asian and Native American resistance movements, writers, artists, and intellectuals seized upon social, gender, economic, and racial inequalities and challenged a singularly defined modern America. This book re-represents the modern American novel, accenting the different critical literary voices that come out of the mainstream consumer society but also out of the various unequal social, economic, gender, and political movements and situations. In including racial, gender, sexual, colonial, class, and ethnic others—who reject the rigidity, the repression, the racial and ethnic stereotyping, the external and internal colonialism, the complication/rejection of the past/nature, and the violence of the institutionalized, conformist norm—in a discussion of the modern American novel, it effects a fundamental recasting of the modern Americanist paradigm, one that is de-centered, richer, more complex, and more diverse.

Research outside Japan on the history and significance of the Japanese visual arts since the beginning of the Meiji period (1868) has been, with the exception of writings on modern and contemporary woodblock prints, a relatively unexplored area of inquiry. In recent years, however, the subject has begun to attract wide interest. As is evident from this volume, this period of roughly a century and a half produced an outpouring of art created in a bewildering number of genres and spanning a wide range of aims and accomplishments. Since Meiji is the first sustained effort in English to discuss in any depth a time when Japan, eager to join in the larger cultural developments in Europe and the U.S., went through a visual revolution. Indeed, this study of the visual arts of the nineteenth and twentieth centuries suggests a fresh history of modern Japanese culture—one that until now has not been widely visible or thoroughly analyzed outside that country. In this extensive collection, which includes some 190 black-and-white and color reproductions, scholars from Japan, Europe, Australia, and America explore an impressive array of subjects: painting, sculpture, prints, fashion design, crafts, and gardens. The works discussed range from early Meiji attempts to create art that referenced Western styles to postwar and contemporary avant-garde experiments. There are, in addition, substantive investigations of the cultural and intellectual background that helped stimulate the creation of new and shifting art forms, including essays on the invention of a modern artistic vocabulary in the Japanese language and the history of art criticism in Japan, as well as an extensive account of the career and significance of perhaps the best-known Japanese figure concerned with the visual arts of his period, Okakura Tenshin (1862–1913), whose Book of Tea is still widely read today. Taken together, the essays in this volume allow readers to connect ideas and images, thus bringing to light larger trends in the Japanese visual arts that have made possible the vitality, range, and striking achievements created during this turbulent and lively period. Contributors: Stephen Addiss, Chiaki Ajioka, John Clark, Ellen Conant, Mikiko Hirayama, Michael Marra, Jonathan Reynolds, J. Thomas Rimer, Audrey Yoshiko Seo, Eric C. Shiner, Lawrence Smith, Shuji Tanaka, Reiko Tomii, Mayu Tsuruya, Toshio Watanabe, Gennifer Weisenfeld, Bert Winther-Tamaki, Emiko Yamanashi.

The last of four two-volume sets on the key periods of paradigm shift in Chinese religious and cultural history, this book examines the transformation of values in China since 1850, in the “secular” realms of economics, science, medicine, aesthetics, media, and gender, and in each of the major religions (Confucianism, Buddhism, Daoism, Christianity) as well as in Marxist discourse. The nation and science are the values invoked most frequently, with the market and democracy a distant second. As in previous periods of fundamental change in Chinese history, rationalization and secularization have played central roles, but interiorization nearly disappears as a driving force. Also in continuity with the past, the state insists on an exclusive right to define and adjudicate orthodoxy. Contributors include: Daniel H. Bays, Sébastien Billioud, Adam Yuet Chau, Na Chen, Philip Clart, Walter B. Davis, Arif Dirlik, Thomas David DuBois, Lizhu Fan, David Faure, Melissa Wei-Tsing Inouye, Ji Zhe, Xiaofei Kang, Eric I. Karchmer, André Laliberté, Angela Ki Che Leung, Xun Liu, Richard Madsen, David Ownby, Ellen Oxfeld, Volker Scheid, Grace Yen Shen, Michael Szonyi, Wang Chien-ch’uan, Xue Yu