Meet Mabel Lee, Shen Jiawei, and Victor Mair at the double book launch

Victor Mair Mabel Lee Shen Jiawei

The double book launch for Mabel Lee and Shen Jiawei just got even more exciting! Attendees will also get to meet world-renowned Sinologist Victor H. Mair (University of Pennsylvania), general editor of the Cambria Sinophone World Series. Register now for the event!

The double book launch for Painting History: China’s Revolution in a Global Context
and Gao Xingjian and Transmedia Aesthetics will be held on July 14, 2018 (Saturday) at 2–5 p.m. at iPreciation, Singapore’s premier gallery that showcases the best of modern and contemporary Asian Art, including the works of Nobel laureate Gao Xingjian.

Celebrity Artist Shen Jiawei is not only known for his commissioned portraits of dignitaries such as Pope Francis, Princess Mary of Denmark, and Australian Governor-General Sir Peter Cosgrove but also his famous history paintings, which are held at the National Museum, Art Museum, and Military Museum in Beijing, as well as in public and private collections around the world. Mr Shen’s unique experiences and innovative techniques are documented in his new book Painting History: China’s Revolution in a Global Context (edited by Dr. Mabel Lee), which he will discuss at the event.

Dr. Mabel Lee is an honorary professor at the Open University of Hong Kong and an adjunct professor at the University of Sydney, where she taught 20th-century Chinese history and literature for more than 30 years. She is best known for her translations of Gao Xingjian’s writings, including his eponymous book Gao Xingjian: Aesthetics and Creation (Cambria Press, 2012). Dr Lee will also be speaking about her latest book Gao Xingjian and Transmedia Aesthetics, coedited with Dr Liu Jianmei, a professor at Hong Kong University of Science and Technology. Both Gao Xingjian and Transmedia Aesthetics  and Gao Xingjian: Aesthetics and Creation are in the Cambria Sinophone World Series, headed by Professor Victor Mair (University of Pennsylvania).

Painting History and Gao Xingjian and Transmedia Aesthetics were published in March 2018  and made their debut at the Association of Asian Studies conference in Washington, DC.

Books will be available for purchase at the event during the book signing.

To register for the event or to receive more information about the book launch, please contact either Cambria Press at bgoodman<AT>cambriapress.com, or iPreciation at  enquiry<AT>ipreciation.com or +65 6339 0678.

Cambria Press thanks iPreciation for being the venue sponsor for this event.

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Cambria Press Publication Review: The Borderlands of Asia

inter-Asia

Congratulations to Professor Mark Bender on the outstanding review of his book, The Borderlands of Asia: Culture, Place, Poetry, in China Review International, which notes:

With poems from established and upcoming authors and a thematic focus on poetic expressions of place and ‘place-competence,’ the collection includes voices from northeast India, Myanmar, Mongolia, and some of the borderland regions of China: the southwestern provinces, Qinghai, Gansu, and Inner Mongolia. Bender’s detailed Introduction provides historical background on the political situation and the situation of poetry in each of the regions from which poems are included. … If anything unites borderlands within Asia, it may be these themes of rootedness interacting with environmental and political-economic precarity. These incisive poems bring the concerns of these poets and their regions to us with clarity and feeling. … This volume will be appreciated by scholars of border regions within Asia, indigenous and minzu studies, translation, and all who appreciate taking a closer look at the senses of place conveyed in these poems. It may be especially valuable for those wishing to bring a contemporary humanities perspective to courses on inter-Asian connections. And, perhaps most importantly, these translations bring the poets’ unique voices and collective concerns to a wider readership, drawing our attention to the timely relevance of their perspectives on our changing world.

Mark Bender is a professor of Chinese literature and folklore at The Ohio State University.

This book is in the Cambria Sinophone World Series headed by Victor H. Mair (University of Pennsylvania).

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Publication Excerpt from Contemporary Taiwanese Women Writers

Stalling

The following is an excerpt from the introduction in Contemporary Taiwanese Women Writers, edited by Jonathan Stalling, Lin Tai-man, and Yanwing Leung.

