Available now! PUPPETS, GODS, AND BRANDS: THEORIZING THE AGE OF ANIMATION FROM TAIWAN, find it here: https://buff.ly/2lPshy7⠀
⠀
Teri Silvio presents an anthropology of animation through a detailed ethnographic account of how characters, objects, and abstract concepts are invested with lives, personalities, and powers—and how people interact with them—in contemporary Taiwan. The practices analyzed include the worship of wooden statues of Buddhist and Daoist deities and the recent craze for cute vinyl versions of these deities, as well as a wildly popular video fantasy series performed by puppets. She reveals that animation is, like performance, a concept that works differently in different contexts, and that animation practices are deeply informed by local traditions of thinking about the relationships between body and soul, spiritual power and the material world. The case of Taiwan, where Chinese traditions merge with Japanese and American popular culture, uncovers alternatives to seeing animation as either an expression of animism or as “playing God.” Looking at the contemporary world through the lens of animation will help us rethink relationships between global and local, identity and otherness, human and non-human.
Available now in Paperback! EDUCATING MONKS: MINORITY BUDDHISM ON CHINA’S SOUTHWEST BORDER, find it here: https://buff.ly/2Lnuxbk⠀
⠀
Educating Monks examines a minority Buddhist community in Sipsongpannā, a region located on China’s southwest border with Myanmar and Laos. Its people, the Dai-lue, are “double minorities”: They are recognized by the Chinese state as part of a minority group, and they practice Theravāda Buddhism, a minority form within China, where Mahāyāna Buddhism is the norm. Theravāda has long been the primary training ground for Dai-lue men, and since the return of Buddhism to the area in the years following Mao Zedong’s death, the Dai-lue have put many of their resources into providing monastic education for their sons. However, the author’s analysis of institutional organization within Sipsongpannā, the governance of religion there, and the movements of monks (revealing the “ethnoscapes” that the monks of Sipsongpannā participate in) points to educational contexts that depend not just on local villagers, but also resources from the local (Communist) government and aid form Chinese Mahāyāna monks and Theravāda monks from Thailand and Myanmar. While the Dai-lue monks draw on these various resources for the development of the sangha, they do not share the same agenda and must continually engage in a careful political dance between villagers who want to revive traditional forms of Buddhism, a Chinese state that is at best indifferent to the continuation of Buddhism, and transnational monks that want to import their own modern forms of Buddhism into the region.
Available now! WIND, WINGS, AND WAVES: A HAWAI‘I NATURE GUIDE, find it here: https://buff.ly/334VbdO⠀
⠀
From coral reefs to stargazing and everything in between, Wind, Wings, and Waves is your personal guide to nature in Hawai‘i. With color illustrations throughout, this engaging book introduces you to the islands' natural world and helps to identify common plants, birds, and fish. More than a hundred self-guided field trips on six islands will inspire you to get outdoors and explore nature on your own.
Available now! DIVERSITY IN THE GREAT UNITY: REGIONAL YUAN ARCHITECTURE, find it here: https://buff.ly/336hSOJ⠀
⠀
Timber-framed architecture has long been viewed as an embodiment of Chinese civilization, a hierarchic society ruled by Confucian orthodoxy. Throughout its history, Chinese architectural design was closely regulated by court-enforced building codes, which created a highly standardized and modularized system. In Diversity in the Great Unity—the first in-depth English-language work to present regional traditions of Chinese architecture based on a detailed study of the timber construction system—Lala Zuo maintains that during the nearly century-long Yuan dynasty (1271–1368), the tradition of “Han-Chinese” architecture as coded, uniform, and controlled by the central government did not take hold. She presents case studies of twenty buildings along the Yangtze River built during the Yuan, often considered a transitional phase in Chinese architectural history.⠀
⠀
Most of the structures have firm dates, and all are analyzed according to patronage, chronology, and function. Their representativeness is determined by their broad geographic distribution as well as by their scarcity. Numerous photographs and line-drawings accompany the analyses. Referencing Yuan architecture in north China along the Yellow River, Zuo outlines its characteristics in three regions and connects the regional traditions to periods before and after the Yuan, allowing her to contextualize architecture in Yuan social and political history. She explains how the division of regional traditions, especially those in the south, contributed to the transformation of dynastic styles from the Song (960–1279) to the Ming (1368–1644) and how the Song-Yuan migration may have affected architectural design.
