Bannermen Tales is the first book in English to offer a comprehensive study of zidishu (bannermen tales)—a popular storytelling genre created by the Manchus in early eighteenth-century Beijing. Contextualizing zidishu in Qing dynasty Beijing, this book examines both bilingual (Manchu-Chinese) and pure Chinese texts, recalls performance venues and features, and discusses their circulation and reception into the early twentieth century.
To go beyond readily available texts, author Elena Chiu engaged in intensive fieldwork and archival research, examining approximately four hundred hand-copied and printed zidishu texts housed in libraries in Mainland China, Taiwan, Germany, and Japan. Guided by theories of minority literature, cultural studies, and intertextuality, Chiu explores both the Han and Manchu cultures in the Qing dynasty through bannermen tales, and argues that they exemplified elements of Manchu cultural hybridization in the eighteenth and nineteenth centuries while simultaneously attempting to validate and perpetuate the superiority of Manchu identity.
With its original translations, musical score, and numerous illustrations of hand-copied and printed zidishu texts, this study opens a new window into Qing literature and provides a broader basis for evaluating the process of cultural hybridization.
Since Neobaroque reconstitutions necessarily reference the European Baroque, this volume begins with the reevaluation of the Baroque that evolved in Europe during the late nineteenth century and the early twentieth. Foundational essays by Friedrich Nietzsche, Heinrich Wölfflin, Walter Benjamin, Eugenio d’Ors, René Wellek, and Mario Praz recuperate and redefine the historical Baroque. Their essays lay the groundwork for the revisionist Latin American essays, many of which have not been translated into English until now. Authors including Alejo Carpentier, José Lezama Lima, Severo Sarduy, Édouard Glissant, Haroldo de Campos, and Carlos Fuentes understand the New World Baroque and Neobaroque as decolonizing strategies in Latin America and other postcolonial contexts. This collection moves between art history and literary criticism to provide a rich interdisciplinary discussion of the transcultural forms and functions of the Baroque.
Contributors. Dorothy Z. Baker, Walter Benjamin, Christine Buci-Glucksmann, José Pascual Buxó, Leo Cabranes-Grant, Haroldo de Campos, Alejo Carpentier, Irlemar Chiampi, William Childers, Gonzalo Celorio, Eugenio d’Ors, Jorge Ruedas de la Serna, Carlos Fuentes, Édouard Glissant, Roberto González Echevarría, Ángel Guido, Monika Kaup, José Lezama Lima, Friedrich Nietzsche, Mario Praz, Timothy J. Reiss, Alfonso Reyes, Severo Sarduy, Pedro Henríquez Ureña, Maarten van Delden, René Wellek, Christopher Winks, Heinrich Wölfflin, Lois Parkinson Zamora
The first study of Christian murals created by indigenous artists in sixteenth and seventeenth century Yucatán.
In the sixteenth and seventeenth centuries, Maya artists painted murals in churches and conventos of Yucatán using traditional techniques to depict iconography brought from Europe by Franciscan friars. The fragmentary visual remains and their placement within religious structures embed Maya conceptions of sacredness beyond the didactic imagery. Mobilizing both cutting-edge technology and tried-and-true analytical methods, art historians Amara Solari and Linda K. Williams reexamine the Maya Christian murals, centering the agency of the people who created them.
The first volume to comprehensively document the paintings, Maya Christian Murals of Early Modern Yucatán collects new research on the material composition of the works, made possible by cutting-edge imaging methods. Solari and Williams investigate pigments and other material resources, as well as the artists and historical contexts of the murals. The authors uncover numerous local innovations in form and content, including images celebrating New World saints, celestial timekeeping, and ritual processions. Solari and Williams argue that these murals were not simply vehicles of coercion, but of cultural “grafting,” that allowed Maya artists to shape a distinctive and polyvocal legacy in their communities.
A kaleidoscopic consideration of transnational culture and performance
Amid the modern-day complexities of migration and exile, immigration and repatriation, notions of stable national identity give way to ideas about cultural “hybridity.” The authors represented in this volume use different forms of performative writing to question this process, to ask how the production of new political identities destabilizes ideas about gender, sexuality, and the nation in the public sphere.
Contributors use forms such as the essay, poem, photography, and case study to examine historically specific cases in which the notion of hybridity recasts our ideas of identity and performance: the struggle for Aboriginal land rights in Australia; Bahian carnival; the creolization and pidginization of language in the Caribbean world; queer videos; and others. Contributors: Meena Alexander, CUNY; Awam Amkpa, Mount Holyoke; Tony Birch; Barbara Browning, New York U; Manthia Diawara, New York U; Fiona Foley; Sikivu Hutchinson; Deborah A. Kapchan, U of Texas; Toby Miller, New York U; Shani Mootoo; Fred Moten, U of California, Santa Barbara; José Esteban Muñoz, New York U; Chon A. Noriega, UCLA; Celeste Olalquiaga; Ella Shohat, CUNY; Robert Stam, New York U.READERS
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