A Pacific island of roughly 14,400 square miles, Taiwan lies just over a hundred miles off China’s southeast shoreline and seven hundred miles south of Japan. It has been a contested cultural space between its original aboriginal inhabitants (Taiyals and Vonums), and then among many generations of Chinese immigrants as well as waves of Dutch, Spanish, and Japanese colonial inhabitants, all of which provides the backdrop for some of the richest Sinophone literature in the world. Unfixed, vibrant, and deeply engaged with a sense of place, Taiwanese writers—from the experimental poetry pioneer Hsia Yu to younger multimedia poets like Ye Mimi to powerhouse authors like Li Ang and Chu T’ien-wen—are continually pushing the boundaries of the possible and unlocking new directions for Sinophone literature in the twenty-first century.

With this first American anthology of contemporary Taiwanese women writers in decades, the editors hope to expose English readers to the widest possible range of voices, styles, and textures of contemporary Taiwanese writers. In Ping Lu’s “Wedding Date,” we meet a wheelchair-bound mother who seems to get younger by the day as her filial daughter prematurely ages. A talented writer in her youth, the protagonist’s imagination imbues a possible romance with an intimacy that seems so real it almost becomes so, despite piling signs to the contrary. In “The Story of Hsiao-Pi,” by Newman Prize–winning author Chu T’ien-wen, the narrator lovingly examines the life of a troubled village boy, who builds an unexpected future upon the fierce if complicated love of his mother and step-father. Then Taiwan itself becomes the protagonist in Tsai Su-fen’s “Taipei Train Station,” where the station serves as an aperture through which numerous lives pass, if only briefly, into view before emerging into the boundless possibilities of the city.

Chung Wenyin recalls her first steps into literature and love through her story “The Travels and Lover of a Junior High Girl,” an adventure that explores the evolving ideas of love and the eros of art, and the open-ended possibilities of life itself. After being told by an amateur psychic that her not-yet-conceived son is following her around, waiting for his time to enter the world, the narrator of Marula Liu’s story “Baby, My Dear” begins to search for his father. Su Wei-chen, however, enters the traumatic space of a mother losing her daughter to leukemia in “No Time to Grow Up,” asking if children who die so young have had enough time to even know they are alive. Yuan Chiung-chiung traces the dynamic and transformative process of divorce, reinvention, and love through the story “A Place of One’s Own,” while Liao Hui-ying opens a window into class identity, fate, motherhood, and, ultimately, love in the context of an arranged marriage in “Seed of the Rape Plant.” Li Ang offers a tale of Taiwanese oppositional politics, personal sacrifice, and unrequited love in “The Devil in a Chastity Belt.” Chen Jo-hsi draws the collection to a close with a poignant vignette exposing the point where international politics and the dinner table meet, somewhere between the imagination and anticipation and the machinations of political power in her story “The Fish.”

Read the rave reviews for Contemporary Taiwanese Women Writers, which is available for purchase directly from Cambria Press or on Amazon.

Table of Contents

Foreword by Pi-twan Huang
Introduction: From Taiwan: Some of the Richest Sinophone Literature by Jonathan Stalling
Chapter 1: Wedding Date by Ping Lu
Chapter 2: The Story of Hsiao-Pi by Chu T’ien-wen
Chapter 3: The Party Girl by Lin Tai-man
Chapter 4: Taipei Train Station by Tsai Su-fen
Chapter 5: The Travels and Lover of a Junior High Girl by Chung Wenyin
Chapter 6: Baby, My Dear by Marula Liu
Chapter 7: No Time to Grow Up by Su Wei-chen
Chapter 8: A Place of One’s Own Yuan by Chiung-chiung
Chapter 9: Seed of the Rape Plant by Liao Hui-ying
Chapter 10: The Devil in a Chastity Belt by Li Ang
Chapter 11: The Fish by Jo-hsi Chen
About the Editors

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Double Book Launch at iPRECIATION (Singapore) – July 14, 2018

#ChineseCulture

A double book launch for Painting History: China’s Revolution in a Global Context
and Gao Xingjian and Transmedia Aesthetics will be held on July 14, 2018 (Saturday) at 2–5 p.m. at iPreciation, a premier gallery that showcases the best of modern and
contemporary Asian Art, including the works of Nobel laureate Gao Xingjian.