Available now! HAWAI‘I REGIONAL CUISINE: THE FOOD MOVEMENT THAT CHANGED THE WAY HAWAI‘I EATS, find it here: https://buff.ly/2k4YQr5⠀
⠀
Samuel H. Yamashita’s Hawai‘i Regional Cuisine: The Food Movement That Changed the Way Hawai‘i Eats is the first in-depth study on the origins, philosophy, development, and legacy of Hawai‘i Regional Cuisine (HRC). The book is based on interviews with thirty-six chefs, farmers, retailers, culinary arts educators, and food writers, as well as on nearly everything written about the HRC chefs in the national and local media. Yamashita follows the history of this important regional movement from its origins in 1991 through the following decades, offering a boldly original analysis of its cuisine and impact on the islands.⠀
⠀
The founding group of twelve chefs—Sam Choy, Roger Dikon, Mark Ellman, Amy Ferguson Ota, Beverly Gannon, Jean-Marie Josselin, George Mavrothalassitis, Peter Merriman, Philippe Padovani, Gary Strehl, Alan Wong, and Roy Yamaguchi—grandly announced in August 1991 the establishment of what they called Hawai‘i Regional Cuisine. At the time, they had no idea how dramatically they would change the food scene in the islands. While they each had their own style, their common commitment to using fresh, locally sourced ingredients of the highest quality at their restaurants quickly attracted the interest of journalists writing for national newspapers and magazines.
Available now! THE WRIT OF THE THREE SOVEREIGNS: FROM LOCAL LORE TO INSTITUTIONAL DAOISM, find it here: https://buff.ly/2OdlDgS⠀
⠀
In 648 CE, Tang imperial authorities collected every copy of the Writ of the Three Sovereigns (Sanhuang wen) from the four corners of the empire and burned them. The formidable talismans at its core were said not only to extend their owners’ lifespan and protect against misfortune, but also propel them to stratospheric heights of power, elevating them to the rank of high minister or even emperor. Only two or three centuries earlier, this controversial text was unknown in most of China with the exception of Jiangnan in the south, where it was regarded as essential local lore. In the span of a few generations, the Writ of the Three Sovereigns would become the cornerstone of one of the three basic corpora of the Daoist Canon, a pillar of Daoism—and a perceived threat to the state.⠀
⠀
This study, the only book-length treatment of the Writ of the Three Sovereigns in any language, traces the text’s transition from local tradition to empire-wide institutional religion. The volume begins by painting the social and historical backdrop against which the scripture emerged in early fourth-century Jiangnan before turning to its textual history. It reflects on the work’s centerpiece artifacts, the potent talismans in celestial script, as well as other elements of its heritage, namely alchemical elixirs and “true form” diagrams. During the fifth and sixth centuries, with Daoism coalescing into a formal organized religion, the Writ of the Three Sovereigns took on a symbolic role as a liturgical token of initiation while retaining its straightforward language of sovereignty and strong political overtones, which eventually led to its prohibition. The writ endured, however, and later experienced a revival as its influence spread as far as Japan.
Available now! MINORITY STAGES: SINO-INDONESIAN PERFORMANCE AND PUBLIC DISPLAY, find it here: https://buff.ly/32MJhoI⠀
⠀
From glove puppets of Chinese origin in East Java and Hakka religious processions in West Kalimantan, to wartime political theatre on Sumatra and contemporary Sino-Sundanese choirs and dance groups in Bandung, this book takes readers on a tour of hybrid and diverse expressions of identity, tracing the stories and strategies of minority self-representation over time. Each performance form is placed in its social and historical context, highlighting how Sino-Indonesian groups and individuals have represented themselves locally and nationally to the archipelago’s majority population as well as to Indonesian state power.