Attendees will have the rare, exclusive opportunity to meet authors Mr. Shen Jiawei and Dr. Mabel Lee, who will be giving talks about their books.

Celebrity Artist Shen Jiawei is not only known for his commissioned portraits of dignitaries such as Pope Francis, Princess Mary of Denmark, and Australian Governor-General Sir Peter Cosgrove but also his famous history paintings, which are held at the National Museum, Art Museum, and Military Museum in Beijing, as well as in public and private collections around the world. Mr Shen’s unique experiences and innovative techniques are documented in his new book Painting History: China’s Revolution in a Global Context (edited by Dr. Mabel Lee), which he will discuss at the event.

Dr. Mabel Lee is an honorary professor at the Open University of Hong Kong and an adjunct professor at the University of Sydney, where she taught 20th-century Chinese history and literature for more than 30 years. She is best known for her translations of Gao Xingjian’s writings, including his eponymous book Gao Xingjian: Aesthetics and Creation (Cambria Press, 2012). Dr Lee will also be speaking about her latest book Gao Xingjian and Transmedia Aesthetics, coedited with Dr Liu Jianmei, a professor at Hong Kong University of Science and Technology. Both Gao Xingjian and Transmedia Aesthetics  and Gao Xingjian: Aesthetics and Creation are in the Cambria Sinophone World Series, headed by Professor Victor Mair (University of Pennsylvania).

Painting History and Gao Xingjian and Transmedia Aesthetics were published in March 2018  and made their debut at the Association of Asian Studies conference in Washington, DC.

Books will be available for purchase at the event during the book signing.

To register for the event or to receive more information about the book launch, please contact either Cambria Press at bgoodman<AT>cambriapress.com, or iPreciation at  enquiry<AT>ipreciation.com or +65 6339 0678.

Cambria Press thanks iPreciation for being the venue sponsor for this event.

Like Cambria Press on Facebook and
follow Cambria Press on Twitter to stay posted.

 

Cambria Press Publication Review: Zhang Yimou

Congratulations to Professor Wendy Larson on the outstanding review of her book Zhang Yimou: Globalization and the Subject of Culture in the journal Modern Chinese Literature and Culture (MCLC)!

#AAS2018

 

The book review notes:

“At 420 pages, Zhang Yimou: Globalization and the Subject of Culture is a magnum opus. … Although I have emphasized the themes that run through the book here, each chapter in Zhang Yimou: Globalization and the Subject of Culture is autonomous, making it possible to assign individual chapters for classroom use. Larson writes lucidly and persuasively … Taken together, as I hope I have shown, the chapters combine to produce one of the most detailed and sustained analyses of a certain trajectory through much of Zhang’s most powerful work. They make a persuasive case for taking the popular in contemporary Chinese culture seriously, regardless of questions of taste. Larson’s rich and engaging book is a seminal text in Zhang studies. … Larson’s welcome book reminds us that although the field of Chinese cinema studies has grown and diversified, it is perhaps in the realm of popular film that the most work remains to be done. Zhang Yimou: Globalization and the Subject of Culture takes a huge step down that road.”

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#MLA18 Meet the Author Session: Christopher Lupke

Meet Dr. Christopher Lupke, Professor and Chair of the Department of East Asian Studies, University of Alberta; and author of the highly acclaimed The Sinophone Cinema of Hou Hsiao-hsien: Culture, Style, Voice, and Motion; on Friday (January 5) at 11:40 a.m. at the Cambria Press booth (101).

#MLA18

This book is in the Cambria Sinophone World Series headed by Victor H. Mair (University of Pennsylvania) and the Cambria Global Performing Arts Series headed by John M. Clum (Duke University).

After the publication of his book, Dr. Lupke was invited to join the editorial board of the Cambria Sinophone World Series.

Given his experience as an author and editorial board member, this will be a great opportunity for #MLA18 attendees who have questions about his book and the publishing process (e.g., proposals, peer reviews, publication acceptance, etc.).

Dr. Lupke also sits on the editorial boards of PMLA, asia critique, Journal of Modern Literature in Chinese, CLT: Chinese Literature Today, Rocky Mountain Review, and Pacific Coast Philology.

Dr. Lupke will be participating in the following #MLA18 sessions:

 

 

 

The Monster as War Machine – Book Excerpts

Cambria Press is proud to announce the publication of the new book, The Monster as War Machine, by by Mabel Moraña, William H. Gass Professor in Arts and Sciences at Washington University in St. Louis and winner of the 2013 MLA Katherine Singer Kovacs Prize. See below for excerpts from this book, which has been hailed as “a tour de force” and praised for being “audacious, erudite, and exquisitely written.”

Monster as War Machine

From the preface

An apparatus of social immunization, a simulacrum that spectacularizes its artificiality, a shifter that activates social dynamics, an assemblage that threatens the machinery of power, the monster symbolizes the heroic resistance of the slave and the sinister excesses of the master. Thus, it is essential to contextualize, even though it may seem fallacious, even the universality that the monster evokes in every one of its apparitions and attributes. In spite of its extreme empiria, and although it frequently lacks rationality and language, the monster is in its own way always philosophical. This book proceeds as a critical exercise that follows the meanderings of the monster’s “negative aesthetics.”

On Epistemophilia and the Performance of Difference

The nineteenth century was inhabited by ghosts and monsters that expressed dystopian fantasies about the possibility of unrestrained combinations of nature and technology. The anxiety that accompanied the ideology of progress, the turbulent culmination of the colonialist enterprise in the Americas, and the massive expansion of capitalism came to be sublimated through the monstrous. In this context, monstrosity constituted a discourse that directly addressed the tensions and exclusions of the social “order” of modernity in which forms of domination and social exclusion that began with colonialism were perpetuated and made into law. Processes like the scientific “rationalization” of the body were based on the demonization of otherness. These practices took the form of taxonomies of races and individuals that became part of the hierarchical and discriminatory imaginaries of infinite “progress” in modern capitalism. Monstrosity provided a visual and conceptual support for currents of thought that promoted privilege and exclusion based on naturalist criteria and supposedly demonstrable and unimpeachable truths. “Scientific racism” asserted the superiority of the Caucasian race within a highly influential technological structure that legitimated the political, economic, and cultural domination of societies thought to be savage, primitive, or barbarous. Forms of hybridity like mestizaje were interpreted as monstrous processes that promoted impurity and the degeneration of “pure” races.

On the Ubiquitous Quality of Monsters

For the monster, neither progress nor utopia nor purity of class, race, or gender exists, because its being consists of a contaminated material in which human qualities have been definitively or partially displaced, erased, or substituted by spurious, out-of-place characteristics. This ubiquitous quality constitutes the essence of the monster. The remains of its soul reside precisely in this ambiguous, fragile, and unstable condition. Zombies, vampires, pishtacos, chupacabras, demons, phantasms, and other representatives of the broad family tree that shares the characteristics of the monstrous or the supernatural are all beings that benefit from solitude and isolation. However, they also share, within their domains, family resemblances. The monster generates itself—regenerates, degenerates—mechanically, in order to survive as a distinct concentration of irrationality in a world ruled by monstrous but legitimated principles of exclusion and reification.

On the Age of Futilitarianism

Certain social, economic, and political conditions nonetheless seem to be a breeding ground for the proliferation of monstrosity, which is expressed both in concrete fears such as the desperation of being trapped, or the disconcerting awareness of horizons that open up a landscape of disorienting freedom that manifests as a foreign, ghostly place. According to the Comaroffs, we are now in “the Age of Futilitarianism”—that is, an era in which all hope is thought to be vain and all effort is considered futile …

The Monster as War Machine is in the Cambria Latin American Literatures and Cultures Series headed by Román de la Campa, the Edwin B. and Lenore R. Williams Professor of Romance Languages at the University of Pennsylvania.

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